Did Nostalgia Rule 2024's Creativity

This 2024 was undeniably a whirlwind year across every dimension – political upheavals, rapid technological advancements and shifting economic landscapes all left their mark. But did creativity thrive amongst all of the chaos? In a lot of ways, the year showcased resilience and innovation, with a few standout campaigns and projects that tapped into the zeitgeist. Brands and creators continued to embrace experimentation, blending nostalgia with new, boundary-pushing formats. There were a lot of positives, but a fair share of moments to be wary of too.   

You’d have to have spent a decent amount of time under a rock to have missed the rise of AI-generated content. Campaigns like Coca-Cola’s AI-driven ‘Masterpiece’ ad showed how generative tech can create some pretty impressive (but certainly not perfect) visual narratives while maintaining human emotional resonance. Meanwhile, independent projects leaned into deeply personal storytelling, reflecting a society grappling with change. From poignant narratives in streaming mini-series like ‘The Fall’ to bold advertising like IKEA’s climate-conscious campaign, 2024 proved that authenticity still resonates like nothing else. 

What truly made 2024 stand out, creatively, was its global, multilingual lens. Productions like ‘Shogun’, ‘Parasyte: The Grey’, ‘The Frog’ and the Korean breakout hit ‘Red Earth’ demonstrated that audiences are not just tolerant of subtitles – they actively embrace them. The influence of K-Pop and K-culture on western audiences continues to grow, and these successes will undoubtedly challenge creators to think globally.  

While creativity flourished in some corners, budgetary constraints and oversaturation in the AI and tech-driven ad space seriously dulled some campaigns. We saw a lot of painfully mediocre content, produced quickly and cheaply. Moving forward, 2025 should focus on balancing technological innovation with emotionally compelling, human-first narratives. While the tendency may be to lean into AI to create content, it’s vital that a balance is struck and that AI is used to improve productivity, not replace the heart of storytelling. Additionally, more creators need to collaborate across disciplines and cultures to push the boundaries of what’s possible. 

Was 2024 a ‘vintage’ year? No, probably not. But it was an important year, which potentially laid the groundwork for one. However, only time will tell. 

2024 was not just a year of immense political, technological, and economic shifts – it was a year that made it crystal clear that the creator revolution is unstoppable and here to stay, transforming everything we know about the industry and opening a brand-new frontier in creativity. From groundbreaking concepts to the mindset of co-creation, this year marked the rise of an enthusiastic rebellion, led and inspired by what was, until now, an underground resistance to the old, established order of advertising, marketing, and media. This value-driven creator generation is demanding more integrity and freedom, sparking a shift toward a future shaped by bold ideas and boundless collaboration. While the fragmentation of media and the rise of AI posed challenges, they also created unprecedented opportunities, catalysing a creative evolution fuelled by this new wave of talent.

At its heart, creativity is driven by big ideas, which propel us forward and shape the future. Historically, moments of uncertainty spark cultural revolutions, and 2024 signalled the beginning of a new creative renaissance. What makes this moment unique is not just the ideas themselves, but how they are shared, amplified, and co-created. Creators are essential in this landscape, blending creativity, technology, and human connection to craft work that resonates deeply. They are not just participants, but architects of creativity’s future.

Consider some of the most culturally-relevant work from this year. WhatsApp’s Cannes Grand Prix-winning campaign brilliantly used the story of a female soccer team fleeing oppression to highlight the app’s ability to connect people in times of crisis. 

Or another standout was CoorDown’s ‘Assume That I Can’ campaign, which challenged outdated societal perceptions about people with down syndrome by reframing the conversation around their abilities. 

It’s a powerful call to action for inclusion, sparking a global conversation about empowerment and representation. These culturally-relevant campaigns inspired connectivity.  

Another standout is the Heinz’s ‘Ketchup Fraud’ campaign, inviting consumers to co-create by instinctively choosing Heinz in blind tests, turning brand loyalty into a cultural moment. These campaigns weren’t just ads, they were human truths brought to life, made deeply relevant and amplified by emotional, cultural, and social relevance.

