
Myntra's M-Now blends urgency and style in new ad
Myntra has launched its latest campaign for M-Now. Conceptualised by
DDB Mudra
, the ad film features actor
Vihaan Samat
, actor and comedian
Sumukhi Suresh
, and popular influencers,
Sakshi Shivdasani
and
Ayesha Kanga
, in its two ad films.
With a humorous and relatable take on emergencies, the campaign positions Myntra's new expedited delivery service, M-Now, as the trusted platform for delivering fashion and beauty fixes, starting ~30 minutes.
Vihaan Samat, Sumukhi Suresh, Sakshi Shivdasani, and Ayesha Kanga, have been roped in for the ad films owing to their deep connection with the audience and their ability to bring relatable characters to life.
Vihaan, known for his effortless charm and portrayal of modern, relatable characters, adds an endearing and grounded energy to the narrative. Sumukhi, known for her sharp wit and ability to turn everyday chaos into comedy gold, brings a distinct mix of humour and relatability to the narrative.
Meanwhile, Sakshi and Ayesha have become favorites among Gen Z, known for their authentic and relatable content that resonates deeply with younger audiences. Their ability to capture the humor and chaos of everyday life makes them a perfect fit for the campaign's playful take on fashion and beauty emergencies, ensuring it strikes the right chord with viewers.
Meanwhile, Sakshi and Ayesha face a beauty crisis at the police station just before their mugshots are taken. Both scenarios highlight the urgency for quick fashion and beauty solutions, and how M-Now delivers trendy styles and beauty fixes in minutes, ensuring that looking good is never an emergency too big to handle.
Abhishek Gour, senior director, marketing, Myntra, said, 'This new campaign blends humor with our promise of speed and style, positioning M-Now as the go-to for looking great—anytime, anywhere, without any compromises.'
Samat said, 'What really drew me to this campaign was the way it blends humor with those moments of unexpected urgency we all face. We've all had situations where we're racing against time to look good, whether it's for an important meeting, an event, or even just to feel confident. The campaign captures that feeling perfectly, showing how fashion and beauty fixes can be just a tap away when you need them the most. It was a lot of fun bringing these moments to life and working with Myntra to create something lighthearted, relatable, and stylish.'
Sumukhi said, 'I loved being part of a campaign that brought together style and spontaneity. Lately, I have found confidence in fashion and how much it has helped me express myself and it's a bonus that this campaign's narrative leans into humour while being relatable and reaching a wider audience.'
Watch the video here:

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


India.com
3 hours ago
- India.com
Abhay Verma and Nitanshi Goel In Talks For Shaadi Mein Zaroor Aana Sequel?
New Delhi: Rising stars Abhay Verma and Nitanshi Goel have reportedly been approached for an upcoming love story helmed by Ratna Sinha under the banner of Benaras Media. Sources close to the development reveal that the project will be second instalment of Sinha's much-loved romantic drama Shaadi Mein Zaroor Aana. The original film, which starred Rajkummar Rao and Kriti Kharbanda, was re-released in theatres this March, creating a stir of nostalgia among fans and bringing the cult-favourite love story back into the spotlight. Source says this sequel promises a fresh take on love & choices & this time with a younger & most talented cast at the heart of the story. Abhay Verma, known for his charm is fast becoming a favourite among filmmakers and audiences alike. With the massive success of Munjya, a big-ticket Bollywood lineup ahead like King, Safed Sagar, JC and Laikey Laikaa to award-winning performances behind him, he's emerging as one of the industry's most bankable Gen Z stars. View this post on Instagram A post shared by Abhay Verma (@ Nitanshi Goel, on the other hand, made a stunning debut with Kiran Rao's Laapataa Ladies, soon became mass and industry favourite. She took India on Global level with her achievements at such a tender age with her film going to Oscar to making her Cannes debut at 17 being the youngest actor to do so. Her natural screen presence and emotional range have already won her critical acclaim. Both actors have not only received accolades for their debut performances but have also proven their box office appeal making them a powerhouse pairing. While an official confirmation is still awaited, the buzz around this potential Gen Z sequel is only getting louder and audiences may soon witness a whole new love story unfold with echoes of the past and the spark of something fresh.


