Using iconic content to build trust, authenticity and cultural resonance in the age of AI
As AI-generated content becomes more abundant, culturally significant content becomes more valuable, says Sonia Boudma, Founder of SB Licensing, who believes that leaning into authenticity is the way forward.
As artificial intelligence increasingly blurs the boundaries between real and fake, every week seems to bring new tools capable of generating images, films and audio at extraordinary speed and scale.
But while the creative possibilities are exciting, this shift is also posing a fresh challenge for brands: how do you maintain authenticity in a world of infinite content?
How do you maintain authenticity in a world of infinite content?
One of the most interesting responses to the rise of AI-generated content has been a return to analogue; from craft-led production techniques, analogue aesthetics (think grainy footage, Polaroid-style photos) to the use of archival photography, iconic audio and historical artwork in brand storytelling. As synthetic content becomes more prevalent, audiences are becoming far more sensitive to what feels authentic, culturally grounded and emotionally real.
Credits
View on-
- Production Company Academy
- Director Henry Scholfield
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Credits
View on- Production Company Academy
- Director Henry Scholfield
- Music Chief Creative Officer Brian Yessian
- Music Yessian/Detroit
- Editor Ellie Johnson
- Post Company Electric Theatre Collective
- Executive Producer Antonia Vlasto
- Creative Director + 2D Supervisor Ryan Knowles
- Creative Director + CG Supervisor Greg McKneally
- Colorist Luke Morrison
- Global Creative Director Gerard Smerek
- Composer Garth Neustadter
- Sound Designer Jeff Dittenber
- Music Supervisor Lars Makie
- Service Producer Albert Zurashvili
- DP Ben Todd
- Executive Producer Simon Cooper
- Producer Ash Lockmun
- Production Manager Antonia Vickers
- Production Designer Mark Connell
- Editor Tenthree
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Credits
powered by- Production Company Academy
- Director Henry Scholfield
- Music Chief Creative Officer Brian Yessian
- Music Yessian/Detroit
- Editor Ellie Johnson
- Post Company Electric Theatre Collective
- Executive Producer Antonia Vlasto
- Creative Director + 2D Supervisor Ryan Knowles
- Creative Director + CG Supervisor Greg McKneally
- Colorist Luke Morrison
- Global Creative Director Gerard Smerek
- Composer Garth Neustadter
- Sound Designer Jeff Dittenber
- Music Supervisor Lars Makie
- Service Producer Albert Zurashvili
- DP Ben Todd
- Executive Producer Simon Cooper
- Producer Ash Lockmun
- Production Manager Antonia Vickers
- Production Designer Mark Connell
- Editor Tenthree
Above: Coca-Cola's spot, Masterpiece, "focused on storytelling through iconic licensed artworks."
Over the last two decades working with premium photo and footage licensing companies, I’ve helped agencies and brands to source, clear and secure premium content. Whether it’s uncovering rare archival images or navigating increasingly complex rights landscapes, I’ve seen first-hand how iconic content can help brands build trust and create genuine cultural resonance.
Consumers can instinctively recognise the difference between content that has provenance and content that has been generated, but distinguishing between authentic and generated content is becoming increasingly difficult. Yes, AI can imitate a look and feel, but it can’t recreate the emotional weight or cultural significance attached to genuine historical material - and that’s why some of the most effective campaigns we’re seeing today aren’t replacing authentic content with AI, but instead using technology to elevate authentic material.
AI can imitate a look and feel, but it can’t recreate the emotional weight or cultural significance attached to genuine historical material.
Coca-Cola’s Masterpiece campaign [above] is a perfect example of this balance. Unlike other campaigns fully utilising AI to generate content, Masterpiece focused on storytelling through iconic licensed artworks, including Andy Warhol’s 1962 painting, Large Coca-Cola. Although AI and animation techniques were used to bring the paintings to life, the campaign itself was rooted in authentic content licensed from archive libraries, with artistic copyrights properly cleared and respected. The Andy Warhol artwork became the catalyst for the entire story because there are very few iconic paintings featuring a Coca-Cola bottle: licensing the original artwork was central to the impact of the campaign.
