A global history of LGBTQIA+ representation in advertising

The journey from whispered codes in underground bars to corporate boardrooms draped in rainbow flags tells one of modern marketing's most complex stories. Pride campaigns have evolved from necessity-driven survival tactics to multimillion-pound marketing strategies, yet their impact remains as contentious as it is colourful. In this article, we take a look at the global and local evolution of pride campaigns, which have helped and contributed to not only starting conversations but also pushing change.

When love spoke in code

Before Stonewall changed everything in 1969, LGBTQIA+ marketing existed in the shadows. Businesses serving gay clientele operated with the discretion of speakeasies, relying on what scholars call a 'secret, shared language' that allowed recognition without revelation. The term "friend of Dorothy" emerged as coded inquiry about sexual orientation, drawing on the queer subtext in the Wizard of the Oz series and Judy Garland's status as a gay icon.

This wasn't marketing as we know it today. It was survival communication in a hostile world where homosexuality remained criminalised across much of the globe. Yet even then, homoerotic imagery found its way into early 20th-century advertising, though never explicitly targeting a 'queer audience.'

The transformation from coded whispers to bold declarations didn't happen overnight. It required revolution. A bloody, long revolution.

The Stonewall catalyst: When silence became defiance

The Stonewall Riots of June 1969 shattered the homophile movement's quiet acceptance model, replacing it with radical visibility. Slogans like 'Gay Power,' 'Gay is Good,' and 'Gay Pride' signalled a new era of assertiveness that would fundamentally alter how brands approached LGBTQIA+ consumers.

The first glimpse of this community's economic power came through protest, not purchase. The 1973 boycott of Coors Brewing Company saw the LGBTQIA+ community join labour unions in protesting discriminatory hiring practices, including polygraph tests that inquired about sexual orientation. Coors initially ignored the boycott but eventually capitulated, extending domestic partnership benefits to LGBTQIA+ employees by 1995.

This demonstration of collective economic influence laid the groundwork for what was to come.

Absolut courage: The first to take the leap

In 1981, Absolut Vodka made marketing history by becoming the first mainstream brand to commit to full-page advertisements in gay publications like The Advocate and After Dark. This wasn't simply progressive politics, it was business bravery in an era when most brands feared alienating their mainstream audience.

Initially, Absolut used the same advertisements in gay and straight publications,  but the approach to media spending was significant. The positive response fostered long-term brand loyalty that continues today. Over 40 years later, Absolut's 'Absolut Ally' and 'Out & Open' initiatives continue this legacy, with the latter donating to organisations preserving  LGBTQIA+ bars.

The early risk the brand took, when few marketing studies on the community existed, proved that authentic engagement pays dividends far beyond immediate sales.

Art, AIDS, and activism: The 1980s crucible

The 1980s brought both opportunity and tragedy. The devastating AIDS crisis increased awareness of the gay community, albeit often in negative and stigmatising ways. Some brands, however, chose engagement over avoidance.

In 1986, Absolut commissioned artwork from Keith Haring, a gay artist and prominent AIDS advocate. To the general public, it appeared as support for underground art; to the gay audience, it was meaningful allyship.

Benetton's 'United Colors of Benetton' campaign pushed boundaries further, featuring Olympic rings recreated with condoms and a poignant image of activist David Kirby dying of AIDS, surrounded by family.

These campaigns were controversial precisely because they brought critical issues to the forefront.

The rise of pink money: When businesses discovered LGBTQIA+ wealth

By the 1990s, diminishing workplace discrimination in some sectors gave many LGBTQIA+ professionals, particularly DINK (dual‑income, no‑children) gay couples, greater disposable income, creating a lucrative pool of 'pink money' that brands were eager to court. Sensing this untapped potential, businesses began weaving LGBTQIA+ rights and symbolism into profit‑driven campaigns, a practice labelled 'rainbow capitalism'; what started in gay bars and bathhouses soon spread across mainstream industries, shaping inclusive‑looking marketing by the early 21st century.

Subaru's early 1990s campaign exemplified intelligent niche targeting. Noticing its cars' popularity among lesbians.

The brand cultivated this connection with coded messages like 'Get Out and Stay Out' and licence plates reading 'XENA LVR.' Crucially, Subaru backed advertising with investment in LGBTQIA+ causes and support for its own LGBTQIA+ employees, understanding that authentic allyship required more than occasional shout-outs.

However, such support has not always been without consequence for brands. IKEA's 1994 advertisement featuring a gay couple elicited extreme reactions, including boycotts and bomb threats, highlighting the risks brands faced even in the mid-1990s. The Swedish furniture giant's willingness to weather this storm highlighted that some companies were prepared to sacrifice short-term comfort for long-term values alignment.

The brand's commitment persisted. Recent campaigns like the US #ProgressIsMade (2021) linked products to inclusive narratives while donating proceeds to organisations like GLSEN. This evolution from reactive courage to proactive advocacy marks a significant shift in corporate LGBTQIA+ engagement.

Nike's annual 'Be True' collection, launched in 2012, celebrates LGBTQIA+ authenticity through vibrant apparel and footwear, often designed by community members. Its 2023 'No Pride No Sport' campaign made an even bolder statement, asserting that 'LGBTQIA+ Athletes have been here since the dawn of sport' without tying the message to specific products.

India's journey: From colonial criminalisation to corporate celebration

India's Pride marketing evolution tells a distinctly different story, compressed yet dynamic, shaped by the nation's complex relationship with sexual diversity.

