A Century of Santa: Spreading Christmas Cheer for 100 Years — 1923-2023
The classic image of Santa Claus, as we know it today, was beginning to take shape in 1923.
Santa’s iconic transformation can be traced to the connection between Coca-Cola’s early marketing campaign that would forever link the image of Santa Claus with the popular beverage. Robert Woodruff served as the president of The Coca-Cola from 1923 to 1954. The credit for Santa’s visual evolution largely goes to Robert Woodruff and his collaborator Archie Lee, the Coke account representative at D’Arcy Advertising. Woodruff and Lee formed a close partnership that proved instrumental in shaping the advertising strategies of Coca-Cola.
Prior to Coca-Cola’s involvement, various cultures and traditions had depicted Santa Claus in diverse ways, ranging from a tall, gaunt man to an elf-like figure. There were even depictions of a somewhat intimidating and scary Claus.
In 1923, Woodruff transferred the immediate responsibilities of the Coca-Cola account from William D’Arcy to the relatively junior Archie Lee. Together, they worked on developing impactful slogans, such as the famous “The Pause that Refreshes,” which resonated with the American public.
As part of their innovative marketing approach, Woodruff and Lee sought to create a visual iconic representation of Santa Claus that would align with Coca-Cola’s brand image. In 1931, they commissioned Haddon Sundblom, a renowned illustrator, to paint images of Santa Claus for their holiday advertisements. Sundblom’s depictions of Santa were warm, jolly, and distinctly human, which departed from earlier, more diverse interpretations of Santa.
The result was the modern version of Santa Claus that we are familiar with today — a portly, rosy-cheeked, and bearded figure in a red suit with white fur trim. Sundblom’s illustrations, featuring Santa enjoying a Coca-Cola, further solidified the association between the beloved gift-giver and the beverage. The use of Santa in Coca-Cola ads during the holiday season became an annual tradition, creating a cultural connection that endures to this day.
This strategic move by Coca-Cola not only contributed to the development of Santa Claus as a standardized and universally recognized iconic figure but also solidified Coca-Cola’s status as one of the most effective advertisers in American business history. The enduring image of Santa Claus enjoying a Coca-Cola has become an integral part of holiday traditions and has left an indelible mark on popular culture.
Please note, Coca-Cola did not invent the legend of Santa Claus, but its advertising played a pivotal role in shaping the modern and universally recognized portrayal of this festive icon.
In a groundbreaking move in 1931, Coca-Cola sought to unify and standardize the image of Santa Claus in their Christmas advertisements. To achieve this, the company commissioned the talented illustrator Haddon Sundblom to create a series of paintings featuring Santa Claus. These paintings would go on to define Santa’s appearance for generations to come.
Sundblom’s illustrations transformed Santa into a warm and joyful character, endowing him with distinctly human features that would become iconic. Santa’s rosy cheeks, a luxuriant white beard, twinkling eyes, and laughter lines became central elements of his image. These visual characteristics evoked a sense of familiarity and approachability, making Santa a universally beloved and relatable figure.
The inspiration for Sundblom’s interpretation of Santa came from an 1822 poem by Clement Clark Moore titled “A Visit from St. Nicholas,” more commonly known as “Twas the Night Before Christmas.” Drawing on the imagery and spirit of Moore’s poem, Sundblom crafted a Santa who radiated kindness, joy, and the spirit of giving.
By incorporating Santa Claus into their advertisements, Coca-Cola not only established a festive association between the beloved figure and their product but also contributed significantly to the cultural consolidation of Santa’s image. The annual tradition of featuring Sundblom’s Santa in Coca-Cola advertisements during the holiday season became a cherished part of American Christmas culture, further cementing the enduring link between Santa Claus and Coca-Cola in the public consciousness. Coca-Cola‘s advertising efforts played a crucial role in shaping the cheerful and benevolent image of Santa that is now embraced globally during the holiday season.
