[1] In the 1980s, the brand enjoyed an increase in sales due to various advertising campaigns in cinemas and by offering the cigarettes to passengers of the Dutch airline company, KLM.

The Peter Stuyvesant Foundation was established in 1965 and has played a role in public policy and arts proposals, one of which was the City Sculpture Project in the United Kingdom.

This project, directed by the Arts Council of Great Britain, commissioned sculptures which were displayed across eight different cities in the UK, the funding for which was provided by the Peter Stuyvesant Foundation in an attempt to create publicity and engagement with the corporation.

The sculptures were envisioned to be new and made specifically for their locations, and after their stint of six months in the city-centres, were to be auctioned off to ‘city councils, industrial and commercial organisations or private citizens’, though none of them became permanent fixtures and multiple were vandalised or destroyed.

[8] When this 'experiment' proved to be a success, Orlow asked the then director of the Stedelijk Museum in Amsterdam to act as advisor for the expansion of the collection, which led to a rapid growth.

In time, this innovation became quite beloved and, as such, was broadened from the original thirteen artworks to include many more, expanding as well to the corporate offices of Turmac in Amsterdam.

After its displays at multiple Dutch museums, the collection went on a tour to Australia, France, Belgium and Canada, where art shows were organised in tandem with other cigarette production companies similar to Turmac, who each belonged to the International Tobacco consortium.

[16] The Zevenaar factory office has been granted the status of National Monument being one example of the building style "Het Nieuwe Bouwen" of the interwar period.

[17] In 2009, Imperial Tobacco Australia hosted a VIP party in a building owned by the South Australian state government, which funds anti-smoking campaigns, to promote its Peter Stuyvesant brand.

Senator Nick Xenophon described the cigarette industry as "parasitic" and urged the government to cancel the event, but the state Substance Abuse Minister Jane Lomax-Smith said she would not "interfere" with the party.

"While we are making life tougher for cigarette companies, we wouldn't interfere in the affairs of a legitimate business running a private function in a no-smoking venue," she said.

[18][19][20] In 2016, it was reported that Imperial Tobacco Australia was selling cut-price premium brand cigarettes imported from Ukraine in various Coles, IGA and Foodworks stores for as low as 20 Australian Dollars a packet.

A spokeswoman for Imperial Tobacco claimed the company had changed its country of import to provide cut-price cigarettes to the Australian market.

A spokeswoman for Imperial Tobacco denied the company was breaking the law before adding: "we are providing a fresher, premium product to consumers".

Court action under the plain packaging legislation could involve penalties of more than a million dollars imposed on the tobacco giant, but the Department chose to take what it called a "conciliatory" approach.

[22] Additionally, The cigarette brand released a limited-edition cigarette packaging which depicted the original Peter Stuyvesant design, but with its cover stripped away slightly, revealing the proposed new plain packaging design, a standardised font with an unappetising green colour, aimed at neutralising brand perception.Then health minister for Australia, Tanya Plibersek called this marketing campaign a ‘sick joke’ and responded, saying “diseased lungs, hearts and arteries and the reality of what is happening on the inside to a smoker,” referring to the new Peter Stuyvesant tagline.

This usually connotes an emphasis on modern design, favouring metallic colouring, rounded cornering and larger font to encourage a revival in younger markets.

In response to the Australian plain packaging laws, Peter Stuyvesant’s branding changed in order to compensate for new challenges in marketing.

Colour-coded cigarette products were created with the aim of lessening the perceived danger of smoking and providing a visual indicator for flavour, strength and aesthetic.

[25][26][24] Specific to Peter Stuyvesant was a new label named “Pop Refreshing Crushball” which aimed to create more inviting and friendly language.

[29][30][31] Australia's plain packaging laws lead to a significant decrease in the amount of variants sold and marketed in Australian supermarkets.