Credits
View on- Agency BBC Creative/London
- Production Company NOMINT
- Director Yannis Konstantinidis
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Credits
View on- Agency BBC Creative/London
- Production Company NOMINT
- Director Yannis Konstantinidis
- Color Company Black Kite Studios
- Sound Design 750mph
- Executive Creative Director Rasmus Smith Bech
- Executive Creative Director Dave Monk
- Director Justin Bairamian
- Creative Director Matt Leach
- Creative Director Jess Oudot
- Senior Creative Paul Bailey
- Senior Creative Russell Hendrie
- Senior Producer – Rachel Roberts
- Senior Designer – Amy Fullalove
- Lead Designer – Daniel Cooper
- Motion Designer Andrea Stragapede
- Head Of Production James Wood
- Production Designer Gordon Allen
- Executive Producer Marilena Vatseri
- Executive Producer Christos Lefakis
- Producer John Mouratis
- Producer Carmen Hogg
- DP Toby Howell
- VFX Supervisor Matthieu Landour
- VFX Artist Alistair Hamer
- Colourist George Kyriacou
- Sound Design Sam Ashwell
- Sound Design Mike Bovill
- Head Of Production Rachel Saxon
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Credits
powered by- Agency BBC Creative/London
- Production Company NOMINT
- Director Yannis Konstantinidis
- Color Company Black Kite Studios
- Sound Design 750mph
- Executive Creative Director Rasmus Smith Bech
- Executive Creative Director Dave Monk
- Director Justin Bairamian
- Creative Director Matt Leach
- Creative Director Jess Oudot
- Senior Creative Paul Bailey
- Senior Creative Russell Hendrie
- Senior Producer – Rachel Roberts
- Senior Designer – Amy Fullalove
- Lead Designer – Daniel Cooper
- Motion Designer Andrea Stragapede
- Head Of Production James Wood
- Production Designer Gordon Allen
- Executive Producer Marilena Vatseri
- Executive Producer Christos Lefakis
- Producer John Mouratis
- Producer Carmen Hogg
- DP Toby Howell
- VFX Supervisor Matthieu Landour
- VFX Artist Alistair Hamer
- Colourist George Kyriacou
- Sound Design Sam Ashwell
- Sound Design Mike Bovill
- Head Of Production Rachel Saxon
Above: Audiences are increasingly appreciatiative of craft-led productions which feel more human.
Luxury brands in particular have led this trend towards authenticity and heritage for a while now. Cartier’s Culture of Design campaign - spanning a pop-up shop, exhibition and ad campaign - blended archival imagery of the Tank watch and its celebrity fans with contemporary visuals. Dior has also famously used archive footage featuring Marlene Dietrich and Grace Kelly, both of whom genuinely wore Dior dresses and cosmetics during their lives. These campaigns work because they build on authentic historical relationships rather than artificially manufacturing cultural relevance.
At the same time, audiences are increasingly appreciating craft-led production techniques precisely because they feel human. In response to the endless stream of synthetic imagery online, handcrafted visual approaches carry warmth, imperfections and emotional texture that people naturally connect with.
Audiences are increasingly appreciating craft-led production techniques precisely because they feel human.
The BBC Winter Olympics campaign [above] beautifully used stop-motion and handcrafted techniques to create tactile, authentic visual effects. Similarly, Intermarché’s animated campaign [below] proved that audiences are still deeply engaged by longer-form crafted storytelling. Even highly playful campaigns rely heavily on authenticity and rights clearances to succeed: Cadbury’s Queen-inspired stop-motion campaign worked because it combined handcrafted animation techniques with carefully licensed intellectual property attached to Queen - one of the world’s most legendary music acts.
These campaigns all point towards the same broader shift happening across our industry: as AI-generated content becomes more abundant, culturally significant content becomes more valuable. Licensing genuine content from trusted archives and specialist licensing partners helps brands establish trust with consumers because the material has real provenance. When footage is sourced from an historical archive company, clients can have confidence that the content has not been manipulated and is not “fake news”. It is worth mentioning that some footage companies - which also provide archival clips - do license AI generated content, but they normally distinguish between AI-generated material and authentic historical footage. Archive material can also help cement a brand story within a wider historical context, particularly when communicating longevity, heritage and cultural credibility.
