Tag Archives: beer industry

Labels That Lead: Inside India’s Evolving Beer Aesthetic

Popular homegrown beer makers share how visual design choices affect what lands in the cart and why.

The Indian beer industry is moving through an exciting phase of transformation. With an estimated 720 million young consumers influencing buying patterns, and the market projected to grow from INR 444.6 billion in 2024 to INR 802.5 billion by 2033, beer brands are navigating a fiercely competitive space with creative agility. In a country where direct advertising is heavily regulated, packaging has emerged as the most influential communication tool for alcoholic beverages. Visual identity, storytelling, convenience, and shelf presence are now essential.

Packaging as Brand Language

Avneet Singh, Founder and CEO, Medusa Beverages

In the absence of traditional media outreach, the label does the talking. For Avneet Singh, Founder and CEO of Medusa Beverages, packaging is a strategic asset. “It’s the frontline of brand communication. We treat our can like a silent salesman. It signals our ethos, style, and appeal to a youthful, confident Indian identity.”

Arjit Ghosh, Vice President-Sales, Lone Wolf

At Lone Wolf, Vice President-Sales Arijit Ghosh speaks of a similar emphasis noting that packaging becomes a crucial touchpoint. It reflects their philosophy and values, and they aim to connect emotionally with the consumer through design.

Sachin Abrol, Co-founder and CEO of Prisco Potion Private Limited, adds that packaging is the most direct interface between the buyer and the brand. “We treat it as a canvas to build emotional connection and communicate the brand story.”

Intekhab Aslam, Head of Marketing, SOM Distilleries

Intekhab Aslam, Head of Marketing at SOM Distilleries, notes that the twist cap on Woodpecker Beer was developed to prioritise ease of use and comfort. Their design strategy emphasises intuitive experiences and functionality that serve immediate consumer needs.

Abhinav Jindal, Founder and CEO of BeeYoung

Packaging has become the handshake between brand and buyer. And as beer buying becomes more experiential, packaging performs both at point-of-sale and post-purchase.

Abhinav Jindal, Founder and CEO of BeeYoung, sees packaging as the product’s storyteller: “The can must evoke emotion and aspiration. It should reflect who we are brewing for.”

Shekhar Swarup, Joint Managing Director at Globus Spirits Limited

Shekhar Swarup, Joint Managing Director of Globus Spirits, which introduced Carib Premium Strong Beer to the Indian market, believes packaging is no longer just the outer shell; it’s the identity. With advertising restrictions in place, Swarup sees packaging as the lead storyteller, capturing the ethos of the Caribbean-inspired brand. For Carib, bright yellow tones, sunray motifs, and blue waves aren’t mere visuals; they convey vitality, cultural roots, and a shared love for cricket that connects India and the Caribbean. “It’s often the first and most lasting impression,” he notes.

The Design Process

Creating packaging that reflects brand character is a nuanced process. Design decisions reflect ongoing interpretations of consumer preferences and brand evolution.

Medusa draws inspiration from mythology and pop culture to mould its visual story. Singh shares that symbols like Medusa and bold metallics are intended to resonate with a new-age Indian mindset.

Ghosh highlights Lone Wolf’s minimal aesthetic. Their use of black for lighter beers and white for stronger ones helps create standout presence. “That’s a deliberate strategy. The hashtag #unfollow encapsulates our philosophy,” he says.

Prisco Potion’s approach is built on emotion, according to Abrol. From identifying the feeling to translating it through material, colour, and texture, their aim is to anchor authenticity.

Carib’s packaging reflects the vibrant personality of its origins. Swarup explains that the design team focused on infusing Caribbean identity into every element. The choice of colours, the batsman icon, and the “United by Cricket” tagline are a nod to shared sporting passions between regions. It’s a packaging narrative that seeks familiarity while bringing freshness to Indian consumers.

SOM’s yellow Glide and black Crest caps ensure ease of recognition. Aslam mentions that the bottle design supports everyday usability.

Jindal explains that BeeYoung Beyond’s matte finish and copper tones borrow from international design while incorporating ingredients such as Doon basmati rice to ground it locally. “The design must echo the beer’s character,” he says.

Seasonal Editions and Engagement

Seasonal releases and festive packaging have become effective tools to spark buzz and deepen brand engagement. Medusa’s House of the Dragon collaboration featured collector’s edition cans with dragon-scale motifs. “This became part of pop culture discourse,” notes Singh. The collaboration led to spikes in digital engagement and store-level demand.

