QUEERATIVE’s cover photo
QUEERATIVE

QUEERATIVE

Advertising Services

Gurugram, Haryana 12 followers

Different from the flock.

About us

Rooted in representation, we are India's first diversity-led creative agency.

Website
www.instagram.com/queerativeofficial
Industry
Advertising Services
Company size
2-10 employees
Headquarters
Gurugram, Haryana
Type
Self-Owned
Founded
2025

Employees at QUEERATIVE

Locations

Updates

  • Clarity comes before creativity. Before the campaign, the content or the visual system, there needs to be a clear understanding of the brand, its audience and the role the work needs to play. That thinking shaped the five core services at QUEERATIVE: — Creative Consulting — Inclusive Storytelling — Content Repurposing — Visual Communication — Social Strategy Each service addresses a different part of the creative process. Together, they connect strategic direction, culturally relevant storytelling, considered design and platform-aware communication. QUEERATIVE is a diversity-led creative agency working with brands, startups and small businesses that want their communication to be clear, thoughtful and creatively distinct. Because being different should never be the entire idea. It should come from understanding what needs to be said—and finding a more meaningful way to say it. Have a project, challenge or early-stage idea in mind? Brief us! 📩 Different from the flock. 🐧 #QUEERATIVE #Advertising #CreativeAgency #InclusiveStorytelling #Marketing

    • Slide 1: A right-facing penguin stands on a block of ice against a deep-blue Antarctic backdrop. The title reads “Our Services,” followed by Creative Consulting, Inclusive Storytelling, Content Repurposing, Visual Communication and Social Strategy. The QUEERATIVE wordmark appears at the bottom left.
    • Slide 2: Minimal deep-blue slide titled “Creative Consulting.” Text reads: “We turn business goals and audience insight into clear creative direction and better brand decisions.” QUEERATIVE wordmark at the bottom left and a swipe arrow at the bottom right.
    • Slide 3: Minimal deep-blue slide titled “Inclusive Storytelling.” Text reads: “We create nuanced stories that reflect diverse lives and help brands communicate with relevance and cultural credibility.” QUEERATIVE wordmark and swipe arrow appear at the bottom.
    • Slide 4: Minimal deep-blue slide titled “Content Repurposing.” Text reads: “We reshape existing ideas into versatile content across platforms while preserving their original message and identity.” QUEERATIVE wordmark and swipe arrow appear at the bottom.
    • Slide 5: Minimal deep-blue slide titled “Visual Communication.” Text reads: “We turn strategy into distinctive design systems and assets that make complex ideas clear and recognisable.” QUEERATIVE wordmark and swipe arrow appear at the bottom.
      +2
  • What makes someone stop and read an advertisement? David Ogilvy’s answer was straightforward: give them a reason to. A strong idea earns attention, useful information holds it, and respect for the reader shapes every word. The Guinness Guide to Oysters is a memorable example. It offered readers a guide they could enjoy in its own right, while making Guinness part of the story. That principle matters just as much today, whether a campaign appears in print or in a social feed. Being noticed is a start. The harder task is giving people a credible reason to choose. In this edition of THE PRINT EDITION, we look at what Ogilvy’s approach can still teach us about making better advertisements. At QUEERATIVE, that’s the kind of work we want to create. If you’re ready to build a campaign worth noticing, please reach out via DM. 📩 #QUEERATIVE #CreativeIndustries #Advertising #Marketing

    • No alternative text description for this image
    • No alternative text description for this image
    • No alternative text description for this image
    • No alternative text description for this image
  • Cinema does not communicate through dialogue alone. Sometimes, the frame tells us what a character cannot. Xavier Dolan’s work offers a striking example of this. Close-ups become emotional confrontations. Slow motion stretches desire. Pop music carries memory. Even the dimensions of the frame become part of the storytelling. For this QUEERATIVE carousel, we looked at the visual and emotional language running through Heartbeats, Mommy, It’s Only the End of the World, Matthias & Maxime and Adele’s “Hello” music video. Across these works, style is never simply decorative. It shapes how we experience longing, conflict, family, friendship and queerness—often allowing complicated emotions to remain unresolved rather than explaining them away. Swipe through the carousel and let us know: which Xavier Dolan film or frame has stayed with you? #QUEERATIVE #CreativeIndustries #XavierDolan #QueerCinema #Cinematography

