Brands

Beauty for all: Unilever says no to ‘normal’

Published

5 years ago

March 9, 2021

NEW DELHI: Pop queen Rihanna's Fenty Beauty shook up the beauty space in 2017 when it came out with 40 different shades of foundations that catered to a rainbow of skin tones, finding immediate favour with deep-skinned beauties. Fenty sparked an epochal shift in the beauty industry, with make-up brands waking up to the idea of inclusivity and smashing stereotypical beauty standards. More recently, the impact of the Black Lives Matter movement has been such that it sparked introspection among beauty brands in India, leading to several cosmetic manufacturers attempting to be more inclusive and diversity-friendly in terms of their products and marketing.

The latest is Dove soap maker Unilever, which has taken the call to remove the word "normal" from its beauty and personal care products, as well as stop digital alterations of body shapes and skin colour of models used in its advertising in a drive to be more inclusive.

The move from the multinational consumer goods giant, which is one of the top advertisers in the world, comes as it tries to move beyond the backlash it has faced in recent times for some of its advertising campaigns.

Just last year, Unilever deigned to drop the word “fair” from its Fair & Lovely skin lightening products in India in the face of rising consumer ire over its negative stereotyping of darker skin tones’ instead renaming its top selling skin-lightening brand to "Glow & Lovely".

While in 2017, the company faced a social media outcry over an advert for Dove body wash which showed a black woman removing her top to reveal a white woman. The ad was dropped after it was accused of racism. The company had then apologised stating that the ad “was intended to convey that Dove Body Wash is for every woman and be a celebration of diversity, but we got it wrong”.

In another instance, an ad for its TRESemmé haircare forced Unilever to pull all its TRESemme products from South African retail stores for 10 days due to backlash. It described images of African black hair as "frizzy and dull," and "dry and damaged" while a white woman's hair was referred to as "normal", a case of tone-deaf advertising in a racially diverse country, which predictably resulted in furore on social media, and even public protests.

"We know that removing 'normal' alone will not fix the problem, but we believe it is an important step towards a more inclusive definition of beauty," Unilever beauty and personal care president Sunny Jain told Reuters.

Unilever plans to roll out this policy worldwide and in India, which will take a year to implement. Globally, more than a hundred Unilever brands will have the word "normal" removed to describe skin type or hair texture, and replaced with terms such as "grey hair" for shampoos or "moisture replenish" for skin creams by March next year.

Unilever said a poll it conducted of about 10,000 people globally showed that more than half the respondents felt using "normal" to describe hair or skin made people feel excluded, while 70 per cent said using the word in advertising had a negative impact.

"Who is to decide what is normal? Is curly hair normal? Or dry skin normal?" Indian subsidiary of Unilever, HUL executive director beauty & personal care Priya Nair said as quoted by The Economic Times. The company also plans to raise the number of advertisements portraying people from diverse groups who are under-represented, the report said.

The company also said it would stop digitally altering body shape, size, proportion and skin tones of models it uses in its own advertisements, or those of its paid influencers across all its brands, a move that started with the Dove brand in 2018.

Whether Unilever’s push for inclusivity and diversity is merely cosmetic tokenism in response to social ‘wokeness’ or a sign of more positive things to come, only time will tell.

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

Published

1 week ago

February 9, 2026

indiantelevision.com Team

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.

Published

1 week ago

February 9, 2026

indiantelevision.com Team

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

Published

1 week ago

February 9, 2026

indiantelevision.com Team

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.