At Whalar Group, we’ve long believed that the future of creativity lies in co-creation. No meaningful work can exist in isolation. It is only through collaboration that we can create culturally-relevant, emotionally resonant, and deeply impactful ideas. This approach allows us to move beyond the era of ‘meaningless marketing’ and into a new chapter where brands regain the trust and emotional connection that has been eroded by years of hyper-programmatic tactics. From my perspective, 2024 is a year that marked the beginning of a profound shift. It reminded us that while the tools, formats, and technologies may change, the principles of great creativity remain the same. Big ideas, shared and amplified through co-creation, are timeless. As we look to 2025, it’s up to us to continue embracing the power of creators and push the boundaries of what’s possible, crafting work that is not only effective, but truly meaningful.

This year, the world felt increasingly complex and inhuman. The best work from our industry was exactly the opposite – simple and human.

My hands down favorite idea was the British Airways ‘Windows’ campaign from Uncommon. No words, just massive photographs of human faces gazing out of planes into the morning sun. They said everything you need to know.

Another idea that spoke to me was ‘Thanks for Coke-Creating’, from my agency, VML. A celebration of the beautifully imperfect hand-painted Coke ads that adorn small shops around the world. A glorious breaking of brand guidelines.

I loved Sirius XM’s ‘A Life In Sound’, also from Uncommon. It traced the arc of one person’s life through song. As a rabid music fan (and middle-aged person increasingly aware of the passing of time), it struck a real emotional chord. It also made me jealous. Simple, insightful ideas tend to do that.

‘Meet Marina Prieto’ for JCDecaux from David Madrid was effectively just a product demo for transit advertising, but one with a profoundly human twist. By seeing how out-of-home could deliver results for one (adorable) 100-year-old woman, brands could envision how it might work for them.

Lastly, and less earnestly, ‘Sweetheart’s Situationships’ work from Tombras married a product flaw to a human flaw and made the world smile.

Was it a banner year for creativity? I’m not sure. From my (admittedly very subjective) perspective, there was less strong work overall than in some recent years. But the ideas that were great – like those listed above – were truly great. They gave us all something to admire and feel proud of. Simple, human antidotes to a world feeling increasingly the opposite.

I wouldn’t call it a vintage year, but 2024 felt like a turning point. There have been pockets of great work and it feels like humour has started to make a comeback after years of giving wedgies in the wilderness. Cannes Lions adding a humour category may have helped. CeraVe’s month-long conspiracy theory that the product was developed by Michael Cera generated over 6 billion impressions, even before its Super Bowl spot. Funny, sticky satire.

Another piece of work that I loved was the Christian Louboutin show at Paris Fashion Week, ‘Paris Is Louboutining’, with artistic director David LaChapelle, choreographer Bianca Li, and the French Olympic artistic swimming team. A glamorous, surreal spectacle that delighted and amazed. When press shots from a fashion show feel like they should be hanging in an art gallery, you're getting something very right. 

Then, there's Jeremy Allen White’s Calvin Klein underwear campaign, which became the sultry moment of 2024. 

However, we all know the real hero of that campaign was the sofa and its next starring role on Facebook Marketplace. And Dove managed to keep up its record of work that resonates with ‘The Code - Self-Esteem Project’. The brand confronts AI’s bias whilst also demonstrating the positive influence that Dove’s ‘Real Beauty’ has had over the years.

 

What do I think we should take forward into 2025? More fun, more laughter, and more joy, please.

China and Korea have cemented themselves as thriving markets for brand investment, with jaw-dropping creativity. The precision and flair they bring to experiential design are truly inspiring. Two particular highlights from a visually impactful point of view were ‘Jelly Pop-Up’ in Shanghai, and the blend of elegance and whimsy at Diptyque’s ‘Summer Lights Pop-Up Party’, also in Shanghai.

Another big standout moment for me was Pinterest’s ‘Manifest Station’ at Coachella – truly a masterclass in targeting gen z’ values of self-expression, trend-consciousness and shareability.

