Brands
13th BMW Art Car comes to India
MUMBAI: BMW Group India presents the 13th BMW Art Car created by Italy’s most renowned contemporary artist Sandro Chia. His creation will be exclusively exhibited from 2-5 February 2017 at the India Art Fair in New Delhi. Sandro Chia created the 13th Art Car for BMW in 1992 with the BMW M3 GTR which is celebrating its 25th anniversary in 2017.
The art car was recently showcased at Quadriennale d’Arte held in Rome from October 13, 2016, to January 7, 2017.
The BMW Art Cars or the ‘Rolling Sculptures’ are original masterpieces of art that demonstrate an individual synthesis of artistic expression and automobile design. Since 1975, eighteen prominent artists from across the world have created Art Cars on the basis of contemporary BMW automobiles of their times, all offering a wide range of artistic interpretations.
BMW Group India president (act) Frank Schloeder said, “Cultural communication has been one of the long-standing commitments of BMW Group. The partnerships we build strengthen intercultural dialogue and create platforms for multidisciplinary exchange. The BMW Art Cars collection spans the work of prominent artists across continents. Together they form a mirror of contemporary culture, as exemplary as it is unique. Through the exclusive showcase of the BMW Art Car by Sandro Chia at the India Art Fair, we bring yet another coveted masterpiece of art closer to connoisseurs and patrons of art. Visitors will be able to discover the design and creative process of the 13th BMW Art Car at the India Art Fair 2017.”
BMW Art Cars are an indispensable component and a core platform of BMW Group’s cultural engagement. They are unique creations combining automobiles, technology, design and art.
It was back in 1992 when Sandro Chia became the only Italian artist so far to be asked to put his mark on a BMW Art Car. The artist decided to give a BMW car a distinctive look; he created a combination of BMW’s design language and the artists’ perspective of multiple gazes of the onlooker and how the car reflects on them.
For over 40 years, the BMW Art Car Collection has fascinated art and design enthusiasts as well as lovers of cars and technology with its amalgamation of fine art and innovative automobile technology. Several cars from the BMW Art Car Collection are usually on display at the BMW Museum in Munich, the home of BMW Art Cars, as part of its permanent collection. The remaining BMW Art Cars travel the globe – to art fairs as well as exhibitions.
The BMW Art Car Collection was born when French race car driver and art aficionado Hervé Poulain, together with Jochen Neerpasch, then BMW Motorsport Director, asked his artist friend Alexander Calder to design an automobile. The result was a BMW 3.0 CSL which competed in 24 Hours of Le Mans in 1975, where it quickly became the crowd’s favourite. Since then, 17 international artists have designed BMW models, among them some of the most renowned artists of our time: Alexander Calder (BMW 3.0 CSL, 1975), Frank Stella (BMW 3.0 CSL, 1976), Roy Lichtenstein (BMW 320 Group 5, 1977), Andy Warhol (BMW M1 Group 4, 1979), Ernst Fuchs (BMW 635CSi, 1982), Robert Rauschenberg (BMW 635CSi, 1986), Michael Jagamara Nelson (BMW M3 Group A, 1989), Ken Done (BMW M3 Group A, 1989), Matazo Kayama (BMW 535i, 1990), César Manrique (BMW 730i, 1990), A. R. Penck (BMW Z1, 1991), Esther Mahlangu (BMW 525i, 1991), Sandro Chia (BMW M3 GTR, 1992), David Hockney (BMW 850CSi, 1995), Jenny Holzer (BMW V12 LMR, 1999), Ólafur Eliasson (BMW H2R, 2007) and Jeff Koons (BMW M3 GT2, 2010).
On 19 November 2015, at the celebration of the 40th anniversary of BMW Art Cars at Guggenheim Museum in New York, a jury of distinguished museum directors and curators chose Chinese artist Cao Fei and American artist John Baldessari to separately design the next BMW Art Cars in 2017 with the BMW M6 GT3 and BMW M6 GTLM.
On 30 November 2016, the 19th BMW Art Car designed by John Baldessari celebrated its world premiere at Art Basel Miami Beach. The world premiere of the 18th BMW Art Car designed by Cao Fei is scheduled during the summer of 2017.
