The world’s oldest advertisement dates back to the 1st century AD. Discovered in the Greek ruins of Ephesus in Turkey, is a carved left foot on a marble slab accompanied by the drawing of a woman’s head wearing a crown and a coin-filled purse. It was the advertisement for a brothel on the left side of the town. Ads have always been a part of life. They have evolved with us, from stories and narratives woven in, to Insta ads where AI creates adverts a dime a dozen, literally. Earlier this year, travel vlogger Shafeek Hashim offered to turn his bald head into a billboard. Hashim’s terms were simple: `50,000 for three months, where the vlogger would display a hair transplant company’s advertisement—temporarily tattooed—on his head while recording YouTube content during the period. The 36-year-old from Karoor, in Alappuzha district in Kerala signed with La Densitae, a Kochi-based company for the advertisement. “I expect better offers in the future,” he claimed in a video on his YouTube channel ‘70mm vlogs’ with more than 28,000 subscribers. In the neighbouring Karnataka, a 10-minute food delivery service in Bengaluru hired three men to act as ‘walking advertisments’. And no, we aren’t talking about distributing promotional pamphlets. The men acted as human billboards. In Noida, Uttar Pradesh, builders and developers too hit on this idea with youngsters walking down the busy streets with lit LED advertisements strapped on to them. When the posts went viral with their pictures, some netizens called it “extremely dehumanising”, while others thought it was a creative way to attract consumers.
The ad world has shifted—from cinematic storytelling and trust-driven collaboration to fragmented media and celebrityfirst campaigns. While the old magic of advertising may seem like a thing of the distant past, industry leaders believe bold ideas and fresh thinking can still create stories that resonate deeply. Prahlad Kakar, the legendary ad filmmaker, says, “The brand trusted us to make decisions on the spot. That level of trust and collaboration was key to creating magic on set. Sadly, such autonomy is rare today,” he reflects. Kakar, who founded Genesis Film Productions in 1977, carved a niche in advertising with his irreverent humour and culturally resonant campaigns. With iconic ads like Pepsi’s “Yehi Hai Right Choice Baby” and Gold Spot’s “The Zing Thing” among his many successes, his influence extends beyond advertising today. He also established the Prahlad Kakar School of Branding and Entrepreneurship (PKSBE) in 2016 to mentor the next generation of creative talent.
Ramakrishna (Ramki) Desiraju, Founder and Creative Director of Cartwheel Creative Consultancy, and Kakar’s peer, recalls a high-stakes campaign in Cape Town. When unforeseen logistical issues forced a lastminute change in both location and storyline, the client’s reply was succinct and empowering: “You’re the man on the spot; take the call.” Ramki credits this trust for enabling some of the most memorable campaigns of that time. “Clients trusted agencies to understand the audience and make decisions independently,” he says. This trust gave birth to iconic campaigns, from Ramki’s star-studded Lux commercials to De Beers’ diamond narratives of love and aspiration. Sumira Roy sees this reflected in how campaigns themselves come together. “Traditional campaigns were born from teams working in close proximity, sparking off each other’s ideas,” says the former EVP of JWT and Ogilvy, now co-founder of PS Advertising. She pauses, considering the present reality. “Now? We’re always just one click away from a reference or an AI-generated concept. In this copy-paste world, with deadlines measured in hours rather than days, it’s easier to borrow than create.”
From Cinema to Social Media
The shift extends beyond just process to fundamental strategy. Shivendra (Shivy) Dungarpur, the award-winning filmmaker and archivist, who has directed and produced over a thousand advertising films under his production house, Dungarpur Films, says, “We were given the space to bring our vision to life, to push boundaries, and to tell stories that mattered to viewers.” Reflecting on what some might now look back at as the golden age of advertising, Dungarpur describes how the industry embraced cinematic storytelling. “Back then, we weren’t just selling products; we were crafting narratives. The product blended into the story. It wasn’t the protagonist of the story, but part of a larger world,” he says, pointing out that each campaign had its own soul.
Piyush Pandey, one of India’s most iconic advertising figures, encapsulates his approach succinctly: “Advertising should make you laugh, cry, think, and, most importantly, connect,” he once said. As Ogilvy India’s Executive Chairman since 2004 and Global Chief Creative Officer for over two years, Pandey has championed campaigns that exemplify the timeless power of storytelling. For instance, Pandey’s Asian Paints “Har ghar kuchh kehta hai” campaign poignantly illustrated how family memories transform a house into a home. For Kinetic Group’s mopeds, “Chal meri Luna” cleverly adapted the phrase “Chal mere ghode,” making the moped aspirational and relatable for the middle class. Fevicol’s “Dum laga ke haisha” used humour and local idioms in a tug-of-war between an elephant and men to highlight the brand’s strength. These culturally rooted campaigns bridged urban and rural divides with messages that resonated with all audiences.