But amid the constant buzz of big brand name activations, let’s not forget the quieter, independent projects that left a lasting impression. Creativity, after all, isn’t always about scale – it’s about resonance.

On a recent visit to the Norfolk coastal town of Sheringham, I stumbled upon Crumble Crib, a charming pop-up crumble bar occupying the site of last year’s crab shack. Serving steaming pots of crumble, perfect for a winter beach stroll, this small venture captured hearts and stomachs alike. Proof that you don’t need a global budget to make people smile – just thoughtful design, a pinch of creativity, and perhaps a little help from AI. 

For me, this demonstrates a strong counter trend: a need for greater authenticity. In an era dominated by AI-generated designs, there’s a growing call for more tactile, human-centered activations. The charming bijou Crumble Crib contrasts sharply with the festival playground of Pinterest’s ‘Manifest Station’, but both underscore the importance of creating memorable, meaningful experiences.

Take the Willy Wonka event in Glasgow: a masterclass in how to mismanage expectations, with half-baked interactive elements and zero charm. Not to be outdone, Detroit’s ‘Bridgerton Ball’ followed suit, throwing in an eyebrow-raising dance act for good measure. 

Keep your eyes peeled for the annual winter wonderland disappointments in the following months!  

As we move into 2025, the challenge is clear: how do we balance technology’s efficiency with the human need for connection? Whether it’s an intimate pop-up or a sprawling installation, the future of creativity lies in embracing authenticity, engagement and heart … or what we would call ‘experiential’.

There’s a lot to be glum about this year, so what I was hungry for from creativity in 2024 was a little light relief. Thank hell it was delivered. Work that took a more playful tone didn’t just catch my eye – it was a hit with the jurors too. Notably ‘If You're Into It’ by the V&A, ‘DoorDash the Ads’, and the Sydney Opera House extravaganza, ‘Play It Safe’. 

This trend could be seen through purpose-driven work too, like Elf’s brilliant campaign ‘So Many Dicks’ – so cheeky, so powerful, I’m so jealous. If my creative dept is anything to go by, we’ll be seeing a lot more of this fun and frivolity in 2025. I’ve lost count of the amount of scripts that have been sung to me in the last few months, and I haven’t cringed once. So, bring on the music, the glitter and the bigger budgets please.

What a strange year it was. In a way, it was a year where nearly every facet of society held its collective breath… waiting for… some huge omnipresent shoe to drop. 

During times of great trepidation, true creativity can, at times, be marginalised or even blunted by the beige voices of ‘maybe next year’. And this year was no exception. But, of course, there were the few and far between who embraced the weirdness and forged ahead with hopes and dreams of something great in a sea of meh. Like Apple’s masterful modern Hitchcockian sendup in ‘Flock’. And McDonald’s showing a deft understanding of far-flung subcultures by bringing ‘WcDonald’s’ to a non-anime reality. 

There was Tubi’s wonderful ‘Free for Everyone’, proving once again that it’s entirely possible to take a pedantic sentence within an endlessly drab creative brief and crystallise it into brilliance. And then there was Spotify’s unbelievable deep dive into media planners’ love for Excel in ‘Spreadbeats’. 

Heck, even Frito Lay made something old, new again with ‘Happy Groundhog Lay’s’. There was the continued excellence of the double-barreled Progressive work (‘Flo’ and ‘Dr. Rick’). Although both campaigns may be older than most, they are consistently funny. And as we all know, funny is hard. 

So, kudos to all those who slay that particular dragon. But what did all these diamonds in the rough have in common? It’s not the most creative of answers. But, an idea. A simple, well-executed notion that didn’t rely on trickery or hit you over the head with hat on a hat gimmickry. These brands refused to hold their breath. And at a time where many are losing sleep over a whole host of lurking unknowns, maybe it’s time to remind ourselves that what made something great long ago still holds true today. The delivery system of great ideas may change – they always do. But the rationale for why something is great never will. 

And I think ChatGPT might even back me up on that one.

