In 1984, Apple revolutionized the world not only with the launch of its iconic Macintosh but also with an advertising campaign that marked a turning point in the history of technology and marketing.
Inspired by George Orwell’s dystopia, the “1984” campaign presented Apple as a disruptive force that would free individuals from a monolithic and oppressive system. Through powerful creativity, Apple wasn’t just selling a product — it was selling an ideology: that of the individual empowered by technology.
The Macintosh was not simply a computer; it was a symbol of creative and personal freedom — a tool to break free from the chains of conformity.
Fast forward to 2024. Apple releases a new campaign to introduce the iPad Pro (see reference). The ad depicts a hydraulic press crushing traditional creative and leisure tools: smashed guitars, exploding consoles, spilled ink bottles, shattered vinyl records — a visual feast of destruction.
The message was simple: the iPad Pro isn’t just a technological device; it’s the ultimate tool for all forms of creativity.
However, the public reaction was far from what Apple expected. Social networks erupted in criticism, pointing out that this symbolic destruction of cultural instruments was not only insensitive but also disrespectful toward the very forms of expression that have shaped humanity. Facing a wave of backlash, Apple withdrew the campaign within hours.
This swift reaction reflects the dynamics of Zygmunt Bauman’s liquid society — an environment where everything changes rapidly, norms and values are fluid, and consequences are immediate.
First Thesis: Creativity in the Postmodern Era
We live in a postmodern age where traditional canons have been shattered. Art, culture, and advertising no longer follow established rules, and creativity thrives on challenging the known — often pushing it to the extreme.
Apple, a company long defined by its ability to break conventions, seems to have taken this principle to its limit with the iPad Pro campaign. The idea that a single device can replace all cultural tools of the past is not only provocative but also emblematic of the postmodern rejection of traditional norms.
In postmodernity, relativism and subjectivity reign. Instead of appealing to universal values or shared norms, brands now address the personal values of each consumer. In this case, Apple chose a narrative of destroying the “old” to make way for the “new,” reflecting the postmodern belief that everything is temporary and replaceable.
Yet this unrestrained creativity clashes with reality: in postmodernity, there are no certainties. What feels innovative to some may be deeply offensive to others. And that brings us to the second thesis.
Second Thesis: Liquid Society and the Culture of Cancellation
The term “liquid society,” coined by Bauman, describes a world in constant flux, where social, political, and economic structures are no longer solid or permanent. Everything flows — everything can change instantly.
In this context emerges the culture of cancellation, a manifestation of new social forces that, through platforms like Twitter, Facebook, and Instagram, exert instant pressure on institutions, companies, and public figures.
Apple —a brand long seen as a beacon of innovation and creativity— fell into the trap of this fluid world. The same company that, in 1984, was celebrated for breaking the system was, in 2024, condemned for crossing a line that consumers found crude and offensive.
The paradox is clear: we live in a society that celebrates the destruction of conventions but, when that destruction touches a cultural nerve, responds forcefully to defend what it deems valuable.
This case prompts reflection on the challenges brands face in the postmodern era. The liquid society is a slippery terrain — one that not only allows boundless creativity but also demands constant awareness and adaptation to the shifting currents of opinion and sensitivity.
Even brands as groundbreaking as Apple must learn to navigate it.