Representing reality: The risks and rewards of nostalgia
The rose-tinted glow of nostalgia can feel like an escape from algorithms, AI and looming uncertainty, but raiding the past for culture without purpose isn’t the answer. Keith Muir, Senior Strategist at Born Social, explains how brands can strike the right balance by connecting their heritage to shared cultural memory and crafting it into something new.
For a generation raised online, the future is starting to look a lot like the past. VHS filters, Y2K aesthetics, retro football kits, and lo-fi camcorder cuts are cropping up everywhere, from TikTok trends to luxury catwalks.
At first glance, it looks like the trend cycle is looping back on itself. But look closer and it’s clear: this isn’t just style. It’s strategy.
Nostalgia’s just a comfort blanket, it adds to the noise and shelters us from what we should be paying attention to.
Nostalgia is fast becoming one of the defining creative tools for 2025, with brands leaning heavily on its emotional resonance. We’ve seen it before: in moments of uncertainty and dissatisfaction, people reach for things that ground them.
Fatigue from digital noise and endless trend cycles has left space for familiarity to thrive. Along with AI-generation stopping perfection from feeling exceptional, the analogue, the imperfect, and the emotionally familiar are punching harder than ever.
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View on- Agency Wieden + Kennedy/New York
- Production Company ProdCo
- Director Nick Roney
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Credits
View on- Agency Wieden + Kennedy/New York
- Production Company ProdCo
- Director Nick Roney
- Editing Church Edit
- VFX Black Kite Studios
- Executive VFX Producer Tamara Mennell
- VFX Executive Creative Director Adam Crocker
- Head of CG Dan Moore
- CG Supervisor Ian Baxter
- Animation Black Kite Studios
- Color Black Kite Studios
- Colorist Tom Mangham
- Sound Sonic Union
- Chief Creative Officer Brandon Henderson
- Chief Creative Officer Marques Gartrell
- Executive Creative Director Eric Helin
- Art Director Jennie Ellsworth
- Copywriter Nell Stevens
- Producer Cristina Flores Serrano
- Executive Producer Michael Garza
- Producer Tomas Smrcek
- DP Filip Marek
- VO Brian Cox
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Credits
powered by- Agency Wieden + Kennedy/New York
- Production Company ProdCo
- Director Nick Roney
- Editing Church Edit
- VFX Black Kite Studios
- Executive VFX Producer Tamara Mennell
- VFX Executive Creative Director Adam Crocker
- Head of CG Dan Moore
- CG Supervisor Ian Baxter
- Animation Black Kite Studios
- Color Black Kite Studios
- Colorist Tom Mangham
- Sound Sonic Union
- Chief Creative Officer Brandon Henderson
- Chief Creative Officer Marques Gartrell
- Executive Creative Director Eric Helin
- Art Director Jennie Ellsworth
- Copywriter Nell Stevens
- Producer Cristina Flores Serrano
- Executive Producer Michael Garza
- Producer Tomas Smrcek
- DP Filip Marek
- VO Brian Cox
Above: McDonald’s revival of McDonaldland has been praised for its energy before it's even launched, modernising a world it already owns.
With global conflict no more than a few scrolls away, it’s not hard to see why nostalgia has taken off. In the early 2000s, the internet felt wilder; more mess, less algorithm. That kind of freedom is easy to romanticise, especially with laws like the UK’s Online Safety Act tightening its grip on digital censorship. The rose-tinted veneer of simpler times feels like a safe escape from the trials and tribulations of reality. But nostalgia’s just a comfort blanket, it adds to the noise and shelters us from what we should be paying attention to.
Once significant and purposeful subcultures are pillaged, stripped back to their shell with their edges smoothed off, losing the intent that made them matter in the first place.
Effective nostalgia is more than a trip down memory lane. It can be a creative playground for brands to root their identity in something meaningful or progressive. Martine Rose finds inspiration in the 80s UK rave scene, crafting a brand which functions as a revival of underground liberation. Analogue reimagine gaming consoles of the past with modern online functionality, breathing new life into the classics. These are more than throwbacks; they are launchpads into new worlds and experiences, carefully curated to align with brand strategy.
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View on- Agency Frosty/Vancouver
- Production Company SMUGGLER
- Director rubberband.
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View on- Agency Frosty/Vancouver
- Production Company SMUGGLER
- Director rubberband.
- Executive Producer Sue Yeon Ahn
- Producer Luca Chapman
- Production Designer Max Randall
- Edit House Church Edit
- Executive Post Producer LauRenn Reed
- Post Producer Kylie DeVries
- Color House The King of Birds
- VFX daydreamer vfx
- Creative Director Matt Fuller
- Executive Producer Cat Hammond
- Sound No.8
- Executive Producer Karen Noden
- Chief Creative Officer Daniel Lee
- Director of Production Rose Percy
- Creative Director Rachel Crowther
- Senior Art Director George Stone
- Art Director & Designer Florence Markworth
- Head of Production Cat Crawford
- Senior Creative/Art Director Alex O’Brien
- Art Director Georgia Rose Fairman
- DP Patrick Golan
- Editor Armen Harootun
- Assistant Editor Jacob Bottorff
- Assistant Editor. Logan Tarter
- Senior Post Producer Robbie Wilkinson
- Colorist Aubrey Woodiwiss
- Colour Producer Chloe Richardson
- VFX Producer Ella Whiting
- Sound Designer Rachel Scott
- Sound Designer. James Benn
- Sound Designer.. George Castle
- Talent Olivia Colman
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Credits
powered by- Agency Frosty/Vancouver
- Production Company SMUGGLER
- Director rubberband.