“Humour works best because it disarms you and makes the message stick,” Pandey believes. Dungarpur knows this all too well. He recounts a memorable early experience when he worked on an ad for Vim, the dishwashing soap bar. “Ramki gave me 10 minutes to present my creative vision,” Dungarpur says, “The creative heads—whether it was Ramki, Sumira, or others—trusted the filmmaker’s vision. The product was part of the story, not the focus,” he notes. It was about crafting human stories that resonated with the audience. Sachin Jain, Regional CEO India, World Gold Council, says, “Advertising’s golden age of cinematic storytelling feels lost in today's digital deluge, fragmented by countless ads and often reliant on fleeting celebrity endorsements. However, this disruption also presents opportunities.” He believes technology enables personalised and deeply engaging experiences, moving beyond one-size-fits-all campaigns. “The challenge lies in moving beyond superficial trends and crafting bold narratives that leave a lasting impression in a saturated digital world,” he says.
In the case of Vim, Dungarpur’s approach produced a black-andwhite gem, brimming with humour and relatability. The story unfolds in the intimate setting of a newlywed couple’s bedroom, the bride is in her sari, the groom is in his kurta. They’re perched nervously on their bed, the groom’s hand inching closer to hers in a hesitant attempt to bridge the space between them. But every time the romance builds, the moment is shattered by the clanging of pots and pans—on the floor below, a halwai is scraping grime off utensils after a long day. Finally, the bride, exasperated, springs to her feet, storms to the window, grabs a bright yellow Vim bar conveniently sitting on the sill, and hurls it below. The result? Dishes gleam in an instant, and the halwai’s work ends with surprising efficiency.
But does the couple get their happy ending? The Lowe Lintas and Partners ad certainly ensures a delightful and humorous conclusion—at least for the viewer. Preserved among hundreds of 1990s and 2000s commercials on YouTube, it stands as a testament to the enduring appeal of story-driven campaigns. One user, @sanamdutta3703, writes: “18 years of this advertisement, so funny— my childhood memories.” Another, @shadaabkhan6618, shares: “Ye ad mujhe bohat pasand thi. School mein bhi hum yahi yaad kar ke hanste hote the tab” (I loved this ad. In school, we would remember it and laugh together). Several dedicated channels—some with hundreds of thousands of subscribers— celebrate such nostalgic gems, drawing viewers who still cherish the humour, relatability, and narrative flair that defined that era of Indian advertising. Yet, these archives also underscore how dramatically the landscape has changed.
“Now, the craft has taken a backseat to convenience,” Kakar adds, pointing to the rise of scripts that directors are asked to execute without the creative latitude to push boundaries. The result? Ads that feel uninspired and formulaic, with campaigns delivering instant but fleeting impact, prioritising visibility or sales. Vivek Srivastava, Founder, Integrated Brand Heuristics and Ex Managing Director of Innocean Worldwide India, says, “Advertising by nature was rhythmic, asymmetric and maverick all at the same time. Days were poured over getting the core of the strategic idea and the creative expression right. Brands and the agency teams especially the creative lot were passionately and emotionally vested in it. Every successful piece of advertising had a purpose.” He believes that today a clutch of new age brands are running a race of me-tooism; hence the mad rush for using celebrities. “The Algorithmic culture which is being bandied about has claimed its biggest casualty in the form of memorable storytelling.”
Five Seconds to Grab You
The challenge is stark: how can brands maintain storytelling’s emotional depth in a world dominated by reducing attention spans? Rahul daCunha, the creative force behind Amul’s iconic campaigns, sees hope in brands like Fevicol that prioritise humour and relatability. His work for Amul epitomises how advertising can still cut through the noise. Built on the “utterly butterly” legacy established by his father, Sylvester daCunha, the Amul Butter campaign, for example, is a cultural phenomenon. A recent Amul ad perfectly showcased the brand’s signature blend of topicality and wit. Featuring Donald Trump and Elon Musk, the ad riffed on Musk’s appointment by Trump to lead the newly created Department of Government Efficiency (DOGE). The caption, “Mujhe Muska Do Ge?” cleverly played on Musk’s name while weaving in Amul’s iconic buttery legacy. The ad’s sharp humour didn’t just spotlight its cultural reference points; it served as a commentary on the interplay of power, innovation, and influence. Widely shared on social media, it tapped into nostalgia for a time when advertisements were more than fleeting distractions—they were cultural milestones capable of sparking meaningful conversations.
Globally, brands like Nike have shown that long-form storytelling can coexist with fleeting attention spans. Its 90-second campaign, “Winning isn’t for Everyone,” celebrated grit and determination, featuring athletes like LeBron James and Serena Williams. Narrated by Willem Dafoe, the ad captivated viewers despite its length, proving that compelling stories still resonate in the digital age.
A New Wave
Besides, the spark of innovation isn’t entirely lost. “Some, like Tanmay Bhat, are doing a great job,” says Kakar, citing campaigns like Cred for their bold, unconventional storytelling. These outliers, he believes, prove that fresh energy and inventive thinking can still thrive in advertising. Roy shares a similarly nuanced view. “One can be nostalgic about the heyday of advertising, but the present is an exciting age,” she says, pointing out that the rise of social media and programmatic advertising has created opportunities to develop diverse themes tailored to specific platforms. Alok Dubey, Strategic Advisor, Ex CEO of US Polo Assn, says, “Undeniably modern advertising often feels fragmented and fleeting, but the core of great storytelling hasn’t vanished—it’s just evolving. The magic isn’t lost; it’s perhaps waiting to be rediscovered through brave ideas that prioritise creativity and authenticity over algos.”
