OLIVIERO TOSCANI & HIS CONTROVERSIAL WORK FOR BENETTON
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Nela Grigelova N0756979 Word count : 2619
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Ethics clause I confirm that this work has gained ethical approval and that we have faithfully observed the terms of approval in the conduct of this project. Signed ………………..…………..
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INTRODUCTION
Fig .1
The purpose of this essay is to examine the power and work of Oliviero Toscani and his most significant and thought-provoking shock- advertising campaigns while working as a creative director for Benetton from 1983 to 2000. I will attempt to de-construct and analyse used images from an artistic perspective and also, highlight the impact they had on the world of fashion marketing and advertising.
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WHY VISUAL LANDSCAPE ?
H
uman experience is now more visual and visualised than ever before, marked by the triumph of image and communication in
society. According to Gregory´s (1970) Visual Perception Theory: A lot of information reaches the eye, but much is lost by the time it reaches the brain. Therefore, as individuals are bombarded with images through magazines, billboards, television and social media on everyday basis, it subconsciously created a demand for goods and products that must be visually strong and significant. Key drivers could be the loss of uniqueness and realness in many productions of the advertising with aim of persuading the viewer to buy and consume. The media's images and messages become what they see as a soothing voice in a storm of conflict, confrontation and confusion (Thomsen,S.et al,2001). Visual landscape is important because it is forming cultural bodies, both at an individual and a collective level. Whether we are ever of it or not, visual landscape is found in every arena of our life.
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Fig.2
THE COMPANY
T
he story of the Benetton company began in 1965 a town in the marches of Treviso, when Giuliana , Gilberto , Carlo and Luciano Benetton opened a knitwear factory. This
little family run enterprise introduced the process known as ´dyeing in the piece´, instead of using coloured yarn, plain wool was employed, and the finished knit-wear items were then dyed according to fashion trends. The ability to change the colours made the business a remarkable success .(Pagnucco Salvemini,2002)
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Today the clothing and accessories company is active in 120 countries and 5500 stores including The United Colors of Benetton, the more fashion-orientated Sisley brand and the Fig.3 Benetton store in Paris
sportswear brands Playlife and Killer Loop.
Fig.4 Sisley store in Paris
Fig.5 Benetton store in Moscow
Fig.6 Benetton pop-up store in New York
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BENETTON BEFORE TOSCANI
B
efore Toscani joined the group in 1983, Benetton´s advertising seemed faithfully to follow the standards of traditional and conformist campaigns. Although, it already contained some ele-
ments of sociocultural customs on which Toscani would subsequently insist. The first campaigns promoted the company´s casual garments,whose prices were adapted to a mainly youthful target market , the photographs portrayed girls and boys wearing the company´s latest designs. Everything followed the principles of realism. Trained models with their attitudes and smiles forces to lay the role of beautiful, young and carefree people. All set in recognisable locations such as leaning tower of Pisa, white beaches, sea or parks. (Fig.7, Fig.8, Fig.9) , (Pagnucco Salvemini, 2002)
Fig.8
Fig.9
Fig.10
Fig.7
Fig.8
Fig.9
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“THE EYE OF THE PHOTOGRAPHER CRYSTALILIZES THE CYNICISM OF THE SCIENTIST WHO ACCEPTS REALITY,WITH THE IDEALISM OF THE HUMANIST,WHO DOES HIS BEST TO IMPROVE IT .”
Lorella,2002 :47).
(Pagnucco Salvemini,
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BENETTON-TOSCANI Fig.10
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PHENOMON
he collaboration between Oliviero Toscani and Luciano Benetton- a company owner, began ‘in a stable’, one winter night In 1983 (Pagnucco
Salvemini,2002). At this time , Oliviero Toscani was already a well-known photographer and a producer of successful advertising campaigns, mainly concentrated within a fashion industry, as can be seen in Fig.10, Fig.11 Fig.12, Fig.13
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Fig.11
Fig.12
Fig.13
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n terms of the company, they were going through a strongly expansionist time, consolidating its position in Italy and planning to expand internationally. To achieve a success, the change had to be done by ad-
vertising in the first place to emphasize the new status of the company.
The first cycle of campaigns for Benetton by Toscani came out in 1984.(Pagnucco Salvemini, 2002) In Fig.14 and Fig.15 , the references behind images such as youth and happiness remained, as they were key elements of the company´s previous advertisings. However, the countryside locations were now replaced by white backgrounds.