The artist’s pictorial language is in light-hearted contrast to the often tough milieu of the big city, to which he reportedly feels himself drawn: figures of the mythical appearance parade themselves before us in a timeless, bucolic Arcadian setting.
“I have created both a picture and a world. Everything that is looked at closely turns into a face. A face is a focus, a focus of life and the world,” says Sandro Chia.
“Paint me, paint me!” the racing car’s surface had called out to him, said Sandro Chia. So he started to paint, painted faces and a sea of intensive colours until the car’s whole bodywork had been completely covered. “The automobile is a much coveted object within our society”, said Sandro Chia commenting on his work. “It is the centre of attraction. People look at it. This car reflects those looks.” The design of the Art Car was not his first artistic involvement with an automobile. Even as a child he painted graffiti on cars.
Brands
Netflix India names Rekha Rane director of films and series marketing
Streaming giant bets on a seasoned marketer who helped build Amazon and Netflix into household names
MUMBAI: Netflix has put a proven brand builder at the helm of its films and series marketing in India, naming Rekha Rane as director in a move that signals sharper focus on audience growth and cultural cut-through in one of its most hotly contested markets.
Rane steps into the role after seven years at Netflix, where she has quietly shaped how the platform sells stories to India. Her latest promotion, effective February 2026, crowns a run that spans brand, slate and product marketing across originals, licensed content and new verticals such as games.
A strategic marketing and communications professional with roughly 15 years’ experience, Rane has spent much of her career building technology-led consumer businesses and new categories, notably e-commerce and subscription video on demand. She was part of the early push that introduced Amazon.in, Prime Video and Netflix to Indian homes, then helped turn them into everyday brands.
At Netflix, she most recently served as head of brand and slate marketing for India from March 2024 to February 2026, leading teams across media and marketing for global and local content portfolios. Before that, as manager for original films and series marketing, she led IP creation and go-to-market strategy for titles including Guns and Gulaabs, Kaala Paani, The Railway Men* and The Great Indian Kapil Show, spanning both binge and weekly-release formats.
Her earlier Netflix roles covered product discovery and promotion in India and integrated campaign strategy to drive conversations around the content slate, product awareness and brand-equity metrics.
Before Netflix, Rane logged more than three years at Amazon in brand marketing roles in Bengaluru. There she handled national and regional campaigns for Amazon.in, worked on customer assistance programmes in growth geographies and contributed to the go-to-market strategy for the launch of Prime Video India.
Her career began well away from streaming. At Reliance Brands in Mumbai, she worked on retail marketing for Diesel and Superdry. A stint at Leo Burnett saw her work on primary research for P&G Tide, mapping Indian shoppers’ paths to purchase. Earlier still, at Orange in the United Kingdom, she rose from sales assistant to store manager, running a team and owning monthly P&L for a retail outlet.
The arc is telling. As global streamers fight for attention in a crowded Indian market, executives who understand both mass retail behaviour and digital habit-building are prized. Rane’s career sits at that intersection.
For Netflix, the bet is simple: in a market spoilt for choice, sharp marketing can still tilt the screen. And with Rane now leading the charge, the streamer is signalling it wants not just viewers, but fandom.
Brands
Orient Beverages pops the fizz with steady Q3 gains and rising profits
Kolkata-based beverage maker reports stronger revenues and profits for December quarter.
MUMBAI: A fizzy quarter with a steady aftertaste that’s how Orient Beverages Limited, the company that manufactures and distributes packaged drinking water under the brand name Bisleri closed the December 2025 period, as the Kolkata-based drinks maker reported improved revenues and a healthy rise in profits, signalling operational stability in a competitive beverage market.
For the quarter ended December 31, 2025, Orient Beverages posted standalone revenue from operations of Rs 39.98 crore, up from Rs 36.42 crore in the previous quarter and Rs 33.53 crore in the same quarter last year. Total income for the quarter stood at Rs 42.24 crore, reflecting consistent demand and stable pricing across its beverage portfolio.
Profit before tax for the quarter came in at Rs 3.47 crore, a sharp improvement from Rs 1.31 crore in the September quarter and Rs 0.39 crore a year ago. After accounting for tax expenses of Rs 0.79 crore, the company reported a net profit of Rs 2.68 crore, nearly three times the Rs 0.99 crore recorded in the preceding quarter.
