A whole new world unexplored: Experts call for a fresh take on wedding ads

In 1856, in the narrow lanes of then North Calcutta, India witnessed its first-ever widow remarriage, a watershed moment in the history of social reform that challenged deeply entrenched patriarchal norms and sparked nationwide conversations about tradition and progress.

Nearly 150 years later, Tanishq rolled out an ad during the wedding season that echoed that same revolutionary spirit. Instead of the conventional route of a red sari-clad bride getting ready with her parents, walking down the aisle amid elaborate rituals, the ad film showed something different. A bride remarrying, her child present, and a soon-to-be stepfather, visibly excited to begin a new family together.

It was a fresh perspective on how marriage could be portrayed in Indian advertising. But as the wedding industry continues its meteoric rise, with an expectation to generate ₹6.5 lakh crore in business from 46 lakh weddings, a question remains: are wedding ads truly evolving to reflect the diversity of love stories being celebrated across the country?

The shift in wedding advertising has been gradual but noticeable. Manoj Jacob, Executive Creative Director at Crayons Advertising, says, “Wedding ads these days have grown up. In the 90s and even early 2000s, every ad looked like a scene from Hum Aapke Hain Koun. The ad industry then sold dreams that looked perfect but didn’t always feel true to life. Today, ads have started to include emotion, not just decoration.” 

The change reflects broader shifts in how Indians think about weddings. Take, for example, Bhima Jewellery’s 2021 ad that told the story of a trans woman’s journey from coming out to eventually getting her big fat traditional wedding, with her family present and without any judgment. This ad wasn’t just about a wedding; it told the story of a woman who had longed for this day, like many do, but under constant fear of getting rejected.

Jacob says, “[These ads] reminded us that a wedding is not a spectacle but a story, and I feel that's a good evolution. We've gone from 'perfect' to 'personal'. And that's progress."

While Indian advertising has moved beyond the ‘shy bride, polite groom, and gold as the hero’ trope, several stories remain underrepresented. Regional nuances, diverse traditions, and personal journeys present a significant untapped opportunity for wedding storytelling.

Arpan Bhattacharyya, Executive Director - Head of Creative, Copy (South), Lowe Lintas, says,“Most of the weddings shown in wedding ads are still traditional, North Indian Hindu weddings full of pomp and revelry. The stories have become slightly intimate for sure, but other than that, I’m not sure what has evolved.”

This gap stands in contrast to the rapidly expanding wedding market, where consumer aspirations and cultural expressions are becoming increasingly varied.

What does a modern wedding ad look like? 

Today, wedding advertising is expected to prioritise authenticity and inclusivity.

For Jacob, a ‘modern’ wedding ad isn’t about glossy production or cinematic grandeur. It’s about truth. “I hope we stop chasing hashtags and go back to listening to real stories,” he says. “Real weddings are not glossy; they’re messy. They are funny, emotional, and imperfect. Let’s show that.”

The Hyatt wedding film from 2022 tapped into this spirit by shifting the perspective from the bride and groom to the hotel staff. It spotlighted the often-unnoticed details that contribute to the magic of a wedding, from getting the chunni to flutter just right in the breeze to ensuring the perfect backdrop for photographs that will be cherished for years. The focus wasn’t on grand décor, but on the meticulous work happening behind the scenes.

Similarly, Cadbury Dairy Milk’s ‘Kissi Aur Ki Khushi Mein Shaamil Hokar Dekhiye’ campaign from last year showcased a small-town wedding through the perspective of an outsider, the groom’s boss, seen dancing enthusiastically at the baraat in his formal suit. By introducing a character from a different social context into a familiar celebration, the brand aimed to bring a fresh perspective to a genre that can often feel predictable.

Bhattacharyya notes that many ads continue to focus on the obvious — the beautiful bride, the well-dressed groom, and families looking their best. He argues that the category needs to push further, asking, “What could we be talking about? Feelings, thoughts, emotions, trepidations… there’s a whole world of unexplored subjects that wedding ads could be focusing on.”

This approach reflects a broader shift in modern wedding storytelling — one that moves away from perfection and towards personality. The emphasis is no longer on announcing progressiveness, but on reflecting reality.

Jacob echoes this view, “Modern means today. Let’s show weddings where the groom also cries, where people marry out of choice, not compulsion. A good ad doesn’t need to scream ‘progressive’. If it’s true, people will feel it.”