- Executive Producer Sue Yeon Ahn
- Producer Luca Chapman
- Production Designer Max Randall
- Edit House Church Edit
- Executive Post Producer LauRenn Reed
- Post Producer Kylie DeVries
- Color House The King of Birds
- VFX daydreamer vfx
- Creative Director Matt Fuller
- Executive Producer Cat Hammond
- Sound No.8
- Executive Producer Karen Noden
- Chief Creative Officer Daniel Lee
- Director of Production Rose Percy
- Creative Director Rachel Crowther
- Senior Art Director George Stone
- Art Director & Designer Florence Markworth
- Head of Production Cat Crawford
- Senior Creative/Art Director Alex O’Brien
- Art Director Georgia Rose Fairman
- DP Patrick Golan
- Editor Armen Harootun
- Assistant Editor Jacob Bottorff
- Assistant Editor. Logan Tarter
- Senior Post Producer Robbie Wilkinson
- Colorist Aubrey Woodiwiss
- Colour Producer Chloe Richardson
- VFX Producer Ella Whiting
- Sound Designer Rachel Scott
- Sound Designer. James Benn
- Sound Designer.. George Castle
- Talent Olivia Colman
Above: Burberry’s shift back to its British core feels earned as it’s lived across their visual identity, advertising, content, and partnerships.
But nostalgia can also backfire. By treating it as a costume – pulling a reference from the archives, slapping on a grainy filter and calling it a day, nothing constructive is produced. Once significant and purposeful subcultures are pillaged, stripped back to their shell with their edges smoothed off, losing the intent that made them matter in the first place.
Without adding any value to the culture nostalgia steals from, the homage swallows the original.
Kylie Jenner parroting Claudia Schiffer for Kylie Cosmetics, Heavn by Marc Jacobs rehashing the Thirteen poster - all pose with no point (Heavn’s questionable decision to cast adults as teenagers is a separate can of worms). Without adding any value to the culture nostalgia steals from, the homage swallows the original. No different to AI slop, nostalgia becomes a simulacra - a representation that functions as a quick dopamine hit for younger audiences who weren’t even around to experience the moment first-hand.
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View on- Agency Client Direct
- Production Company BLINKINK
- Director Lea Esmaili
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View on- Agency Client Direct
- Production Company BLINKINK
- Director Lea Esmaili
- Executive Producer Josef Byrne
- Head of Production Alex Halley
- Producer Alexander Handschuh
- Creative Josh Steele
- Producer Zoe Kindler-Harris
- Producer Jake River Parker
- Art Director Sehar Kidwai
- DP Ben Cotgrove
- Graphics Graeme Peacock
- Talent Leah Williamson
- Talent Bukayo Saka
- Talent Declan Rice
- Talent Martin Odegaard
- Talent Alessia Russo
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Credits
powered by- Agency Client Direct
- Production Company BLINKINK
- Director Lea Esmaili
- Executive Producer Josef Byrne
- Head of Production Alex Halley
- Producer Alexander Handschuh
- Creative Josh Steele
- Producer Zoe Kindler-Harris
- Producer Jake River Parker
- Art Director Sehar Kidwai
- DP Ben Cotgrove
- Graphics Graeme Peacock
- Talent Leah Williamson
- Talent Bukayo Saka
- Talent Declan Rice
- Talent Martin Odegaard
- Talent Alessia Russo
Above: Arsenal and adidas’ 25/26 third kit, which redesigns their ’08/’09 away kit, evokes a sense of nostalgia amplified by pride.
AI-driven nostalgia is even more dangerous, showing up as a playful tool and a loaded weapon all at once. Studio Ghibli and action figure filters allowed for a seemingly harmless means of escapism. All the while, The White House and ICE used those same filters to push anti-immigrant propaganda. It works because AI can tap into a shared emotional frequency – uncanny, but effective – which is exactly why brands need to tread carefully.
AI-driven nostalgia is even more dangerous, showing up as a playful tool and a loaded weapon all at once.
Brands getting it right link their heritage to a cultural memory and then push it somewhere new, not by jumping on whatever the most popular trend is. McDonald’s revival of McDonaldland has been praised for its energy before it's even launched, modernising a world it already owns. Burberry’s shift back to its British core feels earned as it’s lived across their visual identity, advertising, content, and partnerships.
Arsenal and adidas’ 25/26 third kit redesigns their ’08/’09 away kit, which itself was an ode to Highbury’s marble corridors - nostalgia amplified by local pride. Corteiz teaming with Boy Better Know for their 20th anniversary reignited memories of watching SBTV freestyles through my Blackberry on the back of the bus. This is nostalgia as a bridge, a committed link to the past that adds, not subtracts.
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powered by- Director BALAATV
Above: Corteiz teaming with Boy Better Know for their 20th anniversary reignited memories for Muir of watching SBTV freestyles through his Blackberry.
To avoid the pitfalls of nostalgia, here’s what brand creatives need to remember: Ask yourself, “why” – question what the point of nostalgia is for your brand, why this reference matters to your audience right now, and how it ties to your brand’s story.
- Anchor it in equity - Make sure you’re adding to your brand’s long-term value, not borrowing from the past for a quick hit.
- Build worlds, not one-offs - Treat nostalgia as an ecosystem people can spend time in and connect to, not a throwaway angle for a single campaign. Relevance is earnt by starting conversations more than joining them needlessly.
- Commit to the bit - Rather than putting a VHS filter on an edit and clicking ‘post’, could you shoot in analogue formats authentic to the period you’re replicating? It should be more than a treatment or an afterthought.
- Avoid appropriation - Let AI be a warning of the dangers that misrepresentation can carry, avoid nostalgic spaces where you don’t belong.
At its best, nostalgia can challenge our existing beliefs, drawing upon the past to critique the algorithmic bubble that surrounds us. Brands should use nostalgia as a tool to consciously explore the past, envisioning a more hopeful future through it.