The connotation of the white background used by Toscani was purely functional, with no reference to a location with a reinforcing the utility of clothes at any moment and place. The clothes were coloured, but so the skins of those wearing them, models of all races with addition of the slogan: �All the colours of the world�. Fig.14
This idea was universally strong, because it stands for united races and united world. (Pagnucco Salvemini ,2002). Later on, the company decided to accept the slogan as its logo.(Fig.16). The green rectangle with a white inscription United Colours of Benetton always attached to the edge of the advertisements, used more like a signature of the artist rather than a commercial logo. It became the only feature in the United Colors campaigns to
Fig.15
link the advertisements with the product and the manufacturer. (Mudrock, n.d.)
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Toscani reproach the advertising that was socially useless. He accused a so-called "life-style-advertising", of being dull and unimaginative, creating and portraying an ideal world that does not exist. (Pagnucco Salvemini, 2002)
Instead, he raised a new and intriguing question
about the fate of advertising: “Can marketing and the
enormous power of advertising budgets be used to
Fig.16
establish a dialogue with consumers that focuses on something other than a company’s products? Where was it written that advertising could only portray the absence of conflict and pain?” (Tymorek, 2010) Toscani had grown up with an influence of fashion photographers such as Richard Avedon and Helmut Newton, but he did not allow himself to be trapped in the sparkling world of the catwalk at all.(Pagnucco Salvemini, 2002)
Fig.17
Fig.18
By contrast, he preferred to use people of natural appearance, neither beautiful or ugly, as shown in his ad from 1991, Fig.18 Two young women – one white and one black, wrapped in the blanket of symbolic Benetton´s green colour, holding an Asian baby.There is a typical message of unity.Also, the image subtlety forces the viewer to rethink any prejudices against any homosexual stereotypes or restrictions in terms of interracial love or the issue of adopting.
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Fig.19
Fig.20
Fig.22 Fig.21
In another advertisement of that time, (Fig.19, Fig.20, Fig.21, Fig. 22) he concentrated mainly on anatomical details, with a special attention to hands, the sole enormous protagonist in several campaigns. (Pagnucco Salvemini, 2002) Fig.22
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A
FOCUSED ON LOVE
ccording to Duffy (2017): the poster from the autumn/winter 1991 campaign (Fig.23) was considered one of Benetton´s most controversial. A priest and a nun. Both young and beautiful, brushed their
lips together in a not-so-platonic kiss of love. Although the tone of the scene is pure and intimate, it tenderly attacks the basic values of Catholicism and challenges the principles of religious celibacy. (Selwyn-Holmes 2009) The romantic atmosphere of the shot is enhanced by the couple´s closed eyes and lack of physical contact, except the aerial touch of lips.
The advertisement was greeted with usual harsh objections from Catholic church and censorship in Italy, the opposite reaction happened in Britain where the poster won the ´Eurobest Award. Rather than discouraging Toscani, the censorship stimulated his ideas of Catholic hypocrisy, taboos and touching debatable topics in order to stir the emotions of the public.(Pagnucco Salvemini, Lorella,2002).
Fig.23
Worth mentioning is that Benetton used a similar concept in 2011 (Toscani was no longer part of the company) in their UNHATE campaign,as shown in the following page (Fig.24, Fig.25, Fig 26, Fig. 27) ,where kiss became a central theme. The universal symbol of love, between world political and religious leaders, such as Barack Obama and Chinese leader Hu Jintao; Pope Benedict XVI and Ahmed Mohamed el-Tayeb or Angela Merkel and Nicolas Sarkozy. The images connote a touch of ironic hope and constructive provocation. The campaign's purpose simply exists to point out on how politics, faith and ideas, even when they are divergent and mutually opposed, must still lead to dialogue and negotiation. (Benettongroup.
com,2011)
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Fig.24
Fig.25
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Fig.26
Fig.27
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THE POWER OF 1992
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992 proved to be a highly innovative period in Benetton´s advertising. Oliviero Toscani brought a pivotal change in the direction of extreme realism.