Vikram Dhembare, Sr. Creative Director, McCann Worldgroup, sees this as an opportunity for brands to tap into stories that have potential. He says, “Weddings have evolved into multi-layered experiences where tradition meets personal expression. This shift has opened an exciting space for brands to move closer to people’s emotions, not just as observers but as active participants in their stories.”

The stories that deserve a place 

Describing a narrative as modern may suggest progress, but many such stories are simply those that should have long been included in wedding advertising.

Arpan Bhattacharyya believes we’ve been looking at weddings through too narrow a lens. “Almost every wedding in a wedding ad is full of pomp and revelry,” he says. “Lots of people have humble, modest weddings. Lots of people get married in churches. Lots of people are not nervous before the wedding. Lots of people get married at the registrar’s office. I don’t think we see enough of these kinds of stories.”

Casio’s wedding film captured the pre-wedding hustle. Dance practices, outfit trials, and family errands, reflecting the messy, joyful reality that often gets cropped out of the main event. These examples signal a growing appetite for authenticity, and for stories that make people see their own families, not just film sets.

For Jacob, the next step isn’t just about storytelling variety; it’s about cultural responsibility. “We’ve told enough stories about rich people and their perfect weddings,” he says. “Let’s tell stories about love that survives EMI notices and power cuts. About older couples. About people with disabilities. Even non-wedding weddings where couples choose to skip rituals altogether and still be ‘married’.”

He adds, “Every wedding ad ever put out there is mostly packed to the gills with North Indian wedding tropes. I would like to see a joyous celebration of a North East Indian wedding or a tribal wedding. Show me a small-town teacher from the North East marry an upper-caste nurse he met at work. Show me an old couple renewing their vows because they finally have time for each other.”

Telling these stories would open up new audiences, and not just demographically, but emotionally. As Bhattacharyya notes, “They’d be speaking to everyone, to be honest. Especially the younger people who don’t always necessarily follow the customs and traditions and guidelines for weddings that the previous generation did. And of course, a larger India that goes beyond just the north and the south.”

Jacob puts it more poignantly, “To the India that’s quietly changing. Not the ones shouting on social media, but the ones living those changes every day. A tribal daughter who tells her parents she wants to help pay for the wedding. A son who learns how to tie a saree for his differently-abled fiancée. They’re not looking for slogans. They’re looking for reflection. They’re looking for honesty.”

This kind of inclusivity could have ripple effects beyond advertising. When ads start portraying inter-caste, inter-faith, or same-sex relationships without turning them into spectacles or tragedies, it could normalise conversations still whispered about in many parts of India. “I would really, really love to see inter-caste love stories told without trauma,” says Jacob. “Because for inequality to be erased, advertising too plays a part.”

Such narratives could catalyse the kind of cultural dialogue that rarely happens outside of activism or cinema, the kind that begins in metros but slowly filters into small towns, living rooms, and family WhatsApp groups. When brands show weddings that look, sound, and feel like the real India, with all its contradictions and warmth, they don’t just sell products; they start shaping perspectives.

What genuine inclusivity would unlock

The potential impact of truly inclusive wedding advertising extends beyond commercial success to cultural transformation.

Jacob articulates this vision, "I suppose it would unlock India's heart. Because India is not one kind of love. It's a thousand. When ads start showing all of them, they'll stop selling products, and they'll start celebrating people. And people remember celebrations. They forget sales pitches. Culturally, it would make us more open. Commercially, it would make brands more loved."

He concludes by emphasising that the core of any wedding remains unchanged; it is about two people, two families, and two worlds coming together. “If ads can do that, truthfully,” he says, “isn’t that enough?”

Bhattacharyya frames it as a matter of reach: "It would literally unlock a wider audience, wouldn't it? The India that doesn't have Bollywood-style weddings would be showcased, and I think that's a huge population."

Vikram Dhembare sees it as an opportunity for deeper engagement, "Weddings have evolved into multi-layered experiences where tradition meets personal expression. This shift has opened an exciting space for brands to move closer to people's emotions, not just as observers but as active participants in their stories. We now see more real and diverse narratives that reflect collaboration, comfort, and shared joy rather than the old idea of two sides coming together."

As India’s wedding industry continues to boom, the advertising that accompanies it stands at a crossroads. The category can continue to rely on the familiar Bollywood-style big-fat Indian wedding template, or it can embrace the full spectrum of love stories emerging across the country.

In a nation of over a billion people, with wedding traditions shaped by religion, region, caste, class, and orientation, true stories remain the most untapped resource in wedding advertising.