At Prisco Potion, limited-edition packaging is part of the plan. According to Abrol, these drops boost visibility and consumer interaction, especially across visual-first platforms. “We design packaging people want to post about,” he says.

BeeYoung also uses its microbrewery Brewgarden to trial seasonal brews. “Each label or tap handle reflects the season. These become conversation pieces and content for organic reach,” explains Jindal.

SOM launches festive gift packs during key holidays. Aslam views these as purposeful extensions of their visual presentation.

At Lone Wolf, Ghosh shares that their engagement focus lies in crafting seasonal cocktail recipes rather than altering packaging.

Swarup mentions that Carib is currently focussed on strengthening its presence with its core product identity. While festive or limited-edition designs hold promise for the future, the brand aims to first cement recognition and familiarity with its core aesthetic.

Shelf Presence vs Store Rules

In a fragmented market, shelf presence presents ongoing hurdles. Indian alcohol retail follows state-specific policies that affect everything from SKU dimensions to display permissions. As the beer segment grows with frequent product introductions, those who align packaging with both regulation and retail shelf design stay more noticeable.

“Shelf real estate is often monopolised by larger players,” says Singh. “Our solution: bold fonts, high-gloss finishes, and compact layouts that work in dimly lit stores.”

Swarup notes that packaging design isn’t revisited only during product launches. It remains a continual exercise. Collaboration with Carib International ensures that feedback loops, retail behaviour, and shifting trends are considered regularly, helping the brand stay relevant amid regional constraints.

Prisco Potion believes that standout packaging delivers instant impact and layered detail. It should catch the eye quickly but also reveal thoughtful design choices upon closer inspection.

BeeYoung considers distance viewing. “Our design stands out from five feet away in a crowded store. That requires both form and function,” states Jindal.

Lone Wolf reflects on differing conditions across regions. “In cities like Goa, design contributes more due to visibility. In others like Delhi and Chandigarh, the effect is different,” says Ghosh.

Instagram-Ready, Shelf-Ready

With discovery now influenced heavily by digital content, brands are aligning packaging for both physical and virtual impact. Singh explains that Medusa’s mock-ups are reviewed in influencer grids and visual simulations before hitting shelves. “If it doesn’t capture interest visually, it doesn’t move forward.”

While Jindal focusses on tactile detail, ensuring BeeYoung’s cans have distinctive textures and rich colours, Abrol at Prisco Potion considers shareability key. “Packaging that photographs well ends up being reposted and remembered.”

Carib’s packaging has been tailored to appeal across both in-person and social formats. According to Swarup, the objective was to create an experience that resonates with younger, urban consumers who often make snap decisions. The brand’s visual personality supports both tactile recall and online curiosity.

Ghosh values consistency. Lone Wolf’s labels are curated to stay recognisable on shelf and screen alike, while Aslam views packaging as a premium artefact; pleasing in person and polished for digital appeal.

This dual-readiness enhances brand exposure, as packaging increasingly enters the frame of everyday consumer storytelling.

Innovation and Future Directions

India’s beer packaging sector aligns with broader international trends. According to IMARC Group, the global beer packaging market stood at USD 25.9 billion in 2024 and may reach USD 33.9 billion by 2033. Rising craft beer demand, aesthetic focus, and sustainability preferences are redefining packaging goals.

Medusa is introducing AR-enabled packaging and collaborating with artists. “We’re curating design stories connected to regional culture and independent creators,” says Singh. Their internal R&D team is also exploring new finishes that react to temperature changes,creating a dynamic visual experience. This could lead to limited runs tailored for summer or festive seasons.

Prisco Potion is working on immersive packaging solutions. “We’re integrating augmented reality and eco-responsible materials to match evolving expectations,” informs Abrol. The team is experimenting with smart codes embedded into cans, allowing consumers to access exclusive content and loyalty programmes with a scan.

BeeYoung is building on sustainability and regional sourcing wherein they are highlighting ingredient origins through local artist collaborations and biodegradable formats. The brand is also studying reusable packaging models, particularly for urban taproom distributions.

SOM is simplifying visual design while embracing environmental goals. Their new labels reduce ink use and they are exploring partnerships that support visual storytelling. “Discussions are underway with packaging innovators to create water-repellent labels that maintain clarity in chilled environments,” shares Aslam.