The public was waiting for new advertisements, curious about the subjects that the brand could promote. Shock advertising was proved as a key driver of their marketing strategy. It is interesting to consider how an absolutely extraordinary idea of recycling and using photographs made for the exclusive use of journalism came to Oliviero Toscani. Especially the ones focusing on misery, suffering, desolation and death- one of the strongest taboos in our neurotically lively society. So where were these ideas coming from? Toscani´s brutal realism and cohesion between art and politics was very much inspired by the work of king of Pop-Andy Warhol. Basically, for a certain of time production of both men was similar in terms of using the same chilling reportage of bloody events that seriously offended public opinion: suicide, accidents or murder. (Pagnucco Salvemini, 2002)
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Fig.28
For instance: In Fig.28 and Fig.29 Warhol´s ecological concern against the poisoning of food versus Toscani who goes beyond the food itself, to concerns for environmental catastrophes in general. Fig.29
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Fig.30
Fig.31
Blue Electric Chair (1963) and Big Electric Chair (1967) have the same luminosity as the electric chair photographed by Lucinda Devlin,which concluded 1992 campaign.
Fig.32
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The foreground of fire and flame in Burning cars (1963) by the Warhol is paralleled by the burning car photograph from 1992.
Fig.33
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Fig.34
Fig.35
The Gangster Funeral dating from 1963 is repeated, acts almost like a flashback in the scene of the Mafia member assassinated in a Sicily, used in the spring summer campaign. (Pagnucco Salvemini, 2002)
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THE FACE OF AIDS
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n the eventful year of 1992, Benetton ventured into controversial territory in with the publication of “Pieta”, a photographic expose of the reality of AIDS. The photo of AIDS activist David Kirby taken by Therese Frare, in his room in the Ohio State University Hospital in May 1990, with his father, sister and niece at his bedside. (Fig.36)
According to Branding.news. (2017) Oliviero Toscani saw the true value of the picture, but he considered the image’s lack of colours to be a huge problem. Inspired by the fact that colours give a more realistic touch to a picture, the creative team decided to paint the whole scene to raise the shock value. Toscani put up posters all over the world to fight and cease an isolation of the suffering from AIDS. He desired a picture to speak for itself, to not weaken nor sooth its message.
He called the picture of David Kirby and his family “La Pieta” because he saw a strong resemblance to a Michelangelo’s Pieta. (Fig.37) To this day the ad has a divisive effect on its audience. The advertisement won the European Art Director Club award for the best 1991 campaign.In 2003 the photo was included in the Life magazine collection ‘100 Photos that changed the world’. But, there were once again many negative reactions too. The Catholic Church thought the brand was mocking the historical image of Virgin Mary holding Jesus Christ in her arms. the heart-breaking image enraged both AIDS and gay activists, who called for a boycott of the brand. They were furious about the fact that the company used death and grief to sell its garments.(Macleod,2007)
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Fig.36
Fig.37
Toscani added: ” Michelangelo’s Pieta might be fake, Jesus Christ may never have existed. But we know this death happened. This is the real thing.” (Macleod, 2007)
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Fig.38
The image of Kirby is quite graphic and beyond powerful. His wrists are frighteningly thin, his cheeks are hollow, and his eyes are glazed over. Kirby’s father’s grief is very visible through his body language, as he leans over his son’s face, helpless and exhausted. The volumetric contrast between abominable obesity of the parents with the almost skeletal body of the sufferer cannot be overlooked.
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In the gloomy atmosphere of the room, the sacredness and mystery of the event that is death seems to be reflected in the hand of a priest. This hand stretches towards a dying man, while behind the bed is a picture of Jesus with his arms outstretched as if welcoming the tormented David. (Pagnucco Salvemini, Lorella,2002). It juxtaposes human suffering and promotional culture so as to invite the viewer to make others aware of the terrible virus. “BENETTON DIDN’T USE US, OR EXPLOIT US. WE USED THEM. BECAUSE OF THEM, [THERESE’S] PHOTO WAS SEEN ALL OVER THE WORLD, AND THAT’S EXACTLY WHAT DAVID WANTED,” CONCLUDED BILL KIRBY, THE ACTIVIST’S FATHER. (TEAM, 2017) While some could argue that this controversy surrounding the advert would damage the Benettons' brand image , paradoxically the revenues in 1992 rose by 11.8 percent, to $1.8 billion(NYtimes.com, 1992)
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Fig.39
For another 8 years, Toscani´s work continued to follow the established ethos of challenging social norms and using shocking images to champion issues and prejudices that affect humanity. Although endless arguments, censorship and drop in sales played a decisive part in reassessing the traditional provocative spirit of a campaign. (Pagnucco Salvemini, 2002) As shown in Fig.39 the image has a powerful message of isolation and to show how people are now being manipulated by television. But in contrast to the previous campaigns, the tone of it is very neutral, suggesting that the objective was to protect the company from criticism. Other examples include the one of a black hand holding a few grains of rice (Fig.40), the poster showing a wooden spoon designed for the FAO World FOOD Summit. (Fig.41) or a little boy holding a dark-skinned infant.(Fig.42)
Fig.40
Fig.41 Fig.42
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That's the point, people get shocked because they aren't really civilized yet, because they don't want to belong or face the problem of civilization. Maybe it's the duty of the photographer to shock them, bringing in front of them something that they probably don't want to look at. Oliviero Toscani,2010
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Sentenced without words T
he culmination of Toscani’s work for Benetton was the 2000 campaign, which featured photographs of 26 condemned men in the different US states. Their faces were appearing on billboards and magazine ads across the world with the words "Sentenced to death," in bold letters above their portraits. The clothing company also produced a self-contained, 96-page publication called "We, on Death Row," in which the inmates also are interviewed.(Muwakkil, 2000). Because it was so specific and focused on one country, the campaign obviously generated much more controversy in the U.S. This affected Benetton by losing a contract with the American store chain Sears and to Toscani’s departure from the company.(Mudrock, n.d.) Did not he realize the dramatic effect the exhibition would have? As can be seen in Fig.43,Fig.44 and Fig.45 ,the images disturb the viewer, they force to make an eye contact, to look the convicted in the eye. Makes them question the ideas of both justice and injustice. Did the men deserve this faith? Why are they sentenced to death?