The familiar and beloved image of Santa Claus, the iconic figure in the red suit with a white beard, wasn’t always the universally recognized portrayal. Surprisingly, before 1931, Santa underwent various transformations, ranging from a tall and gaunt figure to an eerie-looking elf. Throughout history, he has been depicted wearing a bishop’s robe and even adorned in the animal skin of a Norse huntsman. The evolution of Santa’s appearance is a fascinating journey through diverse cultural interpretations.
In 1862, during the Civil War, Thomas Nast, a prominent cartoonist for Harper’s Weekly, contributed to the evolving image of Santa Claus. At that time, Nast depicted Santa as a small, elflike figure who actively supported the Union cause. Over the next three decades, Nast continued to draw Santa, introducing changes such as the shift in the color of his coat from tan to the now-iconic red that has become synonymous with the festive season. This ongoing evolution in visual representation laid the foundation for the diverse depictions of Santa that preceded the iconic imagery we cherish today.
Santa’s journey from a small elf supporting the Union in the 1860s to the robust, joyful character we know today is a testament to the adaptability and malleability of this enduring holiday symbol. The transformation also underscores the influence of artists and cultural contexts in shaping the image of Santa Claus, leading to the universally accepted representation that brings joy to millions around the world each Christmas season.
The Christmas advertising tradition of The Coca-Cola Company traces back to the 1920s when they initiated campaigns featuring shopping-related content in prominent magazines like The Saturday Evening Post. During this early period, the initial Santa Claus advertisements reflected a more stern and traditional depiction, reminiscent of the style associated with the renowned illustrator Thomas Nast.
Enter the 1822 poem: “A Visit From St. Nicholas” (’Twas the Night Before Christmas)
Coca-Cola’s Christmas advertising history marked the beginning of a new era, setting the stage for the brand’s iconic association with Santa Claus that would be further solidified in the following years, especially with the introduction of Haddon Sundblom’s famous depictions.
In 1931, The Coca-Cola Company embarked on a transformative advertising campaign, introducing a wholesome and iconic Santa Claus that would become synonymous with the holiday season. Archie Lee, the D’Arcy Advertising Agency executive collaborating with Coca-Cola, envisioned a Santa who was both realistic and symbolic. To bring this vision to life, Coca-Cola commissioned Haddon Sundblom, a Michigan-born illustrator, to create advertising images featuring Santa Claus in his authentic form, not merely as a man dressed as Santa.
Sundblom sought inspiration from Clement Clark Moore’s timeless 1822 poem, “A Visit From St. Nicholas” (commonly known as “‘Twas the Night Before Christmas”). Moore’s vivid portrayal of St. Nick inspired Sundblom to craft an image of a warm, friendly, pleasantly plump, and human Santa. Contrary to popular belief, Santa’s iconic red coat existed before Sundblom’s paintings, debunking the myth that the color was influenced by Coca-Cola.
The debut of Sundblom’s Santa Claus occurred in 1931 through Coca-Cola ads featured in The Saturday Evening Post. This endearing portrayal of Santa became a recurring feature in numerous magazines, including Ladies Home Journal, National Geographic, and The New Yorker.
A notable shift occurred in 1930 when artist Fred Mizen contributed to a groundbreaking Coca-Cola advertisement. Mizen’s artwork portrayed a department-store Santa immersed in a bustling crowd, enjoying a refreshing bottle of Coke. The focal point of the ad was the world’s largest soda fountain, situated in the Famous Barr Co. department store in St. Louis, Missouri. This vivid depiction by Mizen became the centerpiece of print ads that adorned The Saturday Evening Post in December 1930, marking a significant departure from the conventional portrayals of Santa Claus in Coca-Cola advertising.
