For decades, the cigarette starred in some of the most iconic images in popular culture. In the imagination of journalism, that reporter from the last century always reappears leaning over his typewriter, surrounded by wisps of smoke while writing an urgent chronicle. In television fiction, that scene evolved into Carrie Bradshaw typing on her Mac with a half-consumed cigarette butt in her New York apartment. And in the cinema, the cigarette was almost a visual code: from the dark seduction of Humphrey Bogart to the melancholic aura that enveloped so many classic characters. Smoke, more than an accessory, functioned as a symbol of charisma, mystery or vulnerability.
All of that seemed to be extinguished with the advance of anti-smoking laws. The terraces they cleared themselves of smokeHollywood moderated its use and audiovisual culture stopped associating the cigarette with glamour. The gesture was relegated to a stale past, linked to the strong smell of bars before the ban. But something unexpected has happened: the cigarette has returned. And it has done so hand in hand with the only sector capable of resurrecting what seemed forgotten: celebrities.
The visible return of the cigarette to pop culture. The warning signal came from the mecca of cinema. According to a report from the anti-smoking organization Truth Initiativehalf of the movies that debuted last year included cigarettes, cigars or tobacco. In addition, it detected a 110% increase in representations of tobacco in programs aimed at young people between 15 and 24 years old, and a quadrupling in the most viewed series. The figures confirm the obvious: the cigarette has regained prominence.
And, to give a couple of examples, it is being observed in music: Sabrina Carpenter appears in the video clip for Manchild smoking and posed for some photographs wearing a corset made from packets of Marlboro Gold. In cinema, films like Saltburn, Materialists or Oppenheimer They have returned tobacco to an almost omnipresent place. Fashion has not been an exception either, during New York Fashion Week, models they smoked on the catwalk as another accessory. And there is still something else, I couldn’t forget about social networks. The Instagram account @cigfluencerscreated in 2021, publishes images of celebrities smoking and has accumulated more than 80,000 followers.
The cigarette as a symbol? The most curious thing about this phenomenon is that it is not mass tobacco consumption that is returning, but rather its aesthetics. That nuance is essential to understand what is happening. The point is that the cigarette returns as part of the revival Y2K and aesthetics indie sleaze and heroin chicthat mix of grunge, decadent glamor and soft rebellion that dominated the 2000s and that today inspires fashion, music and social networks. In this framework, the cigarette functions as a retro accessory, a vintage gesture that provokes more visually than addictively.
This aesthetic dimension also operates as a narrative tool. In a report for The New York Times point out that the cigarette re-emerges as a symbolic resource on screen: Dakota Johnson smokes in Materialists to underline the emotional emptiness of his character; Jeremy Allen White, in The Bearuses smoke to intensify his melancholy; Sabrina Carpenter holds a makeshift mouthpiece in an ironic tone. According to the medium, the cigarette does not get in the way of the shot: it fills it with aura, drama and texture.
And the fundamental question, does it have attraction for young people? There is a component of minimal rebellion. According to the BBCsmoking functions as a gesture of light transgression within a generation accustomed to self-care, permanent surveillance and implicit norms of well-being. The aesthetics brat popularized by Charli XCX It combines hedonism, irony and a touch of nihilism: a perfect territory for the cigarette to recover its provocative role, more suggestive than dangerous.
Hence, the great paradox when observing the real behavior of Generation Z. While they watch celebrities smoke on screen, young people consume less and less substances. Already we have explained in Xataka how they are succeeding coffee raves —alcoholic-free daytime parties, where you dance with a cappuccino in hand—, and Tinder registers a boom in dry datingwith one in four young people preferring alcohol-free dating. In other words, cool aesthetics no longer have anything to do with actual habit.
Should we worry? The problem appears when cultural trends intersect with health data. The WHO remember that tobacco It kills more than seven million people a year and that there is no safe level of exposure. EPData confirms that its global consumption has fallen from 32.7% in 2000 to 22.3% in 2020, but institutions like the CDC —cited by Wall Street Journal— warn that repeated exposure to tobacco images increases the likelihood that young people will start smoking.
In fact, the BBC collected testimonies from American doctors who already observe cases of young people who, after normalizing vaping, have switched to cigarettes because “it gives more credibility” or is “more aesthetic.” Constant exposure to so-called “digital smoke”, pointed out by the Spanish Association Against Cancercan normalize a habit that seemed on the way to disappearing.
However, a study carried out by Action on Smoking and Health (ASH) showed that Tinder profiles of smokers receive between 29% and 52.7% less matches. Young people do not want to date someone who smokes, but they do want to consume – from a distance – the aesthetics of cigarettes on screens. The contradiction is clear: in the video clip it adds glamour; In real life, it reduces romantic interest.
Fad or cultural turn? Perhaps the cigarette has not completely returned: perhaps its ghost, its iconography, its gesture has returned. Aesthetics are back, not addiction. The smoke, not the habit. But while celebrities hold it up as if it were just another jewel in the photo, health organizations remember that tobacco continues to kill half of those who don’t quit. And although on the screen it is pure aesthetics, in real life it is still a tangible risk.
The cigarette, that old protagonist of classic cinema, today experiences its deepest contradiction: prohibited on terraces, glamorous on the big screen. Extinct in statistics, lit in the imagination. An icon that returns, not because it smokes, but because it still — in the middle of 2025 — photographs too well.
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