Fig.43
Fig.44
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Either way, the tradition of Benetton´s advertising philosophy, not to advertise any product remained. Toscani´s “nail in the coffin” campaign raised a massive bar of controversy, Luciano Benetton stood by his artist’s side until it started to have a negative impact on his business. This is a reminder of the cold realities of the consumer culture, that ultimately the sales figures are what matters the most. Mudrock, G. (n.d.)
Fig.45
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Oli
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ca n
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Fig.46
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CONCLUSION F
rom its early beginnings in 1965, Benneton’s marketing strategy was to challenge social norms to champion issues that affect humanity. From images of the Pope
kissing Ahmed el-Tayeb, to a picture of an HIV-positive patient dying in a hospital.
Benneton’s campaigns whipped up controversy and placed the brand front and centre in the public eye. (Mortimer,2016). Toscani together with Benetton revolutionized advertising, because it proved that fashion business can grow together with social commitment, competitiveness, care for the environment and still generate considerable profit. He collapsed the boundaries between the lurid fantasies that promote consumption and those visions that compel social responsibility. That is exactly the what distinguishes him among other representatives of this kind of advertising. His approach to fashion marketing by using shocking and exclusive imagery could impulse people to rethink on the topic and to take a necessary postive action towards the issue. The brand can be seen as either very cunning in its advertising operations, making profits out of other people’s suffering and gaining free publicity in newspaper stories and television or it can be viewed as a company with a conscience.Perhaps in the future, social issues will become a more common theme in advertising, as fashion companies would want to appear more sustainable and aware by creating influential and eye-catching pictures, with a unique way of conveying the message. That could be seen as step forward in discussing important social issues in the global village of the 21st century. (Mudrock, G. (n.d.)
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REFERENCES
• Benettongroup.com. (2011). UNHATE worldwide campaign. [online] Available at: http://www.benettongroup.com/ media-press/press-releases-and-statements/unhate-worldwide-campaign/ [Accessed 2 Mar. 2018]. • Duffy, E. (2017). Benetton's Most Controversial Campaigns. [online] Vogue.co.uk. Available at: http://www.vogue. co.uk/gallery/benettons-best-advertising-campaigns [Accessed 4 Mar. 2018]. • Gregory, R. (1970). The Intelligent Eye. London: Weidenfeld and Nicolson. • Macleod, D. (2007). Benetton Pieta in AIDS campaign. [online] The Inspiration Room. Available at: http://theinspirationroom.com/daily/2007/benetton-pieta-in-aids-campaign/ [Accessed 22 Feb. 2018]. • Mudrock, G. (n.d.). Advertising and society. [online], pp.1-3. • Muwakkil, S. (2000). Benetton Takes Aim At Capital Punishment. [online] tribunedigital-chicagotribune. Available at: http://articles.chicagotribune.com/2000-01-31/news/0001310006_1_oliviero-toscani-benetton-death-row [Accessed 24 Feb. 2018]. • Pagnucco Salvemini, L. (2002). The Benetton campaigns. London: Scriptum. •A quote by Oliviero Toscani, Pagnucco Salvemini, L. (2002). The Benetton campaigns. London: Scriptum, p.47. • Pagnucco Salvemini, L. (2002). The Benetton campaigns. London: Scriptum, p.88-89. • Selwyn-Holmes, A. (2009). Kissing nun. [Blog] Iconic Photos. Available at: https://iconicphotos.wordpress. com/2009/06/05/kissing-nun/ [Accessed 4 Mar. 2018]. •A quote by Bill Kirby ,Branding.news. (2017). #TBT: Discover Benetton's Controversial AIDS Ad. [online] Branding. news. Available at: http://www.branding.news/2017/05/25/tbt-discover-benettons-controversial-aids-ad/ [Accessed 22 Feb. 2018] • Thomsen, S., McCoy, J. and Williams, M. (2001). Internalizing the Impossible: Anorexic Outpatients' Experiences with Women's Beauty and Fashion Magazines. Eating Disorders, 9(1), pp.49-64. • Toscani, O. (2010) Interviewed by Rosie Tomkins for CNN, 19 August. Available at http://edition.cnn.com/2010/ WORLD/europe/08/13/oliviero.toscani/index.html [Accessed 2 Mar. 2018] • Tymorek, S. (2010). Advertising and public relations. New York: Ferguson Publishing, p.20.