Mizen’s innovative representation not only showcased the integration of Coca-Cola into the festive holiday scene but also emphasized the grandeur of the soda fountain at Famous Barr Co. The strategic placement of this artwork in a widely circulated magazine like The Saturday Evening Post helped propel a pivotal shift bringing Coca-Cola into the hearts and minds of consumers during the Christmas season.
From 1931 to 1964, Coca-Cola’s advertising campaigns depicted Santa engaged in various heartwarming activities — delivering toys, playing with them, pausing to read letters, and enjoying a Coke. Sundblom’s original oil paintings served as the foundation for Coca-Cola’s advertisements across various mediums, including magazines, store displays, billboards, posters, calendars, and plush dolls. Today, these items are highly sought-after collectibles.
While Sundblom created his final version of Santa Claus in 1964, Coca-Cola continued to feature images based on his original works for several decades. The enduring appeal of these paintings is evident in their status as prized pieces within the company’s art collection, showcased in prestigious exhibitions worldwide, including the Louvre in Paris, the Royal Ontario Museum in Toronto, the Museum of Science and Industry in Chicago, the Isetan Department Store in Tokyo, and the NK Department Store in Stockholm. Many of these original paintings are on display at the World of Coca-Cola museum in Atlanta, Georgia, serving to anchor Coca-Cola to the iconic Santa Claus.
In the initial stages, Sundblom crafted the image of Santa Claus with meticulous attention to detail. He began by using a live model, his friend Lou Prentiss, a retired salesman. However, when Prentiss passed away, Sundblom turned to a more unconventional muse — himself. He adopted the unique approach of painting Santa by observing his own reflection in a mirror. Subsequently, Sundblom transitioned to relying on photographs to capture the essence of St. Nick.
The widespread admiration for Sundblom’s Coca-Cola Santa images led to a close scrutiny by the public. Any subtle changes did not go unnoticed, prompting devoted fans to write letters to The Coca-Cola Company. Notable instances include one year when Santa’s prominent belt appeared backward, a potential consequence of Sundblom using a mirror for reference. Another year, the absence of Santa Claus’s wedding ring sparked inquiries from concerned enthusiasts about the well-being of Mrs. Claus.
The charming children featured alongside Santa in Sundblom’s paintings were inspired by his neighbors — two little girls. To add variety, he occasionally altered the gender of one of the children to include a boy in his festive scenes.
In Sundblom’s 1964 Santa Claus painting, the canine companion was not a generic creation but a real gray poodle belonging to the local florist. Sundblom, aiming for visual impact, decided to paint the dog with black fur to make it stand out in the holiday tableau, showcasing his keen artistic choices to enhance the overall composition.
In 1942, The Coca-Cola Company introduced a charming addition to its holiday advertising repertoire — the endearing “Sprite Boy.” Conceived by the artistic brilliance of Haddon Sundblom, Sprite Boy emerged as a delightful companion to the iconic Santa Claus, becoming a fixture in Coca-Cola’s festive campaigns during the 1940s and 1950s. This whimsical character, aptly named for his sprite-like qualities as an elf, played a pivotal role in adding a touch of magic and merriment to the seasonal celebrations depicted in Coca-Cola’s advertisements.
The creative genius of Sundblom, already renowned for his captivating portrayal of Santa Claus, extended seamlessly to the creation of Sprite Boy. The character’s presence alongside Santa added an extra layer of enchantment, capturing the hearts of audiences and contributing to the enduring legacy of Coca-Cola’s holiday imagery. Sundblom’s version of Coca-Cola’s Santa remains the most recognizable.
It’s fascinating to note that Sprite Boy’s name carries a historical resonance, signifying not only his elfin nature but also preluding the introduction of another iconic Coca-Cola beverage in the 1960s — the effervescent lemon-lime soft drink known as Sprite. This temporal connection underscores the company’s foresight in creating characters that resonate with the zeitgeist of their eras, anticipating the evolution of their product line while maintaining a nostalgic link to the past.
