Conversations around DEI are changing – so have travel ads kept up?

This execution is beautifully understated in its inclusion of different communities. The inclusion of what looks like a same sex couple 14 seconds in (almost a case of ‘if you know, you know’) is a credible and authentic way to move beyond surface representation in a short period of time.

The characteristics included (race, ethnicity and sexuality) are not central to the storyline but woven in sensitively without unnecessary fanfare. Again, notable in absence is the disability community - although given only 4% of people represented in ads are disabled (according to research from Channel 4), it’s - sadly - not surprising. 

Set to All Saints’ ‘Black Coffee’, this family-focused film feels really fresh. That it opens on two Black children ziplining is - for me as an Indian mother of three children - a clear signal that the brand is open and welcoming to all.

Even better might have been the inclusion of non-traditional family structures - specifically same-sex parents - to amplify the family message in a credible way that is relevant to such a large section of society. Surprisingly, given the rise in UK multi-generational households - approximately 1.8m according to the Cambridge Centre for Housing and Planning Research - there is no inclusion of multi-generational families.

Conversely, Heathrow Airport’s Festive Travel stories features a multi-generational family front and centre. Other executions ‘Love’ and ‘Keepsake’ focused on a couple and a father-daughter relationship respectively. The beauty to these is the single-story, meaning the narrative can have the depth and nuance that so many mass-appeal brands struggle with. 

By focusing on a singular narrative, the opportunity opens up for credible and authentic representation - enabling various audiences to feel ‘seen’ through the combination of human truths and the cast chosen to bring those to life. Not all brands can afford to create multiple executions, but these particular films highlight the benefits of having the time and budget to plan and create deeper stories. 

I thought it right to include an example of an advert that considers disability inclusion. Expedia’s ad succeeds in representation without feeling tokenistic, with the storyline itself not focusing on the disability per se, but the need for a dog-friendly holiday.

I would like to hope that the team behind it adopted the disability community's ethos of 'nothing about us, without us' - meaning that they worked equitably with people with lived experience who could inform and shape the campaign, to ensure accuracy and avoid performativity.