Kailash Surendranath, founder of Kailash Picture Company, however, believes that this shift has come at a cost. “Social media demands instant engagement— ads need to grab attention in a single frame,” he explains. While targeted campaigns may be efficient, they often sacrifice the depth and richness of storytelling. Beginning his career at just 17 while still a student at St. Xavier’s College, Surendranath has directed over 5,000 commercials. Among his most celebrated works are the Britannia Glucose biscuits ad featuring Bollywood’s iconic villain Gabbar Singh and the era-defining Nirma washing powder campaign. He also produced the iconic national integration song Mile Sur Mera Tumhara in 1986 and directed its updated version in 2010. “Today, the priority has shifted to flooding screens with ads rather than crafting ones that endure,” Surendranath adds.
The Star Power Paradox
Adding to the complexity is the evolving role of celebrities in advertising. “Back then, Dimple (Kapadia) did one ad, Vinod Khanna did one ad,” says daCunha, adding, “Today, Amitabh Bachchan and Shah Rukh Khan endorse some 40-odd companies. Back then, Dimple was talking about her hair, and she has fabulous hair, so when she sold shampoo, you bought it. Now, humour and storytelling has been replaced by celebrity endorsements; Ranveer is in every commercial. And the only one laughing to the bank is him.”
Dungarpur points out that in the past, celebrity appearances in advertisements complemented the narrative, enhancing the story without overpowering it. Today, however, they often act as shortcuts for instant visibility. “The focus has shifted from storytelling to sheer star power,” he says. While this approach ensures quick attention, it risks reducing ads to fleeting moments, sacrificing the deeper, lasting connections that come from compelling storytelling. “The transition from a marketingdriven approach to a sales-focused mindset has significantly influenced creativity,” says daCunha, adding, “The visionary marketing leaders of the past placed their faith in advertising, championing iconic campaigns and jingles that built enduring brands. In contrast, a sales-oriented approach prioritises immediate results—it’s about getting things done quickly, often at the expense of brand building.” Ever the optimist, Sulina Menon, Founder, MediaPower, says, “I believe the magic of advertising isn’t lost—it’s just waiting to resurface. Fragmented media and algorithm-driven trends have reshaped the landscape but creativity remains the heartbeat of iconic campaigns. Cadbury’s gender-flipped remake of its 90s ad proves nostalgia can evolve with time. The brands that dare to innovate and tell meaningful stories are the ones consumers will remember.”
Stories Reclaiming the Spotlight
Modern advertising stands at an inflection point, torn between two competing forces: the insistent drumbeat of social media demanding instant engagement, and storytelling’s timeless power to forge emotional connections. This tension isn’t just reshaping how ads are made—it’s forcing the industry to question its fundamental purpose. “Selling a message in five seconds? That’s not how you build a brand,” argues daCunha, pushing back against the industry’s pivot to quick-hit content. He points to Fevicol’s enduring success: “They use humour, they suggest rather than show.” It’s a philosophy that has kept Fevicol relevant for decades, even as countless trend-chasing campaigns fade from memory. Perhaps this dichotomy—between quick hits and lasting impact—is itself outdated. Roy sees an opportunity to reimagine storytelling for the digital age. “Social media has made us all storytellers,” she observes. What’s changed isn’t the human appetite for narrative, but how we consume it. Today’s audiences, armed with reviews, tutorials, and endless options, look past traditional advertising claims. They respond instead to authentic narratives around sustainability, community impact, and shared values.
This evolution demands new creative approaches. Surendranath sees it in his son Angad’s work: “The way he thinks and shoots speaks directly to a new generation.” Where traditional ads built carefully to a punchline, today’s most effective campaigns understand the grammar of platforms like Instagram—quick cuts, visual shortcuts, and interactive elements that demand immediate engagement. “It’s a different kind of creativity,” Surendranath reflects, “but creativity nonetheless.”
Yet something vital may be getting lost in this rush to adapt. Anita Nayyar, independent consultant and senior marketing leader, says, “Once, ads were events. Characters became household names. Lines became part of everyday language. Brands didn’t just sell—they inspired, entertained, and moved people. The jingles stuck in our heads, the taglines we repeated like mantras, the campaigns that sparked conversations—where did they all go? We traded big ideas for busy content. We optimised for clicks instead of connection. We stopped building brands and started chasing algorithms. We’ve gone from cinematic storytelling to six-second forget-me-nots. But advertising doesn’t need to be loud to be heard. It needs to matter.”
Stories are what connect us—whether it’s a film, an ad, or life itself. When agencies prioritise algorithms over emotion, when clients demand virality over resonance, advertising risks becoming just another form of digital noise. The path forward, then, may not require a binary choice between speed and storytelling, but rather a new hybrid language that integrates both. The question, after all, isn’t whether advertising will evolve—it always does; it’s whether it can preserve its soul on its way to finding fresh ways to move hearts and minds.