Beyond their advertising significance, the dynamic duo of Santa Claus and Sprite Boy symbolized more than just characters on a page; they became cultural touchstones, synonymous with the joy and camaraderie associated with the holiday season. The timeless appeal of Sprite Boy, dancing alongside Santa in Coca-Cola’s festive landscapes, speaks to the brand’s ability to weave narratives that transcend marketing and embed themselves in the collective consciousness.
This pairing of imaginative characters not only enhanced Coca-Cola’s brand identity during the mid-20th century but also contributed to the creation of enduring holiday traditions. The legacy of Sprite Boy lives on as a testament to the artistry and creativity that have defined Coca-Cola’s advertising history, solidifying the brand’s position as a storyteller capable of evoking warmth, nostalgia, and a sense of togetherness during the most wonderful time of the year.
Santa Claus in the Year 2001 in Video
In the year 2001, the timeless allure of Haddon Sundblom’s 1962 painting found a dynamic resurgence as the foundational inspiration for a captivating animated TV commercial featuring none other than the Coca-Cola Santa. This enchanting advertisement came to life under the creative prowess of Alexandre Petrov, an Academy Award-winning animator renowned for his exceptional storytelling through animation.
Petrov skillfully breathed new life into the classic Coca-Cola Santa, using Sundblom’s iconic imagery as the visual bedrock for a captivating narrative that unfolded on television screens around the world. The melding of traditional artwork with cutting-edge animation techniques not only paid homage to the historical legacy of Coca-Cola’s holiday campaigns but also ushered Santa Claus into the modern era with a delightful and engaging flair.
The resonance of Santa Claus in contemporary culture remains profound, transcending generational boundaries and capturing the hearts of both children and adults. Santa’s journey from the folkloric origins that date back centuries to the modern interpretation we witness today is a testament to the enduring power of storytelling and the human desire for festive joy and goodwill.
As a symbol of generosity, warmth, and the magic of giving, Santa Claus has etched a permanent mark on our collective consciousness. The animated Coca-Cola commercial in 2001 not only celebrated the legacy of this iconic Christmas figure but also showcased the ability of timeless traditions to seamlessly evolve and captivate audiences in innovative ways.
The story of Santa Claus, encapsulated in art and animation, serves as a bridge between the rich tapestry of folklore and the ever-evolving landscapes of contemporary celebration. Centuries-old tales brought to life by modern animators, Santa Claus endures as a universal symbol of the holiday spirit, embodying the joy, generosity, and togetherness that define the festive season for all.
Sources:
Clement Clark Moore’s timeless 1822 poem, “A Visit from St. Nicholas” (commonly known as “‘Twas the Night Before Christmas”). Possibly written by Major Henry Livingston, Jr.
A Visit from St. Nicholas
’Twas the night before Christmas, when all through the house
Not a creature was stirring, not even a mouse;
The stockings were hung by the chimney with care,
In hopes that St. Nicholas soon would be there;
The children were nestled all snug in their beds,
While visions of sugar-plums danced in their heads;
And mamma in her ’kerchief, and I in my cap,
Had just settled our brains for a long winter’s nap,
When out on the lawn there arose such a clatter,
I sprang from the bed to see what was the matter.
Away to the window I flew like a flash,
Tore open the shutters and threw up the sash.
The moon on the breast of the new-fallen snow
Gave the lustre of mid-day to objects below,
When, what to my wondering eyes should appear,
But a miniature sleigh, and eight tiny reindeer,
With a little old driver, so lively and quick,
I knew in a moment it must be St. Nick.
More rapid than eagles his coursers they came,
And he whistled, and shouted, and called them by name;
“Now, Dasher! now, Dancer! now, Prancer and Vixen!
On, Comet! on, Cupid! on, Donder and Blitzen!
To the top of the porch! to the top of the wall!
Now dash away! dash away! dash away all!”
