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India Represents Blueprint For How A Digital Creator Economy Achieves Institutional Scale: YouTube’s Gunjan Soni

At APOS 2026, YouTube’s Gunjan Soni said India has become the blueprint for a creator economy at institutional scale. She highlighted the rapid rise of Connected TV, creator-led IPs, shopping-driven content and YouTube's growing role in shaping entertainment, commerce and culture.

MM Desk by MM Desk
June 18, 2026
in Media
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India Represents Blueprint For How A Digital Creator Economy Achieves Institutional Scale: YouTube’s Gunjan Soni

YouTube is now India’s prime-time screen, where internet authenticity meets cinematic quality on the largest canvas in the home, Gunjan Soni, Country Managing Director, YouTube said at APOS, Asia’s premier summit for the entertainment and technology industry, in Bali.

She highlighted that YouTube has collapsed the distance between different video formats and different entertainment ecosystems, bringing them all onto India’s largest screen.  Soni also shared her views on India’s video boom, covering key themes such as creators, commerce, and Connected TV.

According to YouTube, CTV is now YouTube’s fastest-growing screen in India, reaching over 75 million adults (ages 18+). Moreover, audiences are moving effortlessly between Shorts, long-form video, podcasts and live content, with Connected TV becoming a key destination for deeper, shared viewing experiences.

Two key highlights as per YouTube include – Next-Gen Digital IPs: Independent creators have evolved into modern media studios, building structured, premium digital IPs that capture mainstream big-screen attention. Examples: Television veteran Shekhar Suman bringing classic late-night charm directly to digital audiences with Shekhar Tonite; comedian Ashish Solanki successfully scaling a massive lineup of independent comedy IPs natively on the platform.

The Rise of Vodcasts (Video Podcasts): Uniquely popular on CTV, video podcasts turn passive listening into an active, lean-back viewing event for the entire living room as audiences seek out the chemistry and physical setting of the conversation.

At APOS 2026, Soni said, “We are scaling our CTV presence by connecting a fluid multi-format viewer journey with a completely diversified slate of premium content.”

“The Content-to-Commerce Flywheel is already taking off in a big way in India. Our unique approach relies on turbocharging the existing user needs and their trust in creators’ recommendations. A whopping 200 million logged in users searched for shopping content on YouTube last year,” she added.

Furthermore, Soni went on to say that India’s creative economy has matured into a vital macroeconomic pillar that drives national GDP while actively reshaping global pop culture in real time.

“Fueling domestic economic mobility – by investing and growing the creator economy and scaling global export power both matter equally to YouTube. India represents the blueprint for how a digital creator economy achieves institutional scale,” she said.

Soni emphasised, “YouTube has always been an indispensable, collaborative growth partner for our media and entertainment partners. The shift of audiences toward Connected TV and the deepening fandom on YouTube is a massive opportunity to expand the entire commercial pie and give premium entertainment content a highly profitable, multi-layered lifecycle.”

Furthermore, she highlighted that their approach to helping the Media & Entertainment ecosystem scale on the big screen is built around three operational levers: The 360-degree promotional flywheel, revenue diversification and expanding distribution, and format modernisation.

“YouTube owns the high-intent sports conversation 365 days a year, much before the match begins and long after the final whistle blows. YouTube is at the epicenter of sports and pop culture, and our unique value lies in being the absolute “infinite stadium” for fandom. We achieve this by connecting deep, creator-led storytelling with official global partnerships to capture every layer of fan passion. This continuous curiosity loop has driven a massive surge in views on creator-led cricket content on YouTube exploding to 190 billion last year,” she stated.

As per the platform, YouTube is now the primary destination for product research in India, with over 200 million logged-in users actively searching for shopping content on the platform.

As much as 85% of surveyed viewers in India explicitly trust the product opinions of YouTube creators over legacy advertising, and 88% say the platform is important for product research and final decision-making.

