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Nothing is original. A rock painting hawking goods. Political messaging boards under Pompeii’s volcanic ash. An engraving for the Liu family needle shop from Song dynasty China, considered the world’s earliest identified printed advertising medium. A board with a drawing of a boot, indicating ‘cobbler’ in Medieval Europe.
Today these visual enticements have been replaced by a plethora of signs, sounds and scenes—social media pitches, Insta reels, political videos, radio jingles, glossy ads for shoes, cheerful potato chips ads, tastefully shot photographs purveying clothes, totes and sport shoes. Yet, vintage will always have cachet because it invokes a yearning for a lost age, and meanings that have migrated to other contexts.
Advertisements are more than just clever visuals or catchy taglines—they are frames of change that reflect the times. Car ads for the stately Ambassador and its nipper version, the Fiat/Premier Padmini feel cutely sentimental and honest now, compared to the macho man driving an SUV splattering mud with an adoring semi-clad female by his side, or an actor in a body suit downing an aerated soft drink and leaping off a cliff. From stately to silly is where we are.
The Raymond Suitings ad displayed owner Vijaypath Singhania posing in impeccable pinstripes while today filmstar brand ambassadors like Abhishek Bachchan hawk Ramraj Cotton and Lyra is Janhvi Kapoor’s sell. There were filmstar models in the ’60s and ’70s, too such as Nanda promoting Lux soap or Kishore Kumar pushing Brylcreem. Dilip Kumar’s face launched a thousand pickle bottles. Sportsmen are huge ad catchers now—Virat Kohli and MS Dhoni make crores as models, unlike the old days when models represented real people.
A mother feeding her boy Dalda-made delicacies may not be cholesterol correct, but made the cooking medium a household name for middle class families who could buy the affordable tins—gosh, who sells anything in tins now? Politically correct advertising entered the picture in the 2000s with health concerns and puritanical attitudes—TV channels shun condom advertisements because these are “indecent especially for children” and can create “unhealthy practices” among them.
Until then, Jackie Shroff smoked a cigarette in an ad with the tagline ‘Relax, have a Charminar’. Ads in India from the 1960s to the 2000s were totally aimed at the middle class. A young couple riding a moped in a Hero Majestic poster. Lalita bhabhi became an icon promoting Surf. Now TV ads are the big enchiladas, showing macho actors eating Pan Parag; voices sound better than lines. Shantesh S Row, Chief Creative Officer and Founder of Slant Agency, Dubai, observes, “A brand stands not just for what it offers a consumer, it also echoes the zeitgeist of the times it operates in.
A brand and its content depend on context.” Highlighting how Ambassador and Murphy Radio became cultural icons in post-Independence India, he continues, “Ambassador, for example, was a car that always delved into national pride. It was a symbol for ‘Made in India’, a mirror for a new India looking to have a vehicle that stood for new aspirations.” The economic mood before the xenophobic nationalism of the late 1960s was classy: a 1956 ad for Studebaker-Packard’s Commander car still looks sleek and exclusive—it was produced by the same Hindustan Motors which made the unwieldy Ambassador later.
Murphy Radio, with its ‘Murphy Baby’ mascot embraced its era’s reliance on radio as the mass medium of communication. “Murphy positioned itself as the heart of every household and almost became the ‘voice of India’,” Row says. Today chubby babies aren’t as cool as they used to be; an urban dad playing with his kids in golden hues of a real estate ad shows life has moved on.
The Indira Gandhi Socialist era’s mantra was ‘non-ostentatious’. Ad-films director and co-founder at Vanilla Films, Harshik S Suraiya, explains, “Back then campaigns leaned on storytelling that mirrored the lives of the middle class, often focusing on relatable struggles and modest ambitions.” He points out that Lifebuoy and Vicks framed their messaging around responsibility and care. The first Air India ads echo the stylish elitism of the times, when tycoons married glamorous air hostesses, then the epitome of sexiness in the sky.
