BBC RADIO 1B
An all women motoring show grew into a confident, curious and highly visible Indian automotive community, bringing cars, travel and the joy of driving into the same conversation.
Photograph: Supplied photographThere is a particular pleasure in watching somebody discover a car properly. A car has a sound, a shape and a story, and Car Girls India built its identity around the joy of finding those details. The result feels inviting.
Presented as an all women motoring show and digital collective, Car Girls India brings together cars, motorcycles, motorsport and travel. The public profile describes a group of women who can move from a supercar film to a project car, from a road trip to a racing experience, with the same sense of curiosity. The result is a moving window into automotive culture, with room for technical detail and the pleasure of the drive.
The most important thing about Car Girls India is the authority the women bring into the room. They appear on camera around cars, ask the questions, learn the machinery, make the jokes, try the drive and decide what deserves attention.
That change in point of view matters. A beginner can watch without feeling tested. An enthusiast can enjoy the detail. Someone who has never considered a track day can see a route into the experience. A car is still allowed to be beautiful and exciting, but the conversation is also practical, warm and open to people who may not arrive knowing every technical term.
That accessibility is part of the craft. Good motoring media does not flatten the subject or assume that every viewer wants the same thing. It gives a newcomer a way in, then rewards the enthusiast who stays for the details. Car Girls India has made that broad welcome feel natural, with presenters who are able to be excited, exact and occasionally mischievous in the same film.
It also reflects how people actually live with cars. The important moments are often between the headline events: choosing a road, learning a new control, finding a trustworthy workshop, deciding whether a modification is worth the money or taking a long way home simply because the road is good. Those details give automotive culture its warmth.
The show’s public description points to an unusually broad itinerary. It includes Goodwood, Monterey and SEMA, as well as Pagani and Ferrari track films, four wheel drives and project cars. That range gives the audience more than an endless parade of new car launches. It connects Indian viewers to the culture around the machines, including the people who build them, drive them and keep them alive.
The global ambition is balanced by a recognisable Indian sensibility. The hosts do not treat enthusiasm as something that has to be imported. They take international experiences and bring them back into a conversation that makes sense to Indian viewers, whether they are dreaming about a supercar, saving for a first performance car or simply enjoying a good drive with friends.
The original public launch coverage named Sheela Tiruchi, Meher Chahal, Aditi Shetty and Kritika Shetty as the women at the centre of the show. The channel has described itself at different points as a four woman and five woman format, which suggests that the on screen line-up has evolved. Car Girls India is a living production whose cast and energy can grow with the story.
Aditi Shetty has spoken about joining after producer Vivek Ganapathy approached her with the idea. She described the first shoot as a supercar film in which she drove while wearing a saree, a neat introduction to the show’s ability to combine style with genuine interest in the machine. Her own description of cars as freedom, independence and safety explains why the format reaches beyond the usual enthusiast audience.
Meher Chahal, Kritika Shetty and Sheela Tiruchi helped establish the feeling of a group of friends taking the subject seriously while keeping it enjoyable. Their presence made the programme feel social, easy and genuinely informative. Viewers could see different personalities responding to the same car, which is far more revealing than pretending there is one correct way to enjoy motoring.
The clearest public launch account credits Vivek Ganapathy with conceptualising, producing and filming Car Girls India. Public professional profiles identify Vidya Ganapathy with business head and production and client servicing responsibilities at Wasabi Productions and Car Girls India. Those are specific roles. The available public material does not set out a formal legal ownership structure, so it would be careless to turn a production credit into an unverified claim about legal ownership.
That distinction does not make the achievement any smaller. A show of this scale requires producing, filming, editing, travel planning, access to cars, relationships with manufacturers and the patience to repeat a shot until the driving and the story both feel right. The public record points to a team built around the Ganapathy production connection, with the on screen women giving that structure its personality.
Public creator profiles describe Car Girls India as a Bengaluru based automotive and travel presence with a large audience across Instagram and YouTube. Independent analytics pages listed roughly 797,000 Instagram followers and roughly 151,000 YouTube subscribers during the research period. Those figures move every day, but the scale is clear. This is no longer a niche experiment speaking only to a small circle of enthusiasts.
The more lasting measure is the kind of attention the show earns. A well made film about a Ferrari can sit beside a story about a modified Polo, a four wheel drive adventure or a motorcycle journey. The audience is invited to follow the people as much as the products. That is how a channel becomes a community. Viewers return to see what car is next and to spend time with a point of view they recognise.
The Cosmopolitan Blogger and Creator Awards recognised Car Girls India as Auto Influencer of the Year in 2025. The award was a useful acknowledgement of what the show has achieved. It has made automotive content feel more personal, more visual and more welcoming, while keeping the excitement that made people fall in love with cars in the first place.
There is encouragement in that. The next woman who wants to learn about engines, drive a fast car, try a rally school or start filming her own road stories can look at Car Girls India and see a precedent. She does not have to wait for permission to enter the conversation. She can bring her own questions and begin.
The achievement is cultural as much as numerical. Large audiences can change what brands commission, what events invite, what schools promote and what young viewers imagine themselves doing. A woman watching from Bengaluru, Mumbai, Delhi or a smaller town does not need to know the entire language of motoring on day one. She needs to feel that the door is open and that there is somebody on the other side who will explain the interesting bits.
The public sources reviewed for this feature identify Vivek Ganapathy with the show’s original concept, production and filming, and Vidya Ganapathy with business and client servicing work connected with Car Girls India and Wasabi Productions. The original on screen team included Sheela Tiruchi, Meher Chahal, Aditi Shetty and Kritika Shetty. The show presents itself publicly as a collective, while a formal legal owner is not identified in the sources available to us.
Car Girls India succeeds because it understands that the best automotive stories are rarely only about the car. They are about the expression on somebody’s face when the engine starts, the laugh after a missed gear, the nerves before a track session and the quiet satisfaction of learning something new. That is a very good way to bring people into motoring, and an even better way to keep them there.
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