Satirical Trump billboards cover Tehran
Tehran Billboards Turn Trump Into the Central Figure of Iran’s Political Messaging
Thebangladaily.com – Large satirical advertisements targeting US President Donald Trump have appeared across Tehran, bringing Iran’s confrontation with the United States and Israel into some of the capital’s busiest public spaces. The displays, including installations near Valiasr Square, use striking imagery and short slogans to project official messages about regional pressure, military tensions and the Strait of Hormuz.
The campaign is government-funded and forms part of a long-running use of public billboards to communicate state-backed political narratives. In the latest designs, Trump is repeatedly presented as a symbol of US policy and as a highly recognisable figure through whom wider disputes can be framed for a domestic audience.
Strait of Hormuz at the Center of the Visual Campaign
One of the prominent designs was produced by the House of Designers studio. It portrays Trump with his mouth sewn shut, set against an image of the Strait of Hormuz. The narrow waterway has become a key point of tension between Tehran and Washington, making it a recurring subject in the city’s billboard messaging.
“At the breaking point.”
That slogan accompanies the image of Trump and the strategic strait. The visual combines political satire with a reference to one of the world’s most closely watched maritime passages. By placing the message on high-traffic routes, the campaign turns an international dispute into a visible feature of daily urban life in Tehran.
Another newly installed billboard depicts an Iranian soldier standing atop a US drone. It refers to the Islamic Revolutionary Guard Corps’ reported seizure of a drone in the Strait of Hormuz and carries a deliberately upbeat message:
“Business is going well.”
The phrase contrasts with the military subject of the image, using humour and confidence to suggest that Iran is maintaining the upper hand in its confrontation with Washington. The visual language across the campaign relies heavily on that combination of irony, symbolism and national strength.
Rapid Design Work Following Major Events
Mostafa Kafaei, 32, who manages the House of Designers studio, said the group moves quickly when significant developments emerge. A news-monitoring team works within one of Iran’s largest state media organisations, allowing the designers to follow breaking events and begin developing concepts without delay.
Once a major story captures public attention, the studio develops an idea and assigns graphic designers to produce a finished billboard. Kafaei said speed is the main priority. Teams of roughly eight people can complete a new design within a matter of days, enabling the campaign to respond while an event remains prominent in public discussion.
Photoshop remains the principal tool used for the work. The studio also employs artificial intelligence applications, including ChatGPT and Nano Banana, alongside conventional graphic-design methods. The use of these tools reflects the need to produce timely, visually forceful material for large-format displays.
Trump Presented Through Humour and Political Symbolism
Several of the designs use theatrical or comic scenarios to mock the US president. One billboard places Trump inside a magician’s box. He is shown holding a Coca-Cola and a hamburger while the accompanying slogan reads:
“Blink and you’re gone!”
The billboard alludes to an incident in Turkey in July in which Trump was reportedly transferred discreetly from Air Force One to another aircraft in a catering truck because of security concerns. The image transforms that episode into a broader political joke, portraying the president as vulnerable and easily removed from view.
Another display shows Trump underwater, reaching towards a dollar bill. It uses the words:
“Great victory! Strait of Hormuz.”
The billboard links financial symbolism with the maritime dispute, suggesting that US interests in the region are tied to power, trade and control of the waterway. Its satirical treatment places Trump at the centre of a larger argument about American influence in the Gulf.
Elsewhere, a mythical warrior stands amid stormy waters while US warships burn in the background. The slogan attached to that design is:
“Satan’s army will drown in the Arabian Gulf.”
The image adopts a more dramatic and ideological tone than the comic portrayals of Trump. Together, the billboards range from visual jokes to scenes of conflict and resistance, but all reinforce the same official message of defiance toward the United States and its allies.
Public Space as a Political Medium
In Tehran, billboards are more than commercial advertising surfaces. They are regularly used to display messages related to national politics, military issues and foreign policy. Their placement in crowded locations means they can reach commuters, shoppers and pedestrians throughout the day, while their scale gives the images an immediate impact.
The recurring focus on Trump reflects his role as both a political leader and a global media figure. Kafaei said the studio responds when Trump takes action in that media sphere, choosing an image and message intended to match the moment. His recognisability makes him an effective subject for designs that seek to address broader disputes without relying on lengthy explanations.
The recent campaign also demonstrates how rapidly public messaging can be adapted to international events. A development involving a drone, a security episode involving presidential travel or continued pressure around the Strait of Hormuz can be turned into a new visual statement within days.
For residents of Tehran, the billboards place geopolitical tensions directly in the cityscape. They present the United States and Israel as opposing forces while depicting Iran as resilient, prepared and capable of responding. Through satire, military imagery and symbolic references to the Gulf, the campaign turns international confrontation into a highly visible domestic message.
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