Heritage has traditionally been something a brand earns over decades. But some of the brands leaning hardest into nostalgia today haven’t been around long enough to have much heritage of their own (here's our guide doing heritage branding well).
Across social, younger brands are reaching for analogue aesthetics, old-school formats and cultural references that pre-date them, not simply because retro is having another moment, but because nostalgia offers something increasingly scarce online: familiarity. And they’re hardly alone. From the fixation on “2016 vs 2026” to the resurfacing of Tumblr-era aesthetics, pop culture is increasingly looking backwards for its creative cues.
If heritage once depended on history, the more interesting question now is whether brands can detach heritage itself from chronology.
Creating a time that never was
There’s a word for this: anemoia, nostalgia for a time we never experienced. We can feel familiarity with worlds we only know second-hand, from the crackle of vinyl to the whir of an old games console.
And for brands without a century-old archive to raid, that has weight. Heritage can be built from recognisable codes: typography, packaging, photography, sound, language and behaviours that evoke a particular time or feeling. Done well, those elements create familiarity before a consumer has any history with the brand itself.
That doesn’t mean inventing a fake founding story. Heritage is traditionally factual; the opportunity here is emotional. Brands can create a world that feels as though it has always existed without pretending that it has, manufacturing familiarity rather than history.
Nostalgia as an antidote to sameness
That familiarity is particularly powerful when you consider the environment brands are operating in today. Social trends now move at such speed that identities can become disposable. A visual language can be adopted, replicated and exhausted within weeks, leaving brands chasing relevance rather than building recognition. The sans-serif blanding that overtook tech branding is a useful warning: optimisation can quickly become indistinguishability.
Nostalgia offers an emotional anchor.
In a digital world where everything feels new, fast and optimised, references to the past can suggest something slower, more tactile and more human. The appeal isn’t about being old-fashioned or living in the past. It is about creating contrast with an algorithmically driven present.
But this can’t just be a grainy filter or retro typeface. Nostalgia works when brands understand the emotional qualities underneath the aesthetic. Is it optimism? Rebellion? Escapism? Community? The creative challenge is to identify that feeling and reinterpret it, rather than simply reproduce its visual shorthand.
This all makes specificity important. When VML introduced the new EV charging brand IONNA to the market in 2025, the team looked back on the nostalgic age of the American service station. Instead of a futuristic visual language that is usually seen in the market, they instead bought in retro architecture, welcoming canopies, and familiar roadside cues that drew on the optimistic hospitality of an earlier time. IONNA didn’t have that heritage, but through this specific intent and brand vision, it felt like something that had been a part of the American psyche for decades.
From museum to cultural playground
Perhaps the biggest difference between traditional heritage and this new form is who gets to shape it.
Old-school heritage was a museum: brands controlled the archive and audiences were invited to admire it. New-school heritage is a playground. Audiences can remix references, resurrect forgotten products, turn old advertisements into memes and give cultural artefacts entirely new meanings. The role of the brand is to give them something to participate in, not simply something to look at. The best nostalgia becomes social material: something people can play with, personalise and pass on.
That is why the current nostalgia cycle is more interesting than another round of retro-revivalism. It suggests heritage is becoming less about how long a brand has existed and more about how successfully it can create a recognisable world people want to enter, inhabit and help shape.
For newer brands, that creates an unusual possibility. You don’t need decades of history to feel established. You need distinctive creative codes, consistency and enough emotional truth for people to feel that they already know you.
In an age obsessed with what and who comes next, looking backwards can be a powerful way to build forwards. The real power of anemoia is not pretending to have a past. It is creating a world that feels strangely familiar, then inviting people to make memories inside it. Heritage may once have been something brands inherited. Increasingly, it is something audiences help them build.