Lone Wolf maintains its clarity-first philosophy. “Our designs take time and careful thought. We modify only when it adds real value,” notes Ghosh. They are currently conducting market tests with alternate materials that offer higher shelf life while preserving design sharpness.

Swarup shares that innovation in packaging remains a critical area of exploration for Carib. While the brand has taken a steady approach in its India rollout, the future may see the introduction of smart features and sustainability-led formats as they adapt to local market cues and global directions.

With the Indian beer market expanding at an annual growth rate of 6.72%, packaging innovation is becoming a key tool for market relevance and recall. From fostering shelf standout to shaping digital conversations, it’s become central to beer’s story in India, crafted as thoughtfully as the brew inside.

UBL, AB InBev, Carlsberg jointly form Brewers’ Association of India

In a move that might not be surprising to many, India’s leading beer manufacturers United Breweries – controlled by Dutch manufacturer Heineken, AB InBev, and Carlsberg have come together to jointly forming a new industry body Brewers’ Association of India (BAI). The three companies own the 85% of the beer market in India via their brands Budweiser, Hoegaarden, Corona, Carlsberg, Tuborg among others.

While UBL leads the Indian beer market with its brands Kingfisher, Kalyani Black, Heineken, Amstel Bier. BAI, which is formed in partnership with the World Brewing Alliance (WBA), and is expected to focus on growing the beer category in India, drive innovation, moderation, and sustainability in the Indian beer market.

WBA is the global industry body consisting of brewers and brewing trade associations from leading markets, including Australia, Canada, the US, Europe, Japan, Korea, Latin America, Brazil, and New Zealand.

BAI is headquartered in Delhi and is going to be headed by Vinod Giri, who will assume office on June 1, 2024. Giri until now was heading the Confederation of Indian Alcoholic Beverage Companies (CIABC), the apex body of the Indian alcoholic beverage industry.

“The time is right for brewers to raise their voice on these issues. The Brewers of India will be a vital part of promoting moderate drinking, promoting our industry,” said Justin Kissinger, President and CEO, WBA.

The new association will also be open to other brewers, Indian and international both, who share the belief in growing the Indian beer industry responsibly.

AB InBev India President Kartikeya Sharma said, “There are many barriers to the growth of India’s beer category, including inequitable taxation, accessibility, and the ease of doing business. We will continue to advocate to unlock a new era for the beer category.”

Carlsberg India MD Nilesh Patel said, “The beer industry is an important sector for the states as it provides significant direct and indirect employment and generates significant revenues for the state to invest for its citizens.

“Through the Brewers’ Association of India, the industry expects to bring best global practices and further strengthen the sector.”

UBL MD & CEO Vivek Gupta said, “Together, the industry can help shape policies promoting responsible choices for consumers around moderate alcohol beverages, a robust taxation and regulatory framework and promoting investments for socio-economic benefits. We look forward to collaborate with governments and other stakeholders.”

The three companies have significantly invested in India. While Carlsberg operates seven breweries, UBL has 19 and AB InBev India has 10 of them across the country.

Karnataka increases beer prices again within six months, to fund freebies

On July 7, 2023, the Congress (I) government in Karnataka gave a jolt to the alcobev sector by hiking existing rates of excise duty on Indian Made Foreign Liquor (IMFL) by 20% and on beer from 175% to 185%. And within six months, the government has announced yet another increase to the beer industry. A draft notification of the government mentions that additional excise duty on bottled beer manufactured in Karnataka or imported into the state will be increased by 10 percentage points from 185% to 195%.

As per the notification, the hike would result in every 650 ml bottle to cost an extra ₹8 to ₹10. The government has proposed the hike in a draft notification to amend the Karnataka Excise (Excise Duties and Fees) Rules, 1968. The new rules allowing the hike are likely to be finalised this month or early February as the department is seeing ‘a big growth in strong beer sales’, even as summer is approaching.

Government desperate to raise revenues

Siddaramaiah, CM, Karnataka

The Congress (I) government is desperate to raise resources as it is not able to fund the freebies it offered to the electorate just before elections. The Congress party came to power on the five election guarantees (read as freebies) it offered to the people – free electricity up to 200 units; free bus travel for women; 10 kg rice for every member of a below poverty line (BPL) household; ₹3,000 every month for unemployed graduate youth and ₹1,500 for unemployed diploma holders; and ₹2,000 for every woman head of a family.