On a nine-month basis, the momentum remained intact. Revenue from operations for the period ended December 31, 2025 rose to Rs 117.66 crore, compared with Rs 106.95 crore in the corresponding period last year. Net profit for the nine months climbed to Rs 5.51 crore, more than double the Rs 2.18 crore reported in the same period of the previous financial year.
The consolidated numbers told a similar story. For the December quarter, consolidated revenue from operations stood at Rs 45.06 crore, while profit after tax came in at Rs 2.06 crore. For the nine-month period, consolidated revenue touched Rs 133.57 crore, with net profit of Rs 4.49 crore, underscoring the group’s improving profitability trajectory.
Operating expenses remained largely controlled, with cost of materials, employee benefits and other expenses broadly aligned with revenue growth. The company continued to operate within a single reportable segment beverages simplifying its cost structure and reporting framework.
The unaudited financial results were reviewed by the Audit Committee and approved by the Board of Directors at its meeting held on 7 February 2026. Statutory auditors carried out a limited review and reported no material misstatements in the results.
In a market where margins are often squeezed by input costs and competition, Orient Beverages’ latest numbers suggest the company has found a reliable rhythm not explosive, but steady enough to keep the fizz alive.
Brands
BCCL profit jumps 53 per cent in FY25 as tax bill shrinks
Revenue rises 4.3 per cent to Rs 10,209.33 crore while deferred tax gain lifts bottom line sharply
NEW DELHI: Bennett, Coleman and Company (BCCL) has posted a sparkling set of financial results for the year ended 31 March 2025, proving that there is still plenty of ink and gold left in the ledger.
Revenue from operations climbed a steady 4.3 per cent, reaching Rs 10,209.33 crore compared to Rs 9,786.44 crore the previous year. When you sprinkle in other income, which rose 8.9 per cent to Rs 949.36 crore, the total income for the media behemoth hit a healthy Rs 11,158.69 crore.
While the income grew at a modest pace, the bottom line tells a far more dramatic story. The real headline is the 53 per cent surge in annual profit. How did they pull off such a feat? While Profit Before Tax (PBT) saw a gentle nudge upward of 2.7 per cent to Rs 1,610.00 crore, it was a vanishing act by the taxman that really did the trick.
Total tax expenses plummeted by 32.4 per cent, dropping from Rs 468.76 crore down to Rs 316.97 crore. This was largely thanks to a swing in deferred tax, moving from an expense of Rs 156.02 crore in FY24 to a benefit of Rs 39.44 crore this year.
Total income rose from Rs 10,658.55 crore in FY24 to Rs 11,158.69 crore in FY25, marking a 4.7 per cent increase. Total expenses grew at a slower pace, up 3.0 per cent from Rs 9,306.06 crore to Rs 9,581.45 crore. Profit before tax inched up 2.7 per cent, moving from Rs 1,567.02 crore to Rs 1,610.00 crore. However, the standout figure was net profit, which jumped sharply by 53.0 per cent, climbing from Rs 1,042.03 crore in FY24 to Rs 1,594.73 crore in FY25.
Despite the rising costs of doing business across the globe, BCCL kept a tight grip on the purse strings. Total expenses rose by just 3.0 per cent to Rs 9,581.45 crore. By keeping costs lower than the rate of income growth, the company ensured that the final figure, a net profit of Rs 1,594.73 crore, was nothing short of a front-page sensation.
In a world of shifting digital tides, it seems the BCCL ship is not just steady, but sailing into significantly wealthier waters.
-
News Broadcasting1 week agoMukesh Ambani, Larry Fink come together for CNBC-TV18 exclusive
-
News Headline1 month agoFrom selfies to big bucks, India’s influencer economy explodes in 2025
-
iWorld2 weeks agoNetflix celebrates a decade in India with Shah Rukh Khan-narrated tribute film
-
Hollywood5 days agoThe man who dubbed Harry Potter for the world is stunned by Mumbai traffic
-
I&B Ministry3 months agoIndia steps up fight against digital piracy
-
MAM3 months agoHoABL soars high with dazzling Nagpur sebut
-
iWorld12 months agoBSNL rings in a revival with Rs 4,969 crore revenue
-
iWorld3 months agoTips Music turns up the heat with Tamil party anthem Mayangiren