Bobby Kuka’s Maharajah became India’s heritage statement to the world, a slightly comic figure with an exaggerated bow that projected the Air India brand as an endearing luxury experience. Royalty is a Gallic flowerseller, toasts semi-clad damsels; the tagline read: ‘There is an AIR to AIR INDIA.’ Air India has lost its exclusivity in today’s days of budget flying and airport snafus—no longer a ‘maharajah experience’. The change is that the world has opened up, and it is tough to compete with Singapore Airlines or Nippon Airways. Quality, not quantity is the brief.
Arpan Bhattacharya, Creative Director, BBDO, Gurugram, explains, “Ads started reflecting youthful exuberance and a thirst for more out of life, reflecting the aspirations of a society seeking more than just material possessions.” Campaigns began to resonate with a younger, ambitious audience, capturing the essence of changing India. Advertising became sexy. Bhattacharya adds that the Liril soap ad with the girl frolicking under a waterfall perfectly captured the spirit of freedom, individuality, and freshness that blossomed with India’s liberalisation.
The campaigns became bolder gender-wise; think the risqué ads for Kamasutra condom ads. Women had become more comfortable with sex and sexuality with men at an equal level. The modern Indian woman is more than the submissive sari-clad bahu in a cooking oil or noodles promo, though she does ride a bicycle in an Atlas advertisement, albeit in a sari. Women now feature prominently in motorbike commercial; they drive cars, and seductively write traffic tickets.
Bhattacharya notes, “Ariel’s ‘Share the Load’ campaign attempted to correct the imbalance in household responsibilities between genders. Brands like Ghadi, Rin, and Vim further contributed by portraying men taking on domestic tasks, promoting gender balance.” Another notable example that he pointed out is Cadbury’s refreshed ‘Good Luck Girls’ campaign, where a woman hits a six, empowering young girls to break stereotypes and chase their dreams.
This shift in advertising shows women as empowered, independent individuals. There was also some rebellion then: a Gluco ad shows a pretty doe-eyed damsel dipping her biscuit in a steel cup and saying, ‘I like eating my Gluco this way. So what?’ Ads of yore were not strictly black and white—a Taj ad has a young woman in a bikini enjoying a cuppa in the swimming pool. A zaftig siren shows cleavage in an ad for Linoleum.
The dark side is Indian ads have become political. Protests by Right wing groups against a jewellery ad showing an interfaith couple forced the company to drop it. According to Professor Rituparna Patgiri of IIT Guwahati, imagery shapes how consumers perceive roles and aspirations. On vintage campaigns, Executive Creative Director at CreativeLand Asia, Shyam Nair, observes,
“Today’s advertising carries a shade of irreverence, urgency, and shock, reflecting how we’ve become accustomed to consuming content in this fast-paced manner.” This shift has diluted the role of the brand in storytelling, he continues, “While we might recall a quirky celebrity cameo or an absurd setup, the brand behind it often fades from memory.” Tell it ad it is happening; only fantasy is the medium.
Atlas Cycles
Apki Sewa Mein (At Your Service)
Created in: 1970s
In an era when bicycles symbolised independence and simplicity, Atlas Cycles emerged as a pioneer in connecting families and lifestyles. One iconic advertisement depicted a woman confidently riding an Atlas cycle, her husband and children waving cheerfully in the background. The scene, heartwarming and relatable, was a subtle yet powerful narrative that celebrated the evolving roles of women in society. The unassuming tagline, ‘Atlas Cycle Apki Sewa Mein’ (At Your Service), reinforced the brand’s commitment to serving every member of society. The ad was a masterstroke in bridging tradition with modernity and marked a campaign that was way ahead of its time. It promoted the notion of empowerment through mobility. Such was the influence of these campaigns that Atlas became a name synonymous with bicycles in India.
Target audience: Working-class families and homemakers seeking independence and convenience.
Now: The company shut down its last manufacturing unit in Sahibabad on World Bicycle Day, June 3, 2020, due to the shift of the middle class to modern means of transportation, growing Chinese dominance in the cycle market, and a lack of global demand.