According to YouTube, furthermore, 96% of shoppers are likely to use a product again if YouTube was part of their initial purchase journey, largely driven by creators solving hyper-local problems.  Shopping-related watch time exploded by over 250% Year-over-Year, while the total share of YouTube Shorts featuring shopping tags grew 6X.

Also, currently, over 40% of eligible Indian creators are enrolled in the YouTube Shopping Affiliate Program.

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Every marketer talks about building awareness, few have to build it without talking about the product. India's alcobev industry has spent decades navigating that paradox. Direct product advertising isn't permitted, making surrogate advertising only one part of the marketing equation. The bigger challenge has always been earning something no media budget can buy: consumers who become advocates for the brand. For Debasree Dasgupta, Chief Marketing Officer, Pernod Ricard India, that's the category's biggest truth. “Consumers will always be your biggest advertisers,” she said. It's a philosophy born out of necessity. But it has also shaped how alcobev brands think about marketing itself. “The principles of marketing are the same whether it's personal care, beauty or alcobev. What changes is the complexity.” That complexity, according to Dasgupta, isn't just about navigating regulations. It's about understanding consumers, managing a diverse portfolio, and ensuring brands continue to grow despite having fewer traditional marketing levers than almost any other consumer category. India remains one of the world's most tightly regulated alcohol markets, where brands have to navigate different state regulations, on-trade and off-trade ecosystems, and restrictions on advertising products directly. For marketers, that has meant learning an entirely different language of brand building. Marketing hasn't changed, The rulebook has Dasgupta's own career has prepared her for exactly that. Rather than following a straight path, she has moved across FMCG, health and hygiene, beverages and now alcobev, picking up different lessons along the way. “I think the beauty is that I didn't have a linear career path, and I think it was very deliberate and intentional.” Each company, she said, has added a different layer to her understanding of marketing. “Unilever taught me to be extremely consumer-centric and always keep the consumer at the heart. Reckitt taught me commercial discipline, that marketing needs to lead to commercial and business growth. PepsiCo was about how brands stay relevant in culture.” Bringing those experiences together at Pernod Ricard has reinforced one belief. “The principles of marketing remain the same.” The environment, however, certainly doesn't. While referring to India as one of the markets where alcohol advertising is prohibited, she said, “The regulatory landscape is quite complex. That's the piece that one needs to wrap their minds around as you navigate and ensure that you're able to drive business growth.” That complexity extends well beyond regulation. “At a portfolio level, it's important for us to understand what is delivering the present and what will deliver tomorrow,” she said. “Where is growth coming from today, and where will growth come from in the future?” When consumers become the media channel Perhaps the biggest difference between alcobev and traditional consumer goods lies in how brands create awareness. Unlike an FMCG company, Pernod Ricard cannot advertise its alcohol products directly. “So the disadvantage that we have versus CPG is we cannot advertise products,” Dasgupta said. “We are in compliance with the guidelines that exist today.” Instead, the company builds visibility through compliant brand extensions such as packaged drinking water, while investing in passion points like cricket, music and digital platforms. “For us, the brand extension is a compliant business in itself and we can advertise that. We continue to double down on social, digital and influencer marketing for those businesses.” Furthermore, Dasgupta went on to say, “What we rely on is on-premise advocacy. We rely on sampling. We ensure that our liquids are extremely high quality so that when the moment of truth happens, consumers really love the product.” That has also meant new launches take longer to build. “Awareness build-up is much slower because consumers discover the product at the point of sale. That's very different from an FMCG brand.” Which naturally raises another question: if brands can't advertise products, who does the selling? “The consumers will always be your biggest advertisers,” Dasgupta said. “If you walk into an outlet and see someone drinking, it gives you confidence in the brand.” Word of mouth, she believes, becomes one of the category's most powerful marketing channels. “In a category where you can't advertise the product, consumers become your champions.” That consumer-first philosophy also shapes how global brands are adapted for India. For marketers outside the alcobev industry, the constraints may seem daunting. For Dasgupta, they've simply reinforced a timeless lesson. When the product can't do the talking, the brand, and ultimately the consumer, has to.

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