Ancient Indian texts depicted a fluid understanding of gender and sexuality. The Rigveda contains Vikriti Evam Prakriti, suggesting that what seems unnatural can also be natural. Temple art at Khajuraho provides evidence of diverse sexual expressions, while the Kama Sutra mentions Swarinis (lesbians) who sometimes married and raised children together.

This landscape shifted dramatically with British colonial rule and Section 377 of the Indian Penal Code in 1861, criminalising "carnal intercourse against the order of nature." This Victorian-era law cast a long shadow over LGBTQIA+ lives, persisting even after independence in 1947.

Prior to 2018, queer representation in mainstream Indian cinema was scarce and often problematic, confined to stereotypes or comedic relief. Films frequently included transgender individuals and effeminate gay men as plot devices for crude humour, reinforcing societal prejudices.

However, exceptions existed. Deepa Mehta's Fire (1996), though controversial and facing significant backlash, was a landmark in its portrayal of a lesbian relationship. Onir's My Brother Nikhil (2005) approached LGBTQIA+ themes with sensitivity, as did later films like Margarita with a Straw (2014) and Aligarh (2015).

In advertising, change came slowly. An early attempt by Fastrack in 2013 featured two young women emerging from a closet, but the message remained ambiguous. The breakthrough came in 2015.

Myntra's 'The Visit' campaign for its Anouk ethnic wear brand became widely considered India's first advertisement to clearly depict a lesbian couple. The viral campaign focused on relatable anxiety, one partner preparing to introduce another to her parents, normalising the relationship within a familiar Indian social context.

The Supreme Court’s reading down of Section 377 on September 6, 2018, became a turning point, legitimising Pride marketing and giving both brands and the LGBTQIA+ community the confidence to engage more openly. Post-2018, inclusion efforts accelerated, driven by both social responsibility and the estimated US$168 billion purchasing power of India’s LGBTQIA+ community.

Brooke Bond Red Label's '6-Pack Band' created India's first transgender band before full decriminalisation. Partnering with Y-Films and featuring celebrities like Sonu Nigam and Hrithik Roshan, the initiative aligned with the brand's Swad Apnepan Ka (Taste of Togetherness) philosophy.

The band's song Sab Rab De Bande (We are all God's people) promoted equality while winning the Glass Lion Grand Prix at Cannes for culture-shifting creativity.

Vicks' campaign 'Touch of Care' featured the real-life story of transgender activist Gauri Sawant and her adopted daughter, powerfully conveying unconditional love transcending biological ties and gender identity. The emotional narrative went viral globally, humanising transgender experiences and highlighting discrimination regarding parental rights.

Times of India's 'Out and Proud' launched immediately after the Section 377 verdict, offering free classified space for the LGBTQIA+ community to post about housing, jobs, and partners while sharing personal stories. This practical support approach raised awareness of everyday challenges.

IKEA India's 'The Closet' invited customers to step into a closet installation where they could hear biases and discriminatory remarks faced by queer individuals. With the message "Closets are for clothes and not identities," the campaign built empathy experientially without relying on overt rainbow branding.

Disney Star's 'Words of Pride' marked the fifth anniversary of Section 377's repeal by reclaiming respectful LGBTQIA+ terminology from Indian regional languages, embedding these words into popular television shows reaching millions.

Progress meets resistance

Pride marketing faces significant challenges globally and in India. Conservative backlash can be severe; brands like Starbucks India, Target, and Bud Light have faced boycotts, trolling, and threats for LGBTQIA+-inclusive campaigns. In 2021, Dabur withdrew an advertisement featuring a lesbian couple celebrating Karva Chauth after facing objections from right-wing groups and threats of legal action. This high-stakes environment requires brands to demonstrate resilience and genuine commitment. 

Not just these factors, but research in India also reveals concerning disconnects between brands' external LGBTQIA+-inclusive advertising and internal workplace policies. Many companies running Pride campaigns lack robust non-discrimination policies, inclusive benefits, or active LGBTQIA+ employee resource groups.

This gap undermines credibility and suggests Pride marketing as superficial CSR rather than a reflection of core company values.

Global vs Indian realities

Comparing global and Indian Pride marketing reveals shared trends and distinct characteristics. Indian campaigns frequently emphasise culturally relatable narratives like family acceptance, cultural integration, and emotional storytelling, suggesting Pride marketing in an earlier 'mainstreaming' phase, focusing on humanising LGBTQIA+ identities within existing social structures. 

Urban Indian consumers show particularly high support for LGBTQIA+ representation, 55% in a 2021 Ipsos survey, highest among 27 markets, yet actual representation remains low (under 1% of advertisements). This suggests an 'opportunity gap' where brands may be more cautious than their consumer base warrants.

The evolution of Pride campaigns from coded necessity to corporate strategy represents progress, but not yet remarkable. This highlights persistent challenges. From Absolut's pioneering courage in 1981 to Disney Star's linguistic reclamation in 2023, the most impactful campaigns share common elements: authenticity, consistency, cultural sensitivity, and genuine commitment to community welfare beyond commercial gain. As Pride marketing continues evolving, these principles will likely determine which campaigns create lasting positive change versus those remembered as missed opportunities or, worse, exploitative rainbow washing.

The rainbow flag may have become ubiquitous in corporate marketing, but its true colours are revealed not in June's temporary displays, but in year-round actions that advance LGBTQIA+ rights, dignity, and acceptance, especially in their own spaces at home offices and everywhere else. That distinction will ultimately determine Pride marketing's legacy, whether as a catalyst for positive social change or a cautionary tale of commercialised activism.