Creativity in 2024 feels like it’s breaking free. After a few years of digital confinement and living in neatly-structured, disconnected corners of the internet, we’ve stepped out and reconnected. It’s been awesome hanging out with creatives again. I dig collaboration, listening to ridiculous stories, playing music, talking shit. That’s the fun of it, messy and raw, where the best creative stuff emerges. While 2024 may not have been a vintage year for creativity, the momentum is undeniably building. We’re inching closer to something new. Something exciting. Or, we could all be extinct in a year. I’m no fortune teller!

Looking at creativity historically – the Renaissance, the Enlightenment, ‘60s counterculture, punk – all are marked by the intersection of innovation and artistic expression. And at the heart of each movement: rebellion. Creativity thrives when it pushes back against boring convention. Big tech now controls so much of our lives, automating our thoughts and actions, but that’s where the opportunity lies – finding artistic expression through cracks in the system.

What excites me most is the return of flaws – the real, human kind. While AI obsesses over perfection, like trying to render fingers flawlessly. We know it’s the small, unexpected, and sometimes messy details that make something truly magical. When Mel Brooks got his star on the Hollywood Walk of Fame, he turned the moment into a timeless gag, wearing a fake sixth finger. That simple joke ensures his humor lives on. That’s the beauty of imperfection. It’s chaotic, unpredictable, and human.

Speaking of embracing flaws, one of my favorite campaigns this year was ‘Coors Lights Out’ by Rethink. So genius. The idea was baked right down into the product. I also loved the ‘Channel 4 Idents’ by 4creative. Beautiful, stunning craft.

Creativity is chaos, and we need more of it. Less polish, more improv! More risk. Experiences that only humans can conjure for other humans. Stories captured in the moment, shared with the world, leaving breadcrumbs for those doom-scrolling on the couch to remember what true connection felt like.

At first glance, 2024 might not be the kind of special occasion to be celebrated in 20 years' time. But, upon reflection, it’s clear that this year delivered standout moments and set the stage for exciting trends to come.

As someone working in a female-led agency, it would be remiss of me not to start by praising how female-led brands have taken centre-stage this year. Consider the SKIMS x Nicola Coughlan collaboration, Chamberlain Coffee’s Olympics cup campaign, or REFY’s chic kitchen table activation at the Selfridges Beauty Spot. 

One common theme across these campaigns is the paired back simplicity of their visual identity across the ads and activations. Logos are taking a back seat and clean, pretty aesthetics have resonated with consumers. Brands historically would try and fight for the limelight, but there’s almost a confidence this year in stripping it all back. 

Rhode Beauty, owned by the iconic Hailey Bieber, leveraged a minimalist yet emotionally-engaging marketing strategy. Her Coachella photobooth activation turned heads at the content-creator-fuelled festival, while its ‘Cinnamon Roll’ collection dropped right in time for the autumn season. These campaigns didn’t rely on sparkling gimmicks or overcomplication, but instead, focused on connecting with consumers in ways that felt authentic, mastering the art of staying relentlessly relevant, campaign after campaign.

As we look ahead to 2025, I hope to see more of this kind of authentic, consumer-first creativity.

Nostalgia also emerged as a major creative driver in 2024, becoming a cornerstone of countless campaigns. While nostalgia has been trending for years, it reached new heights this year. A great example of this was our recent work with Back Market in New York, where Seen Presents designed various experiences that leaned heavily on vintage, Y2K aesthetics. Whether driven by the brand’s affiliation with vintage tech or wider trends, nostalgia has given campaigns a distinct appeal and we’ve seen many other brands turning to the past to forge deeper connections in the present this year.

In conclusion, 2024 might not be a classic vintage red; it’s more of an orange wine – breaking the mould, not for everyone, but effortlessly cool. I’m looking forward to seeing what 2025 brings!

The creative industry in 2024 took cautious steps forward, breaking away from the ‘awards-bait’ work that has dominated in recent years. Instead, the focus has shifted toward crafting campaigns that resonate with everyday people – not just the jury panels. It’s been a year of mixed emotions: flashes of brilliance tempered by moments of hesitance, as the industry navigates the exciting potential of AI alongside the lingering uncertainties of political and economic turbulence.