Indian Express
3 hours ago
- Indian Express
Louis Vuitton's runway has found India — it must now lead the show
Pharrell Williams's Louis Vuitton menswear spectacle in Paris on June 25 may be remembered less for its celebrities than for its compass. The collection — titled 'Paris to India' — scattered cricket stripes across silk suits, dangled elephant-trunk bags from models' hands and sent them striding over a snakes-and-ladders set conceived by architect Bijoy Jain. A Punjabi soundtrack co-produced by A R Rahman pulsed through the Louvre courtyard. In 30 brisk minutes, a French mega-brand declared that the world's most sumptuous fashion conversation now needs India in every sentence. For decades, India has been the textile world's quiet workroom: An exporter of labour, motifs and moral mystique, rarely an equal partner. The Louis Vuitton show signals something subtler than simple 'inspiration'. Jain's name sat proudly beside Williams's on the show notes; Rahman's beats shared billing with hip-hop icons. A similar dignity surfaced last year when Dior embroidered its pre-fall collection with the Chanakya School of Craft in Mumbai, crediting 300 artisans by name. In both cases, Indian creativity occupied the marquee, not the margins. That shift is the real headline. Why now? The luxury industry is scrambling for authenticity in a climate-anxious, post-pandemic marketplace. Carbon budgets, digital passports, circular business models and Gen Z's sceptical gaze are pushing brands to swap generic glamour for grounded storytelling. India offers a reservoir of stories written in plant dyes, zero-waste weaves and 4,000-year-old techniques that emit less carbon than the average polyester tracksuit. As the world's most diverse living craft laboratory — housing 11 million artisans across 3,000 clusters — India can supply both narrative depth and sustainability data. In short, global fashion's search for purpose runs straight through Kutch, Varanasi and the looms of Assam. The timing is auspicious at home too. The government's Rs 13,000-crore PM Vishwakarma scheme is rebuilding the artisan economy with credit, tools and market linkages; the Ministry of Textiles is fast-tracking Geographical Indication tags that protect regional identities; and the foreign office increasingly treats handloom gifts as soft-power artefacts. Louis Vuitton's Paris shout-out merely amplifies that trajectory. Yet, opportunity and outcome are not synonymous. Most Indian craftworkers still earn less than three pounds a day. More than half remain outside formal supply chains, which means no pensions, no insurance, no intellectual-property protection. If the global luxury pivot stops at aesthetic applause, the wealth gap widens; but if it matures into equitable contracting, credit sharing and co-branding, both sides profit. Dior's Chanakya partnership paid fair wages and logged 35,000 artisan hours; the house later released a documentary naming every embroiderer. That template — transparency plus traceability — shows how homage can become joint ownership. Louis Vuitton, which already embraces digital product passports for leather goods, could extend the system to heritage textiles, listing cluster names, wage rates and environmental savings. Customers would pay a premium for that honesty; artisans would secure predictable orders and global visibility. Indian designers and institutions must be ready to negotiate from strength. Design schools need incubation labs where students prototype with master karigars, proving that craft can be both couture and climate solution. State tourism boards could host 'Made With India' residencies, inviting foreign labels to spend a season in Kanchipuram or Bhuj, working shoulder-to-shoulder with local cooperatives. The private sector can sweeten the deal: Impact investors are already funding start-ups that marry blockchain provenance with natural-dye supply chains, rewarding clusters that meet biodiversity goals. A new lexicon is required as well. For years, culture writers spoke of 'inspiration' and 'appropriation'— binary terms that trap debates in outrage. The more useful phrase today is 'co-creation.' It presumes dialogue, contracts, revenue share and continuous credit. Co-creation resists both tokenism and hollow celebration. When a luxury house commissions a Banarasi brocade lining and prints the weaver's QR-coded signature inside the jacket, the customer's admiration translates into artisan equity. That is collaboration at the speed of modern commerce. Williams's show may not have reached that destination yet, but its direction is unmistakable. The fact that a monogram giant felt the need to celebrate Indian culture on global livestreams, accurately crediting Indian creative elites, marks the moment India's soft-power curve bent upward. The next bend — aligning that spotlight with the millions who keep the looms humming — is within reach if brands, policymakers and educators act in concert. India's craft legacy has always been ready for its close-up; technology, policy and consumer mood have finally switched on the klieg lights. The runway has found India. It is time for India — loom by loom, dye vat by dye vat — to lead the runway. The writer is assistant professor of design, IILM, Gurgaon


Time of India
8 hours ago
- Time of India
'Bold, Culturally Rooted, and Scalable Storytelling for a Young, Diverse India'