ILLUSTRATIONS
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Fig. 1 Benetton Fall-Winter Campaign. (2012). [image] Available at: http://www.designscene.net/wp-content/gallery/112012/benetton-fall-winter-2012-08.jpg [Accessed 4 Mar. 2018]. Fig.2 Treviso. (n.d.). [image] Available at: http://file.mahalo.cz/2016/01/Treviso.jpg [Accessed 4 Mar. 2018]. -https://rhizome.org/static-media/bloFg/be9f1654-247b-4fde-8f 75-d522b0377ec5.jpg 1982 Fig.3 Benetton store in Paris [image] ; Available at : http://www.benettongroup.com/wp-content/uploads/download.php?file=2015/06/event_paris_presentation_20.jpg[Accessed 27 February 2018]. Fig.4 Sisley store in Paris [image] ; Available at : http://cdn-image.travelandleisure.com/sites/default/files/ styles/marquee_large_2x/public/1445292988/LV1015-sisley-paris.jpg?itok=72ie-FBG;[Accessed 27 February 2018]. Fig.5 Benetton store in Moscow [image]; Available at:https://www.wgsn.com/blogs/benetton-opens-conceptstore-in-moscow/# [Accessed 27 February 2018]. Fig.6 Benetton’s pop-up store in New York [image]; Available at :http://retaildesignblog.net/wp-content/uploads/2013/05/The-Art-of-Knit-by-United-Colors-of-Benetton-New-York-15.jpg [Accessed 27 February 2018]. Fig.7 Benetton (1978). Jeans West campaign. [image] Available at: http://static.benettongroup.com/wp-content/ themes/benettongroup/slider-history/images/1978/pubblicita.jpg [Accessed 27 Feb. 2018]. Fig.8 Benetton (1969). Benetton Campaign. [image] Available at: https://elleit.h-cdn.co/assets/15/37/original/ original--united-colors-of-benetton-compie-50-anni-e-li-celebra-con-4-nuove-collezioni-per-l-inverno-2015jpg.jpg [Accessed 27 Feb. 2018]. Fig.9 Benetton (1969). Benetton Campaign. [image] Available at: https://i.ebayimg.com/images/g/c~QAAOxy66pRrI7K/s-l500.jpg [Accessed 27 Feb. 2018]. Fig.10 Toscani, O. (1970). Vogue Cover 1970. [image] Available at: https://i.pinimg.com/originals/9c/ef/3b/9cef3bfc59cd8badf52ecf78c41757cb.jpg [Accessed 27 Feb. 2018]. Fig. 11 Toscani, O. (1970). The Passion. [image] Available at: https://emmapeelpants.wordpress.com/2011/07/17/ inspirational-images-the-passion-by-oliviero-toscani/ [Accessed 27 Feb. 2018]. Fig. 12 Toscani, O. (1973). Donna Jordan in 'Buffalo 70' advertising campaign. [image] Available at: https://i.pinimg.com/564x/e3/10/e1/e310e1fa2c3dc8fe87171bbe81e884d3.jpg[Accessed 27 Feb. 2018]. Fig.13 Toscani, O. (1974). Andy Warhol with camera. [image] Available at: https://i.pinimg.com/564x /06/8f/3c/068f3ccf42c048ddd2b25fb4b9a4e97b.jpg [Accessed 27 Feb. 2018]. Fig.14 Toscani, O. (1984). Benetton Children’s story campaign. [image] Available at: https://i.pinimg.com/564x/ e3/10/e1/e310e1fa2c3dc8fe87171bbe81e884d3.jpg[Accessed 27 Feb. 2018]. Fig.15 Toscani, O. (1984). All the colours of the world, Benetton campaign [image] Available at: https://nuancedaniela.files.wordpress.com/2014/06/benetton-1984-3.jpg [Accessed 27 Feb. 2018]. Fig,.16 Benetton logo . [image] Available at: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSliMLBrknm0wMvRo_qSGXtt55k4uO5ByZfy9Z99HK-CVFBjvsZ. [Accessed 27 Feb. 2018].