 

Amid the challenges, 2024 still delivered moments that remind us why we’re passionate about this industry.

Take Wilkinson’s Razors by Pablo. It’s a perfect example of advertising at its best: clever, straightforward, and above all, funny. A campaign that slices through the noise without resorting to the ‘purpose laddering’ that has felt overplayed in recent years.

Then there’s McDonald’s by Leo Burnett, a testament to longevity, consistency, and cultural relevance. Their work continues to ground itself in universal truths while keeping the brand fresh, offering a masterclass in what long-term brand-building should look like. 

O2 by VCCP also deserves a spotlight. Their introduction of ‘Daisy’, an AI chatbot designed to mimic elderly victims and outsmart scammers, is an inspiring example of AI being used for good. In an age where technology often feels detached, O2 reminds us of its power to solve real-world problems and bring meaningful change.

Finally, let’s talk about Nike. There’s a sense that the brand is beginning to reclaim its spirit, hinting at a return to form. Nike has always been a bellwether for the industry; when it’s thriving, it raises the bar for everyone else. If 2024 is any indication, Nike’s resurgence could mark the beginning of something big.

These bright spots give me hope that 2025 will be the year advertising reconnects with its deeper purpose. After years of polarisation and fleeting trends, there’s a growing desire for work that feels honest, meaningful, and rooted in genuine human connection.

As we move forward, I believe the best campaigns will centre on what truly matters: family, friendship, joy, and shared experiences. In a world increasingly saturated with misinformation, there’s a powerful opportunity to lean into authenticity – real stories, diverse perspectives, and ideas that resonate on a human level.

2025 has the potential to be remembered as the year advertising stopped chasing the latest trends and rediscovered its purpose: to inspire, connect, and move people. Will it be a banner year? Maybe not. But I’m optimistic that we’ll see work that makes us laugh, cry, and think. And in a world that’s slowly learning to heal, soulful advertising can play a small yet meaningful role in building a better future.

I don't think I’m the only person who thought this was going to be a year where we fell at the feet of advertising-RoboCop and begged AI to spare us and our precious inefficient human cells.

But it wasn’t to be the case. 

Sure, AI continues to grow in stature and impact, having become (including for us at Modern Citizens) a tool that has become intrinsic to how we work, but its rise feels like it’s moved through the ‘We’re all totally using it, and its totally going to solve all those pesky budget and timings challenges’ and has settled somewhere in the region of  ‘it’s dead useful for a stack of stuff, but it still can’t do fingers’.

Remember that wicked CeraVe spoof that Michael Cera did? That was THIS year. Many of us have a pastiche on our reel somewhere, so it’s not the freshest idea on the block, but as far as pastiches go, this one’s right up there. Just for Michael Cera’s little beard.

The Loewe work created in-house by the brand is a fabulous film with incredible branding, amazing casting, and an unforgettable look that was scorched into our retinas.

The British Airways posters deserve a mention – it’s hard to convince clients to put stuff out in the world that doesn’t tick all the ‘but this is how ads look’ boxes, and whilst the ‘Windows’ campaign didn’t land for me (have you ever been on a BA flight?), the industry loved it.

That really clucking long KFC brand film was a beautifully crafted bucket of golden goodness, and is comfortably on a par with Mr. Gavras’ ‘Oh My Gosh’ video. So, lots of really nice executions, but nothing I’d define as ‘modern’ ideas. (a modern idea being a creative one that can scale, flex and react quickly). Modern ideas come from agencies that are creatively ambitious, and humble enough to be able to bang stuff out when the need arises.

This year, there was one campaign that deserves to be held up and truly celebrated, and that’s from EE. Clearly, that’s a client team that’s really making waves with the crew over on Chancery Lane. That’s a brand that’s shown up with brilliant broadcast films, a gorgeous design system, gorgeous candid out-of-home – all being held together with some truly sophisticated branding.