Asia Pacific Video Operators Summit At the Asia Pacific Video Operators Summit (APOS) 2025, hosted by Media Partners Asia (MPA), JioStar Entertainment leaders Alok Jain and Krishnan Kutty laid out a compelling blueprint for the future of Indian storytelling — one that's bold, emotionally resonant, culturally rooted, and built for scale. In a fireside session titled 'Inside the Next Wave of Indian Storytelling', moderated by Vivek Couto, Executive Director and Co-Founder of MPA, Jain and Kutty outlined JioStar's ambitions to champion local voices, innovate across formats, and program for India's young, diverse, and multilingual audiences. Redefining the Role of the Platform 'In a country as creatively diverse as India, it's no longer about scaling content — it's about resetting the creative ecosystem,' said Alok Jain, Chief of Content at JioStar. 'At JioStar, we're committed to ensuring creators are not boxed in by platforms, formats, or legacy structures. Today's storytellers move seamlessly — from short-form to long-form, social to television, digital to streaming. Our role is not to act as gatekeepers, but as collaborators.' He added that JioStar is building infrastructure that allows storytellers to move fluidly across mediums, giving them room to evolve while staying authentic. 'That's how we grow the ecosystem — by empowering creators, not restricting them. That's also how we expand its impact.' Boldness, Redefined: From Spectacle to Substance 'What was considered bold five or six years ago is not what's considered bold now,' said Krishnan Kutty, CEO of JioStar. 'Back then, it was about scale and visual spectacle. Today, boldness is about pushing societal norms, asking deeper questions, and doing it within the Indian context. We're not in California; we're in India. Our job is to push boundaries, but also to carry our audience with us.' This ethos is reflected in JioStar's programming — where boldness is not a matter of provocation, but of emotional depth, authenticity, and local resonance. Programming for a Young, Demanding India Jain emphasized that Indian consumers are evolving rapidly, and with them, so must formats and strategies. 'It's a young country. People are exposed to new things and they're demanding and unforgiving. If the story isn't great, they won't watch — regardless of who stars in it.' He cited Thukra Ke Mera Pyaar, a 19-episode show with 50-minute episodes, a debut director, and a debut cast, which turned into a hit from day one. 'That's proof the audience will embrace newness if the content speaks to them.' JioStar is also experimenting with non-fiction, micro-dramas, and hybrid formats. 'Innovation isn't a tactic for us — it's the baseline,' Jain said. The Untapped Youth Opportunity — Especially in the South While platforms like MTV have made inroads with younger audiences, Kutty pointed out that broadcasters and streamers have largely under-programmed for Gen Z. That's about to change. 'For the South, we are committed to increasing our programming volume for that audience by 7 to 10 times.' Jain echoed that youth-focused storytelling is both a creative and business imperative. 'If the industry is to run in a sustainable manner, we must drive content profitably — and focusing on youth is a big one for us.' Embracing the Multilingual, Multi-India Landscape Krishnan Kutty highlighted India's unique advantage: a multilingual, culturally rich ecosystem that fosters endless creative possibilities. 'The diversity of India is a gift from a content creator perspective — every state, every region is a source of different perspectives. What's remarkable is how audiences embrace content beyond their own language or state.' He gave the example of Kerala,"A small state like Kerala creates stories that travel nationwide. 80% of the consumption on JioHotstar for Malayalam content is outside the state. Great stories truly transcend borders.' India's digital video ecosystem is also vast — with 500–600 million users consuming 4–5 hours of content daily. 'The real challenge isn't what to do — but what not to do. There's significant headroom for both subscription and ad growth. And between premium long-form dramas and social storytelling lies a massive untapped space.' Resetting the Economics of Storytelling Kutty was candid about the systemic challenges facing the streaming industry: 'In streaming, we've escalated prices to a point where producers have become B2B entities, creating primarily for the platform, not the end consumer. That has led to a disconnect. Unless the model is reset, I believe it's deeply broken.' Reflecting on the state of theatrical entertainment in India, Alok Jain observed -'We've been in a difficult period where people aren't coming to theatres unless the movie is really, really good. Watching a film now is a three-hour commitment — and that's a big ask.' He argued that both storytellers and exhibitors must reinvent. 'Creators need to tell more authentic stories. Theatre owners must rethink pricing, experience, and value delivery. Theatrical viewing must feel like an experience - not just a screening.' The Great Reset — and the Great Opportunity Jain believes Indian content is poised for a reset — but one filled with possibility. 'Consumers are adapting to multiple formats, and I believe the space will settle. The industry is very cognizant of that. This reset is happening across content types — theatrical films, television, digital-first. And with that comes the opportunity to rethink, reformat, and rebuild.' With 320,000 hours of content across JioStar's network, the common thread, he said, is human emotion and shared experience. 'Our focus is to tell authentic stories from every corner of the country — stories that resonate universally. That emotional truth is what allows Indian content to scale and even travel globally.' India: A Strategic, Youth-Driven Market India remains one of the most strategic markets globally, said Jain. 'With a billion young people, 22 languages, and a thriving economy, India is unmatched in scale and diversity. What makes it exciting is not just its size — it's the scale, youth, and openness to change.'