HMV
HMV Festival Range
Created in: 1961
HMV, synonymous with music in the early and mid-20th century, was more than a brand—it was a revolution in how Indians consumed and cherished music. It is remembered for laying the foundations of the Indian music industry. Its iconic advertisements, often rendered in black and white, featured the emblematic image of the dog, Nipper, listening to a gramophone with the caption ‘His Master’s Voice’. This logo alone became a cultural identifier, symbolising trust, quality, and timeless music.
One of its Indian ads shows the brand’s festival range of home audio equipment such as gramophones and radios, featuring the promising tagline, ‘The Finest in Home Entertainment’. It beautifully captured the transition phase from traditional musical gatherings to the modern, compact world of gramophones, bridging generations. The writing in these ads, poetic yet persuasive, celebrated music as an integral part of every household, making HMV a household name.
Target audience: Music lovers across all age groups.
Now: In 2000, the company was officially rebranded as Saregama India Limited, and that was the end of the road for the HMV brand in India. Saregama underwent rapid reinvention and went on to produce the popular CARVAAN range of portable music players.
Premier Padmini
A Beautiful Princess of Your Own
Created in: 1974
The Fiat 1100 Delight was rebranded as the Premier Padmini in India. The name was a tribute to Indian culture, uniquely blending Italian sophistication with local pride. It portrayed the Pad as ‘a beautiful princess of your own’, accompanied by the imagery of a regal Indian woman adorned in ethnic jewellery and a red bindi.
Target audience: Young urban professionals, middle-class families.
Now: Production of the Premier Padmini was discontinued in 2001.
Ambassador
The Family Car
Created in: 1963
The Ambassador car, lovingly referred to as the ‘King of Indian Roads’, symbolised India’s post-Independence aspirations. Hindustan Motors’ Ambassador advertisements were a delightful blend of simplicity and gravitas. Often in monochrome, they depicted the car as a sturdy, family-friendly vehicle that could brave the rough Indian terrain.
This black-and-white print ad from the 1960s shows a happy family, smiling wide, with the Ambassador in the forefront, evoking a sense of pride and reliability. The copy emphasised durability, luxury, comfort, mileage and safety. With the bold tagline, ‘The Big Size Family Car’, it was the quintessential family car—elegant inside and out, spacious enough to comfortably fit a family of six. A happy family was the signal, emphasising how the car seamlessly integrated into personal desire and familial harmony. The Ambassador remained for three decades India’s bestselling car and the preferred mode of transport for the influential and politicos in the country.
Target audience: Indian middle and upper class families, government officials, and educated professionals.
Now: Hindustan Motors stopped production of the Ambassador car in May 2014 primarily due to extremely low demand in the market since it was outdated and couldn’t compete with newer modern cars in the market.
Liril
The Liril Girl
Created in: 1974
It was the hottest ad yet, sensual and playful at the same time—a nod to the modern woman of the day. A product of Alyque Padamsee’s imagination, the girl splashing away with abandon in the waterfall, wearing a bikini captured the mood of the nation.
Target audience: A young, emerging India.
Now: The brand is still popular.
Usha sewing machines
Ideal Housewife
Created in: 1972
The Usha Sewing Machine, a household staple in the 1970s, was more than a utility—it was a symbol of empowerment for homemakers. This iconic ad read, ‘Yes, only you (mothers) can transform her into a capable, economical housewife... a precious asset to her home and family’. The powerful tagline, ‘Train her to be an ideal housewife, Buy her an Usha sewing machine’, reinforced the era’s expectations of women’s roles within the home. The ad’s messaging also highlighted the practicality and versatility of the machine, showcasing its ability to fashion everything from elegant teenager outfits to delicately embroidered curtains and upholstery. The copy struck a delicate balance between aspiration and functionality. With its sleek design and promises of effortless ‘trouble-free’ performance, the sewing machine became synonymous with reliability. It catered to the needs of a growing middle class eager to save time, effort, and money. While today’s lens might find the ad regressive, it aptly mirrored the societal norms of the era.
Target audience: Homemakers, mothers and young women preparing for married life, as well as families seeking a cost-effective way to manage household needs.