    • Slide 1: A black-and-white portrait of filmmaker Xavier Dolan resting his face against his hand. A translucent cobalt-blue rectangle crosses the central portion of the image. White text reads: “Xavier Dolan. A cinema of desire, memory and defiance.” The QUEERATIVE wordmark appears at the bottom left.
    • Slide 2: A black slide examining Dolan’s cinematography. A monochrome photograph shows him looking through a film camera, with a blue square highlighting his face and the viewfinder. The headline reads: “He frames emotion first.” Three sections identify close-ups, slow motion and colour as recurring elements of his visual language.
    • Slide 3: Three vertical black-and-white stills from Heartbeats show Francis, Nicolas and Marie. The central image of Nicolas is tinted blue, visually representing the object of desire shared by the other two characters. Supporting text describes how jealousy is expressed through slow motion, costume and pop music.
    • Slide 4: A black slide about Mommy. A square monochrome close-up of two faces is partially covered by a translucent blue square. Text explains how the film’s 1:1 aspect ratio intensifies faces and volatile relationships before expanding during two hopeful moments.
    • Slide 5: A complete rectangular black-and-white still of Adele from the “Hello” music video. A translucent blue square covers her face. Text identifies the video as directed by Xavier Dolan in 2015 and explains how IMAX cinematography helped transform an intimate memory into a monumental pop image.
      +3
  • Art doesn’t simply preserve a story. It shapes what—and whom—we remember. Sir John Everett Millais’s Ophelia (1851–52) is among the most recognisable images in Western art: beautiful, intricate and deeply unsettling. In Shakespeare’s Hamlet, Ophelia’s drowning takes place offstage and reaches us through Gertrude’s description. Millais transforms those words into an image—but the story extends far beyond the figure floating in the water. The landscape was painted before Ophelia entered the composition. The flowers function as narrative symbols. And the woman whose presence made the painting unforgettable—Elizabeth Siddal—was an artist and poet whose own work has often been overshadowed by her role as a model and muse. More than 170 years later, Ophelia continues to shape how popular culture pictures beauty, grief and the female body. At QUEERATIVE, we are interested in what sits beneath familiar images: the cultural context, overlooked perspectives and choices that determine which stories remain visible. Still, she floats—but perhaps differently once we look beyond the frame. Move through the carousel for a closer reading of the painting. What changes when we examine an iconic work not only for its beauty, but also for what it leaves unseen? #QUEERATIVE #CreativeIndustries #ArtUnframed #Ophelia #InclusiveStorytelling

    • Six-slide animated carousel analysing Sir John Everett Millais’s Ophelia (1851–52), presented in a dark green editorial style with white Century Gothic typography and the QUEERATIVE wordmark. Slide 1 asks, “Why does a drowning look so beautiful?” Slide 2 explains that Ophelia’s death occurs offstage in Shakespeare’s Hamlet. Slide 3 shows that Millais painted the Hogsmill River landscape before adding Elizabeth Siddal. Slide 4 identifies flower symbolism: a red poppy for sleep and death, daisies for innocence, and pansies for love in vain. Slide 5 centres Siddal as an artist and poet beyond her role as model and muse. Slide 6 displays the complete painting with the line “Still, she floats,” reflecting on its lasting influence on representations of beauty, grief and the female body.
    • No alternative text description for this image
    • No alternative text description for this image
    • No alternative text description for this image
    • No alternative text description for this image
      +1
  • For 20 years, a red iPhone helped fund HIV/AIDS, tuberculosis and malaria treatment worldwide. That story just quietly ended — no announcement, no farewell post. We broke down what made (PRODUCT)RED work for two decades — and what a cause-driven brand owes the history it borrows. The numbers: $250M+ raised since 2006, 220M people reached with HIV testing, and one final iPhone case that sold out this March without a single goodbye. Swipe through the full story, then tell us: which brand do you think fades next without anyone noticing? 👇 #QUEERATIVE #ProductRed #CaseStudy #Advertising #CauseMarketing

    • No alternative text description for this image
    • No alternative text description for this image
    • No alternative text description for this image
    • No alternative text description for this image
    • No alternative text description for this image
      +1

Similar pages

Browse jobs