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ILLUSTRATIONS
Fig.17 . Toscani, O.(n.d). Benetton campaign [image] Available at: http://www.centrocommercialegransasso.it/ media/negozi/018.jpg. [Accessed 27 Feb. 2018]. Fig.18 Toscani, O. (1990), A white woman, black woman and Asian baby wrapped up together in a blanket,Benetton campaign [image] Available at: http://cdn.vanityfair.mx/uploads/images/thumbs/mx/vf/2/s/2016/24/ las_fotografias_de_moda_mas_polemicas_caso_benetton_calvin_kelin__543250505_640x482.jpg. [Accessed 27 Feb. 2018]. Fig.19 Toscani, O .(1992) A Liberian soldier with a kalashnikov and with a bone, , Benetton campaign [image] Available at : https://s-media-cache-ak0.pinimg.com/originals/b7/b9/8f/b7b98fda4b86f21ff82f68dbf17d64ca. jpg [Accessed 27 Feb. 2018]. Fig. 20 Toscani, O. (1990) Colourful marbles, Benetton campaign [image] Available at : https://luisaluquecosialls.files.wordpress.com/2015/07/captura-de-pantalla-2015-07-26-a-las-20-57-26.png. [Accessed 27 Feb. 2018]. Fig.21 Toscani, O .(1989). Benetton campaign [image] Available at: http://www.posterpage.ch/div/news10/p230221s.jpg [Accessed 27 Feb. 2018]. Fig. 22 Toscani, O . (1989) Flowers in the hand, Benetton campaign [image] Available at : https://s-mediacache-ak0.pinimg.com/originals/81/80/0f/81800fba258f28ba8f64c2ad474cd468.jpg . [Accessed 27 Feb. 2018]. Fig.23 Toscani, O .(1991 ). Kissing-nun, , Benetton campaign [image] Available at: https://iconicphotos.files.wordpress.com/2009/06/2602.jpg?w=700&h=500 .[Accessed 27 Feb. 2018]. Fig.24 Benetton (2011). Benetton UNHATE campaign. [image] Available at: http://media-assets-03.thedrum.com/ cache/images/thedrum-prod/public-drum_basic_article-92426-main_images-unhate01_0--2x1--818.jpg [Accessed 28 Feb. 2018]. Fig.25 Benetton (2011). Benetton UNHATE campaign. [image] Available at: http://www.weareneo.com/wp-content/uploads/2012/05/166-thumb.jpg [Accessed 28 Feb. 2018]. Fig.26 Benetton (2011). Benetton UNHATE campaign. [image] Available at: https://encrypted-tbn0.gstatic.com/ images?q=tbn:ANd9GcRDWc41xMIu1iVhdL-sujVuZ0vfc8mFlAyuJs12ps3swe4ep9v1 [Accessed 28 Feb. 2018]. Fig.27 Benetton (2011). Benetton UNHATE campaign. [image] Available at: http://ris.fashion.telegraph.co.uk/RichImageService.svc/imagecontent/1/TMG8896097/m/benetton-merkel_2057924a.jpg [Accessed 28 Feb. 2018]. Fig.28 Toscani.O, (1992) Oil polluted cormorant, Benetton campaign [image] Available at : http://2.bp.blogspot. com/-sZNFUo-hFbc/UFoTiG3nPvI/AAAAAAAABag/03LuzBvlmyo/s1600/pato.jpg [Accessed 28 Feb. 2018]. Fig.29 Warhol. A, (1963) Tunafish Disaster [image] Available at : https://walker-web.imgix.net/cms/36346002. jpg?auto=format,compress&w=1920&h=1200&fit=max [Accessed 28 Feb. 2018]. Fig.30 Warhol.A , (1967) ,Big Electric Chair [image] Available at : https://s-media-cache-ak0.pinimg.com/originals/96/99/6f/96996f103571b91a3255521560a31d13.jpg [Accessed 28 Feb. 2018]. Fig.31 Toscani .O , (1992) , Electric Chair, Benetton campaign [image] Available at : http://www.luminous-lint. com/imagevault/html_7001_7500/7242_std.jpg . [Accessed 28 Feb. 2018].