Now: Usha remains a trusted name in sewing machines in India, known for its durability, affordability, and user-friendly machines evolving to meet the needs of a modern audience.
Air India
The All-Jet Airline
Created in: 1962
In 1962, Air India became the world’s first airline to have an all jet fleet with the tagline ‘Air India- The All-Jet Airline’. With its iconic Maharajah mascot, the campaign’s tongue-in-cheek charm and humour, paired with bold and striking visuals and a witty copy, perfectly encapsulated Air India’s unique blend of luxury, comfort, and warmth.
Target audience: Affluent international and domestic travellers and business professionals.
Now: After privatisation in 2022, the airline is modernising its fleet and services while aiming to reclaim its legacy as a global leader.
Lux
The Beauty Soap of Film Stars
Created in: 1941
Lux’s first Indian campaign in 1941, adapted its global theme, ‘Beauty Secret of Film Stars’, for the local market. Bollywood actress Leela Chitnis endorsed the soap, symbolising glamour and aspiration. This campaign marked the beginning of a trend, with leading actresses across generations proudly featuring in Lux ads as a testament to their stardom.
Target audience: Upper and middle-class women aspiring to achieve star-like beauty.
Now: Still popular, with an updated line of products.
Horlicks
The Great Family Nourisher
Created in: 1962
Originally introduced in India as a dietary supplement during World War I for soldiers, Horlicks transitioned seamlessly into Indian homes, evolving into a staple health drink. The 1960s campaign highlighted its role in fortifying immunity and promoting vitality, addressing the nation’s growing focus on family health during a time of limited resources.
Target audience: Indian mothers and families, particularly those in urban and semi-urban areas.
Now: Owned by Hindustan Unilever, Horlicks has diversified product variations targeting children, women, mothers and the elderly.
Glucose-D
Gabbar Ki Asli Pasand
Created in: 1976
With a mix of a contemporary trope and rugged charm, the campaign cleverly utilised Gabbar’s larger-than-life persona to captivate young minds while assuring parents of the biscuit’s trustworthiness. The campaign was revolutionary, as it was uncommon to feature movie stars, especially villains, in advertisements. It struck a chord with children.
Target audience: Children and families.
Now: Glucose-D faced tough competition from Parle G and was replaced by Britannia’s new Tiger Glucose.
Dalda
Mothers Who Care Use Dalda
Created in: 1978
The ad showed a mother lovingly feeding her young child goodies made with Dalda. The brand used the tagline: ‘The purity of Dalda brings out the natural taste of your food’. Needless to say, cholesterol was not the Big Evil then!
Target audience: Indian homemakers.
Now: It is still available in India, though has fallen out of favour.
Murphy Radio
Murphy Diwali Ad
Created in: 1966
In the golden era of Indian advertising, when radios were a prized possession and a symbol of upward mobility, Murphy ads represented by a cute baby made the radio an endearing possession. In this vintage print ad from 1966, we see Sharmila Tagore, coyly urging people to buy a transistor model for Diwali, with the trademark Murphy baby beneath. The ad read, ‘Murphy sets the standard’, echoing the brand’s promise of quality and reliability.
Having entered India in 1948, Murphy soon became synonymous with the adorably chubby ‘Murphy Baby’, which remains one of Indian advertising’s most enduring images, representing an era when a simple radio had the power to bring families together. One of its most iconic ads featured this wide-eyed baby alongside the tagline ‘Murphy ghar ghar ki rounak’ (Murphy, the joy of every home), accompanied by a song sung by the legendary Mohammad Rafi, further embedding Murphy Radio as a household name.
Target audience: Middle-class Indian families, particularly family patriarchs who made purchasing decisions.
Now: While Murphy survives in India, it no longer sells radios.
Gold Spot
The Zing Thing
Created in: 1985
It was a vibrant ode to youthful exuberance and carefree fun. The ad became a symbol of the disco era, where ‘zing’ was synonymous with boldness and style—an identifier for the fashionable, fun-loving youth of the 80s. Featuring catchy jingles, colourful visuals, and a tagline that radiated energy, the ad featured a lively montage of young people revelling in dance, music, and adventure, sometimes skating, sometimes swimming. With a Western-influenced peppy aesthetic, the campaign captured the spirit of a generation carving out its identity through fun and spontaneity.
