How advertising is (finally) embracing disability

For decades, advertising has served as a funhouse mirror, reflecting an idealised world where non-disabled perfection reigns supreme. This distorted reflection left little room for diversity in abilities. However, as society’s understanding of disability has evolved, so too has advertising’s approach, albeit slowly. Recent years have brought promising signs of change as advertisers increasingly challenge stereotypes and embrace inclusive representation. Here’s how the advertising industry has tackled disability, where it falters, and why the shift towards authentic portrayal matters.

The long absence of disability in advertising

Latest data shows some progress in disability representation in advertising, but there is still a significant gap. A 2024 report indicates that globally, around 31% of analysed advertisements in the U.S. featured people with disabilities, showcasing an increase in awareness around diversity and inclusion efforts. However, the quality of representation remains a concern. For example, in the UK, 32% of adults reported not seeing any disability-related content in the past six months, with only 7% feeling that current media realistically reflects the daily lives of disabled people.

Additionally, while some disabilities, such as mobility challenges or visual impairments, are more commonly depicted, others, including invisible disabilities, are often overlooked. These findings highlight the need for more authentic and multidimensional portrayals that move beyond tokenistic representation and truly reflect the lived experiences of people with disabilities.

Historically, when disability appeared in ads, it was framed within two problematic tropes: ‘pity porn’ or ‘inspiration porn.’

Pity Porn: Advertisements portrayed disabled individuals as victims needing charity or saving. Campaigns for war bonds, the March of Dimes, or Jerry Lewis’ telethons capitalised on these narratives, often eliciting sorrow from viewers. While well-intentioned, such depictions reduced disabled people to objects of pity.

Inspiration Porn: Conversely, some ads idealised disabled individuals as superhuman for ‘overcoming’ their disabilities. While inspirational stories can resonate, this trope reinforced the idea that disability is something to be conquered, further alienating those who simply wish to be seen as ordinary.

In this ad, Stevie Wonder Associates Hansen Soda with his accomplishments as a blind musician and songwriter by telling viewers that ‘Some things in life are inspirational.’ While delivering the line, he sings and plays a jingle about the natural taste of Hansen’s and of life. 

Representing disability in advertising: The Good, the bad, and the stereotypical

Representation matters. As media scholar Shani Orgad notes, media visibility acknowledges the existence and value of marginalised groups. Yet, when advertisers ventured into disability representation, they often fell back on reductive stereotypes.

Victim narratives

Campaigns like the Special Olympics sometimes framed disabled individuals as dependent on able-bodied saviours. For example, ads implied that the dreams of disabled athletes could only materialise through financial support, unintentionally positioning them as passive beneficiaries. Like the ‘Draft an Athlete’ campaign, which encourages individuals to sponsor athletes by emphasising their reliance on public support, this initiative positions donors as essential enablers for athletes’ participation in the Special Olympics. By framing their dreams as contingent on financial contributions, the campaign inadvertently reinforces a narrative of dependency rather than empowerment, shifting focus from the athletes’ achievements to their need for assistance.

The supercrip trope

Ads like Nike’s ‘No Excuses’ leaned heavily into the inspirational narrative. Featuring paraplegic basketball player Matt Scott, the ad challenged viewers to reexamine their own excuses for avoiding physical activity. However, it also implied that overcoming disability is the ultimate goal, sidelining the complexities of lived experiences.

Humour at disability’s expense

Disability has often been used as the punchline in advertising. For instance, a 1990 Levi’s ad featured a blind man who was mistaken for a passive observer while a woman provocatively changed clothes nearby. Similarly, a Volkswagen ad starring Stevie Wonder relied on the novelty of a blind man ‘spotting’ cars in a game of Punch Bug. These ads, though humorous, reinforced stereotypes about passivity or exaggerated abilities.

Learning from mistakes: The backlash against Zuma Juice

In 2017, Zuma Juice released an ad depicting a woman in a wheelchair as unhealthy, lazy, and even faking her disability. The offensive portrayal sparked outrage, particularly on social media, where users called out the ad’s damaging stereotypes. Though Zuma Juice pulled the ad, its response, framing the controversy as a misunderstanding, only worsened the backlash. The video has since been removed from all platforms.

This incident underscored a crucial lesson, advertisers must prioritise understanding over assumptions. Collaborating with disabled individuals during the creative process can prevent such missteps and create campaigns that genuinely resonate.

Signs of progress: Inclusive campaigns that get it right

Thankfully, not all ads fall into the trap of harmful stereotypes. Recent campaigns have shown how advertising can embrace disability in authentic, multidimensional ways:

Microsoft’s Adaptive Controller (2019)

During the Super Bowl, Microsoft showcased its adaptive gaming controller, featuring disabled children and their families. The tagline, ‘When everybody plays, we all win,’ highlighted inclusivity without patronising the participants.

Maltesers’ ‘Light Side of Disability’ (2016)

This British campaign broke barriers by showcasing disabled individuals sharing humorous, relatable anecdotes. One ad featured a woman with cerebral palsy discussing a romantic mishap, challenging the desexualisation of disabled people.

Tommy Hilfiger’s Adaptive Clothing

Tommy Hilfiger launched adaptive clothing designed with and for people with disabilities. The accompanying ads featured diverse models showcasing their individuality and rejecting notions of disability as a limitation.

While India’s disability representation in advertising remains sparse, progress is being made. Campaigns like Samsung’s Caring for the Impossible have offered touching narratives, portraying disabled individuals not as objects of pity but as empowered and capable.

Furthermore, the implementation of the Rights of Persons with Disabilities Act, 2016, has bolstered efforts to improve accessibility and inclusion across industries, including advertising. However, much work remains to challenge deep-rooted stigmas and bring disability into the mainstream cultural conversation in a country where the disabled population often faces social and economic exclusion.

Toward an inclusive future

Authentic representation in advertising not only challenges biases but also fosters inclusivity and societal change. As disability rights advocate Josh Loebner points out, inclusive ads signal broader cultural acceptance. Beyond fairness, it makes business sense, as the global disabled community holds substantial purchasing power.

Brands like Microsoft, Tommy Hilfiger, and Maltesers have paved the way, showing how advertising can normalise disability by rejecting outdated tropes. The journey continues, but with each campaign challenging stereotypes, we move closer to a society that doesn’t just represent but celebrates disability.

Let us take a look at some of the campaigns that have embraced inclusive advertising, championing disability representation.

Introducing the Xbox Adaptive Joystick

Apple – Accessibility – Sady

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