As dry leaves that before the wild hurricane fly,
When they meet with an obstacle, mount to the sky;
So up to the house-top the coursers they flew,
With the sleigh full of Toys, and St. Nicholas too.
And then, in a twinkling, I heard on the roof
The prancing and pawing of each little hoof.
As I drew in my head, and was turning around,
Down the chimney St. Nicholas came with a bound.
He was dressed all in fur, from his head to his foot,
And his clothes were all tarnished with ashes and soot;
A bundle of Toys he had flung on his back,
And he looked like a peddler just opening his pack.
His eyes — how they twinkled! his dimples how merry!
His cheeks were like roses, his nose like a cherry!
His droll little mouth was drawn up like a bow
And the beard of his chin was as white as the snow;
The stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath;
He had a broad face and a little round belly,
That shook when he laughed, like a bowlful of jelly.
He was chubby and plump, a right jolly old elf,
And I laughed when I saw him, in spite of myself;
A wink of his eye and a twist of his head,
Soon gave me to know I had nothing to dread;
He spoke not a word, but went straight to his work,
And filled all the stockings; then turned with a jerk,
And laying his finger aside of his nose,
And giving a nod, up the chimney he rose;
He sprang to his sleigh, to his team gave a whistle,
And away they all flew like the down of a thistle,
But I heard him exclaim, ere he drove out of sight,
“Happy Christmas to all, and to all a good-night.”
P.S. AI version of the famous poem updated for 2023
TechnoTidings: A Visit from St. Nicholas version 2.0
’Twas the night in the digital realm, all devices at rest, Not a pixel was stirring, not even the best; The chargers were plugged by the outlets with care, In hopes that St. Nicholas soon would be there;
The techies were nestled all snug in their beds; While visions of code danced in their heads; And I with my laptop, and mamma with her app, Had just settled our brains for a long winter’s nap,
When out on the Wi-Fi there arose such a clatter, I sprang from my desk to see what was the matter. Away to the window, I flew like a flash, Unlocked my iPhone and opened the sash.
The glow of the screens on the gadgets below, Gave the illusion of midday, a digital show, When what to my wondering eyes did appear, But a high-tech sleigh and eight drones drawing near,
With a skilled old driver so lively and quick, I knew in a moment he must be St. Nick. More rapid than broadband, his coursers they came, And he whistled, and shouted, and called them by name:
“Now, Alexa! now, Siri! now, Google and Cortana! On, Bluetooth! on, Wi-Fi! on, Data and Banana! To the top of the cloud! to the top of the firewall! Now stream away! stream away! stream away all!”
Like data in cyberspace, they soared to the sky, With the sleigh full of gadgets, and St. Nicholas, oh my! And then, in a twinkling, I heard on the roof, The tapping and typing of each little hoof.
As I closed my MacBook and turned around, Down the smart chimney, St. Nicholas came with a bound. He was dressed in tech gear, from his head to his foot, And his clothes were all sleek, not a wrinkle or soot.
A bundle of gadgets he had flung on his back, And he looked like a hacker just opening his pack. His eyes — how they twinkled! his dimples, how merry! His cheeks were like touchscreens, his nose like a cherry!
His droll little mouth was drawn up like a bow, And the beard on his chin was as white as the snow; The stylus he held tight in his tech-savvy teeth, And the aura around him was pure digital sheath;
He had a broad face and a little round belly That beeped when he laughed, like a ringtone from telly. He was tech-savvy and smart, a right jolly old elf, And I laughed when I saw him, in spite of myself;
A wink of his eye and a tap on his head Soon gave me to know I had nothing to dread; He spoke not a word, but went straight to his work, And filled all the hard drives; then turned with a jerk,
And tapping his phone, with a swipe of his thumb, And giving a nod, up the chimney he’d come; He sprang to his sleigh, to his team gave a signal, And away they all flew, like the speed of a digital.
But I heard him exclaim, as he zipped out of sight — “Happy Christmas to all, and to all a good byte!”