Target audience: Initially marketed to children, Gold Spot evolved to expand and capture the growing urban youth market.
Now: Was bought by the global giant Coca-Cola in 1993 and discontinued from the market in 2000 in order to make space for Coca-Cola’s Fanta.
Brylcreem
Keep Your Hair Glossier, Blacker
Created in: 1955
The advertisement featured Bollywood icon Kishore Kumar as an epitome of sophistication. With the taglines ‘Keep your hair glossier, blacker with cooling bright Brylcreem’ and ‘Brylcreem for successful men’, the ad seamlessly combined its promise of elegance with the allure of a beloved celebrity. The clever promise of ‘a little goes a long way’ that later evolved into the memorable tagline, ‘A Little Dab’ll Do Ya’, struck a chord with the savings-focused, socialist mindset of the generation. The sleek black-and-white visuals reflected the post-colonial era’s obsession with Western-style elegance. Brylcreem positioned itself as the go-to product for men aiming to make a suave impression.
Target audience: Urban men aspiring to sophistication and style.
Now: Still in the market, though no longer a dominant player having been overtaken by new styling gels and hair serums.
Binaca Toothpaste
Binaca Geetmala radio advertisement
Created in: 1953
Binaca, one of India’s most iconic toothpaste brands, launched its famous radio jingle in the 1950s, which became an integral part of Indian advertising history. This oral hygiene brand by Reckitt Benckiser, sponsored the popular Hindi music countdown show Binaca Geetmala on Radio Ceylon, hosted by the legendary Ameen Sayani. During an era when radio was the primary mass medium for entertainment, Binaca Geetmala became immensely popular among audiences. This strategic sponsorship allowed Binaca to align itself with the pulse of the nation. As people tuned in each week for the latest hit songs, they also became familiar with the toothpaste’s catchy jingles. The show, and by extension the brand, became a fixture in Indian households. In the 1970s, Binaca became among India’s favourite toothpaste. It marked a unique marketing strategy, blending entertainment with brand promotion.
Target audience: Indian families.
Now: The brand couldn’t survive competition. In 1996, Indian FMCG company Dabur bought the brand with the intention of reviving it and launched a toothpowder under the brand but withdrew within a year due to discouraging sales volumes
Rajdoot Motorcycle
Jaandaar Savari, Ek Shaandaar Savari
Created in: 1985
The advertisement featuring Bollywood legend Dharmendra, was an iconic campaign that positioned the motorcycle as a rugged and reliable companion for the quintessential Indian male. With Dharmendra’s towering persona as the ‘He-Man’ of Indian cinema, the ad highlighted Rajdoot’s strength, endurance, and masculine appeal. The visuals showed Dharmendra confidently manoeuvring the bike through varied terrain, emphasising the bike’s robust build and suitability for Indian terrible roads. This campaign came at a time when motorcycles were transitioning from purely utilitarian machines to aspirational possessions. Its enduring slogan ‘Jaandaar Savari, Ek Shaandaar Savari’ and Dharmendra’s association made the campaign iconic in the annals of Indian advertising history.
Target audience: Young men seeking a dependable motorcycle.
Now: Yamaha Motor India phased out the iconic Rajdoot motorcycle in 2005 due to non-compliance.
Dinesh Suiting
Take the World in Your Stride
Created in: 1985
The campaign featuring Sunil Gavaskar is shot in sepia, showing him in a sharp suit, hitting a baseball out of the park, knocking off an angry man’s ice-cream. With his trademark charm, he signs the bat and hands it over. The campaign merged cricketing excellence and sartorial elegance, promoting the quality and craftsmanship of the brand. The tagline, ‘Take the world in Your Stride’, encapsulated the promise of making every man feel like a champion, both on and off the field.
Target audience: Urban and semi-urban men aspiring for a polished, professional look
Now: Dinesh Mills shut down their suiting production in 2018 due to decreasing demand.