Credits
View on- Agency Romance/Paris
- Production Company Wizz/Quad Group
- Director Nadege (Ladybird) Loiseau
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Credits
View on- Agency Romance/Paris
- Production Company Wizz/Quad Group
- Director Nadege (Ladybird) Loiseau
- Live-Action Production Co. Divine
- Producer/Co-Founder Capucine Charbonnier
- Director's Production Co Illogic Studios
- Director Victor Caire
- Director Lucas Navarro
- Director Theophile Dufresne
- Head of Production Yann Nicolas
- Editor Nicolas Larrouquere
- Post Production Wizz/Quad Group
- AnimationDirector Benoit Bargeton
- Producer Amanda Stubbs
- Sound Mix Sylvain Rety
- Sound Director Matthieu Sibony
- Audio Mixer Jean-Luc Verschelde
- Music Sony/France
- Creative Director Alexandre Herve
- Senior Copywriter Victor Chevalier
- Art Director Julien Bon
- Head of Production Emilie Talpaert
- Head of Production Juliette Gaignault
- DP Eric Dumont
- Head of Production Nataly Aveillan
- Animation Yohan Thireau
- Animation Francesca Casareggio
- Animation Cecilia Merot
- Animation Florian Babikian
- Animation Thomas Bozovic
- Art Director Alexandre Mougenot
- Colorist Mathieu Caplanne
- Music Terry Dempsey
- Music Eddy Marnay
- Composer Sam Hammi
- Composer Craig Glidden
- Composer Sid Sonic
- Composer Ryan Gold
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency Romance/Paris
- Production Company Wizz/Quad Group
- Director Nadege (Ladybird) Loiseau
- Live-Action Production Co. Divine
- Producer/Co-Founder Capucine Charbonnier
- Director's Production Co Illogic Studios
- Director Victor Caire
- Director Lucas Navarro
- Director Theophile Dufresne
- Head of Production Yann Nicolas
- Editor Nicolas Larrouquere
- Post Production Wizz/Quad Group
- AnimationDirector Benoit Bargeton
- Producer Amanda Stubbs
- Sound Mix Sylvain Rety
- Sound Director Matthieu Sibony
- Audio Mixer Jean-Luc Verschelde
- Music Sony/France
- Creative Director Alexandre Herve
- Senior Copywriter Victor Chevalier
- Art Director Julien Bon
- Head of Production Emilie Talpaert
- Head of Production Juliette Gaignault
- DP Eric Dumont
- Head of Production Nataly Aveillan
- Animation Yohan Thireau
- Animation Francesca Casareggio
- Animation Cecilia Merot
- Animation Florian Babikian
- Animation Thomas Bozovic
- Art Director Alexandre Mougenot
- Colorist Mathieu Caplanne
- Music Terry Dempsey
- Music Eddy Marnay
- Composer Sam Hammi
- Composer Craig Glidden
- Composer Sid Sonic
- Composer Ryan Gold
Above: Beautifully made and longer-form stories are still attractive to audiences.
Another great example of archive footage used in advertising is Lucid Motors’ Compromise Nothing campaign. It used iconic footage of Muhammad Ali and Nina Simone to illustrate strong attributes such as determination, greatness, defiance. The spot created a powerful emotional connection because audiences ‘got’ that they were watching genuine footage of these icons rather than something digitally fabricated. Rights to the footage, as well as Ali’s and Simone’s name and image, would have needed to be licensed from the authentic rights holders and representatives, which is exactly what protected the integrity of the campaign.
And iconic audio can be just as powerful as visuals. From Charlie Chaplin in The Great Dictator to Martin Luther King Jr.’s "I have a dream..." speech, culturally significant audio instantly evokes emotion and collective memory. Carnival Corporation’s Return to the Sea used a stirring speech by JFK to entice Americans onto a cruise, while Inside Chanel featured an audio snippet from a 'lost' 1960 interview with Marilyn Monroe, where she famously mentioned wearing Chanel No 5 to bed.
There is also a misconception that everything valuable already exists online and is easily searchable. In reality, many archive companies still own enormous volumes of non-digitised material. Getting privileged access to these archives and their teams can uncover genuinely unseen gems.
In a world increasingly saturated with synthetic content, genuine archival material carries emotional authority.
Of course, licensing iconic content requires careful preparation. One of the most common issues I see is creative teams underestimating how long rights clearances can take. Researching rights holders, negotiating approvals and clearing multiple layers of rights can take several weeks, sometimes a few months, especially when music publishers, artist copyrights, trademarks, movie copyrights or publicity rights are involved.
So, agencies and brands need to allocate enough time and define campaign parameters clearly from the outset. Creative teams also need to remain flexible because occasionally content may simply not be available for licensing. Most importantly, brands must respect creative boundaries. Clearing rights to a piece of content does not automatically grant unlimited freedom to manipulate or use it however they wish. But it’s worth the additional planning.
In a world increasingly saturated with synthetic content, genuine archival material carries emotional authority. It connects brands to real stories, real people and real moments in history. While AI continues transforming our industry and unlocking new creative possibilities, brands with lasting cultural resonance are not necessarily the ones generating the most content. They’re the ones that understand how to combine new technology with authenticity, craftsmanship and genuine cultural heritage.