ILLUSTRATIONS
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Fig.32 Warhol.A , (1963) , Green Car Crash (Green Burning Car I) [image] Available at : http://s3.amazonaws. com/coursera-uploads/user-11a072861dca7585013e5f0f/971405/asst-3/1ae7bad0e3ef11e3be085fbf3f1d7cc7.jpg. [Accessed 28 Feb. 2018]. Fig.33 Fig.32 Toscani. O, (1992) Burning Car,Benetton campaign [image] Available at : https://i.pinimg. com/564x/08/19/32/081932c3c75f498ff219667a380face4--fame-commercial.jpg. [Accessed 28 Feb. 2018]. Fig.34 Warhol.A ,(1963) Gangster Funeral Disaster [image] Available at : http://archive.printeresting.org/ wp-content/uploads/2011/04/012_warholfuneral.jpg [Accessed 28 Feb. 2018]. Fig.35 Toscani.O, (1992) Mafia killing, Benetton Campaign [image] Available at : http://collections.lesartsdecoratifs.fr/sites/default/files/styles/node/public/2a1adb5a-3798-4829-a344-ba5000a83b37.jpg [Accessed 28 Feb. 2018]. Fig.36 Frare, T. (1990). The face of AIDS. [image] Available at: http://www.branding.news/wp-content/uploads/2017/05/TBT-Discover-Benettons-controversial-AIDS-ad-690x409.jpg [Accessed 2 Mar. 2018]. Fig.37 PietĂ . (2008). [image] Available at: https://100swallows.files.wordpress.com/2008/03/painting1.jpg [Accessed 2 Mar. 2018]. Fig.38 Toscani.O, (1992). Pieta,Benetton campaign. [image] Available at: 37 https://s3-eu-west-1.amazonaws. com/vam-blog/wp-content/uploads/2013GT7707_8212018e0a92c79380011129f41977bf.jpg [Accessed 3 Mar. 2018]. Fig.39 Toscani.O, (1995) Antennes,Benetton campaign. [image] Available athttp://www.pubenstock.com/ wp-content/uploads/2012/08/Benetton-1995-Antennes.jpg [Accessed 3 Mar. 2018]. Fig.40 Toscani.O, (1997) , Hand holding a rice, Benetton campaign . [image] Available at: https://s-mediacache-ak0.pinimg.com/564x/36/e3/82/36e382ec8bafb16c39a249d710c36ce1.jpg . [Accessed 3 Mar. 2018]. Fig.41 Toscani.O (1996) , Food for life, Benetton campaign.[image] Available at: http://www.pubenstock.com/ wp-content/uploads/2012/08/benetton-1996-FoodForLife.jpg . [Accessed 3 Mar. 2018]. Fig.42 Toscani.O,(1999), An Enfant,Benetton campaign . [image] Available at :https://i.pinimg.com/474x/ a4/7a/8d/a47a8d3dd2cf55266f777a15a5afad51--advertising-poster-benetton-advertising.jpg . [Accessed 3 Mar. 2018]. Fig.43 Toscani. O, (2000), Death row, Benetton campaign. . [image] Available at :http://news.bbc.co.uk/ olmedia/610000/images/_611979_death_150.jpg . [Accessed 3 Mar. 2018]. Fig.45 Toscani. O, (2000), Death row, Benetton campaign. [image] Available at: https://bzzzz.files.wordpress. com/2007/10/prisonnier3.jpg. [Accessed 3 Mar. 2018]. Fig.46 Oliviero Toscani. (n.d.). [image] Available at: https://assets.vogue.com/photos/5891484697a3db337a2495ce/master/w_1320,c_limit/oliviero-toscani-2.jpg [Accessed 4 Mar. 2018].