Five guarantees draining exchequer

These five guarantees are going to cost the newly elected Congress government headed by Chief Minister Siddaramaiah, a whopping ₹52,000 crores. Excise revenue is crucial for the state government. In the 2023-24 fiscal, Karnataka has set a target of earning ₹36,000 crore from excise.

Excise revenue registers 13.43 growth in 2022-23

As per the annual report for 2022-23 of the Karnataka Excise Department, the excise revenue has been steadily increasing from ₹7.11 crores in 1967-68 to ₹26,377.68 crores in 2021-22. In 2022-23 the excise revenue collected was ₹29,920.37 crores, an increase of ₹3,542.69 crores when compared to the previous year, registering 13.43 growth. It said that the department’s salary and other expenses was ₹247.88 crores which is 0.83% of the total excise revenue.

Source2020-212021-222022-23
IML20,217.8022,889.1024,663.85
Beer2,438.162,757.304,460.60
License Fee643.87684.10745.84
Others 32.2737.1850.08
Total23,332.1026,377.6829,920.37


Source wise excise revenue in Karnataka

Excise revenue from liquor sales in Karnataka has seen a 65% jump over the last five years, increasing from ₹17,948.5 crores in 2017-18 to 29,920 crores in 2022-23. The revenue is estimated to double by March 2024, given the budgetary target of ₹36,000 crores from liquor sales, as enumerated in CM Siddaramaiah’s budget proposal.

Expenditure is just 0.83%

Of the total revenues realised the expenditure of the department is just 0.83% and that expenditure is also seeing a downward trend.

Particulars2020-212021-222022-23
Revenue23,332.1026,377.6829,920.37
Expenditure222.87234.43247.88
Percentage of expenditure0.960.890.83

The department also reported growth in sales of both IML and beer (in lakh carton boxes). It can be seen from the statistics that beer has seen a quantum jump from 2021-22 to 2022-23 from 22.40 lakh carton boxes a month to 32.5 lakh carton boxes a month respectively, indicating the growing trend for beer, particularly strong beer.

Liquor type2020-212021-222022-23
IML583.23660.16698.46
Average per month48.6055.0158.21
Beer237.82268.83390.66
Average per month19.8222.4032.5

For the excise year 2022-23, the renewed licenses were 32 distilleries, 12 breweries; 23 wineries; and 68 microbreweries. The number of trade licenses (12 categories) has gone up from 11,457 in 2021-22 to 12,454 in 2022-23.

In an earlier article, Ambrosia had raised this issue as to how the government would fund these guarantees. One is through increased borrowings and two through hike in excise duty and other taxable methods. Immediately, after coming to power the Congress government increased electricity tariff by ₹2.89 per unit and several industries are up in arms, stating that it will render many units economically unviable due to high cost of production. Then came the hike on IMFL and beer. The Chief Minister who holds the finance portfolio had levied 20% on all 18 slabs of excise.

However, draught beer has remained untouched which is currently at 150% of declared price. For microbrewery it remains unchanged at 50% of the annual installed capacity at the rate of ₹25 per bulk litre. The Chief Minister had then said “Even after the increase in excise rates, the price of liquor in our state would be lower when compared to the neighbouring states.”

Karnataka among highly taxed, industry

However, the liquor industry states that Karnataka is among the highest in excise duty rates. The Confederation of Indian Alcoholic Beverage Companies (CIABC) in a statement had then said the hike in the additional excise duty (AED) may not increase the revenue for the state exchequer. “Consumer prices in Karnataka are already very high. I think further increase, that too to that extent, is going to hit sales in a big way,” said CIABC Director General Vinod Giri.

Vinod Giri, Director General, CIABC

CIABC said that there is enough empirical data to show that the liquor demand turns quite elastic after 8-10% increase in price. “We may also see consumers downgrade to cheaper products. Considering that we fear that this tax increase may actually not lead to more tax collection as expected by the government, but will turn out to be counterproductive as many such increases in the past in other states have been. If that happens then all major stakeholders, i.e, the Government, the industry and the consumer will come out poorer.”

Nita Kapoor, CEO, International Spirits and Wines Association of India (ISWAI)

Similarly, the CEO of International Spirits and Wines Association of India (ISWAI) Nita Kapoor had urged the state to rationalise AED, reduce the MRP of premium brands in line with its neighbouring states. But the government has its own plans, considering that it has to keep its election promises. The government cannot falter at this moment as the Lok Sabha elections are round the corner and it can’t be seen faulting on its promises. The axe has to fall on alcobev sector which continues to be an easy target.

– R. Chandrakanth