Our industry continues to be full of amazing talent, wanting to create that big bold and exciting work, but we need more partners that can realise the value in them there hills. There are certainly a lot of great clients out there in the world, but there are precious few who are empowered to take a big swing and try something truly new, something truly distinctive, and something that will truly move people. Here’s hoping that 2025 gives the people with ambitions for their brand the conditions to really land the big, bold ‘modern’ ideas the world reacts brilliantly to nowadays.

This year will be remembered as the year the ad industry went back to school.

AI happened and the game changed. Back in the noughties, I remember sitting around with some colleagues at Grey London, working on a pitch for a big campaign. We’d been at it for hours. There was an idea in my head that involved a giant toothbrush and a great white shark. There, the idea was clear as crystal, but committing it to paper meant that my idea would live or die by my skill with an N50 marker. I remember saying to my copywriter, Russell, ‘Wouldn’t it be great if we had thinking hats that could take the ideas out of our heads and bring them to life, exactly as we imagine them?’. 

We agreed it would be amazing. But was wishful thinking and the stuff of science fiction stories. As creatives, we’ve always been at the mercy of our tools. 

 

Fast forward to 2024, and those thinking hats? They’re real, sort of. They’re called AI.

 

When AI started flexing its muscles in advertising, it scared the horses a bit. Creatives everywhere started muttering under their breath, worried they were about to be replaced by machines. But AI didn’t take creativity away from us. It gave us a whole new way to bring our ideas to life. AI has fast become the ultimate ‘thinking hat’. We still come up with the ideas, but instead of being limited by our ability to draw, write, or explain the ideas in the back of our heads, AI brings them to life.

 

AI has democratised the creative process. You don’t need to be a Photoshop wizard or a filmmaking genius to create something extraordinary. If you’ve got the idea, the AI ‘thinking hat’ can quickly bring it life. It takes the rough sketches, the half-formed ideas, and the crazy concepts in your head and turns them into something tangible. It doesn’t care if you’re not the best artist or if your scriptwriting skills are a bit rusty. It bridges the gap between imagination and execution.

 

For those of you still fearful of ‘the machine’, I think there is one main reason for celebration. AI doesn’t have imagination. It can only work with what you give it. That’s why the role of the creative thinker has never been more valuable. The future of the ‘ad game’ is about partnership between human ideas and AI, helping ensure that all those concepts, however crazy, have a fighting chance to see the light of day. AI doesn’t create for us; it creates with us. AI can generate 100 images in the time it takes you to finish your grande macchiato. But the ideas begin and end with us. We’ve always been in the business of adapting. If not, we’d still be setting headlines with Letraset. Change is good. From the printing press, to Photoshop, to TikTok, creatives have always embraced new tools and found ways to use them in surprising, brilliant ways. AI is no different. It’s just another tool waiting for human brilliance and creativity to make the most of it.

 

In 2024, we went back to school – not to learn how to beat AI, but to learn how to use it. It taught us to think bigger, move faster, and create with fewer limits. So, if you’re worried about AI stealing your job, stop.

Looking back at the work produced this year, I see a mix of classic and new. Take Budweiser’s Super Bowl commercial, for example. It wasn’t necessarily vintage, but reuniting the iconic Clydesdales and the Yellow Lab felt like a warm nod to tradition amidst a landscape dominated by AI and tech innovations. I’ve always loved that spot, and seeing it return was a breath of fresh air in such a high-tech moment.

Speaking of technology, 2024 saw the integration of artificial intelligence and creativity in advertising reach new heights. Coca-Cola’s ‘Create Real Magic’ AI campaign, while not without controversy, demonstrated how brands are reimagining the future by drawing inspiration from the past. I liked the ad – and the experimentation it represented. Did we need AI to power Coke’s holiday film? Maybe not, but we do need brands to keep pushing creative boundaries.

In a year with so many weight loss commercials (some with loud jingles) and relentless political campaigns, I turned to the humor of some brands, such as Pop-Tarts’ first edible mascot. Even for something as timeless as a Pop-Tart, this bold move felt fresh and inventive – another example of brands daring to try something new.

Vintage or not, 2024 was a great year. I’m inspired by the creativity and can’t wait to see – and be part of – what’s ahead in 2025.