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BIBLIOGRAPHY BOOKS:
• Gregory, R. (1970). The Intelligent Eye. London: Weidenfeld and Nicolson. • Pagnucco Salvemini, L. (2002). The Benetton campaigns. London: Scriptum. • Thomsen, S., McCoy, J. and Williams, M. (2001). Internalizing the Impossible: Anorexic Outpatients’ Experiences with Women’s Beauty and Fashion Magazines. Eating Disorders, 9(1) • Tymorek, S. (2010). Advertising and public relations. New York: Ferguson Publishing
BLOGS:
• Fanguy, W. (n.d.). Seeing is Believing: 5 Studies about Visual Information Processing. [Blog] Piktochart. Available at: https://piktochart.com/blog/5-psychology-studies-that-tell-us-how-people-perceive-visual-information/ [Accessed 4 Mar. 2018]. • Mio, C. (2017). Why We All Need To Be “Orange.” [Blog] HuffPost UK. Available at: http://www.huffingtonpost.co.uk/chiara-mio/why-we-all-need-to-be-ora_b_13369980.html [Accessed 4 Mar. 2018]. • Selwyn-Holmes, A. (2009). Kissing nun. [Blog] Iconic Photos. Available at: https://iconicphotos.wordpress. com/2009/06/05/kissing-nun/ [Accessed 4 Mar. 2018].
WEBSITES:
• Alistgator. (2012). Top 10 Controversial United Colors of Benetton Ads. [online] Available at: http://www.alistgator. com/top-ten-controversial-united-colors-of-benetton-ads/2/ [Accessed 4 Mar. 2018]. • Benettongroup.com. (n.d.). Benetton Group - Company Approach. [online] Available at: http://www.benettongroup. com/sustainability/company-approach/ [Accessed 4 Mar. 2018]. • Benettongroup.com. (2011). UNHATE worldwide campaign. [online] Available at: http://www.benettongroup.com/media-press/press-releases-and-statements/unhate-worldwide-campaign/ [Accessed 2 Mar. 2018]. • Branding.news. (2017). #TBT: Discover Benetton’s Controversial AIDS Ad. [online] Available at: http://www.branding. news/2017/05/25/tbt-discover-benettons-controversial-aids-ad/ [Accessed 22 Feb. 2018] • Carroll, R. (2000). Shock tactics that finally backfired. [online] the Guardian. Available at: https://www.theguardian. com/world/2000/apr/30/rorycarroll.theobserver [Accessed 4 Mar. 2018]. • Decarolis, D. (2015). United Colors of Benetton compie 50 anni e li celebra con 4 nuove collezioni per l’inverno 2015. [online] Elle.it. Available at: http://www.elle.it/shopping/news/g1252543/moda-benetton-compie-50-anni-lancia-4-collezioni-inverno-2015/ [Accessed 4 Mar. 2018]. • Duffy, E. (2017). Benetton’s Most Controversial Campaigns. [online] Vogue.co.uk. Available at: http://www.vogue.co.uk/ gallery/benettons-best-advertising-campaigns [Accessed 4 Mar. 2018]. •HuffPost. (2016). Benetton ‘Unhate’ Campaign, Featuring World Leaders Kissing, Wins Cannes Ad Festival Award. [online] Available at: https://www.huffingtonpost.com/2012/06/20/benetton-unhate-campaign-cannes-ad-festival-award_n_1613757.html [Accessed 4 Mar. 2018].
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• Macleod, D. (2007). Benetton Pieta in AIDS campaign. [online] The Inspiration Room. Available at: http://theinspirationroom.com/daily/2007/benetton-pieta-in-aids-campaign/ [Accessed 22 Feb. 2018]. • Manning, E. (2015). how photographer oliviero toscani and benetton changed advertising. [online] I-d. Available at: https://i-d.vice.com/en_us/article/mbek5n/how-photographer-oliviero-toscani-and-benetton-changed-advertising [Accessed 4 Mar. 2018]. • Mezzofiore, G. (2011). Benetton: A History of Shocking Ad Campaigns [PICTURES]. [online] International Business Times UK. Available at: http://www.ibtimes.co.uk/benetton-history-shocking-ad-campaigns-pictures-252087 [Accessed 4 Mar. 2018]. • Mortimer, N. (2016). How Benetton moved from shockvertising to be ‘never shocking’. [online] The Drum. Available at: http://www.thedrum.com/news/2016/07/27/how-benetton-moved-shockvertising-be-never-shocking [Accessed 4 Mar. 2018]. • Mudrock, G. (n.d.). Advertising and Society. [online] Ncadjarmstrong.com. Available at: http://ncadjarmstrong. com/year-2-media-and-the-body/benetton-advertising-and.doc [Accessed 5 Mar. 2018]. • Muwakkil, S. (2000). Benetton Takes Aim At Capital Punishment. [online] tribunedigital-chicagotribune. Available at: http://articles.chicagotribune.com/2000-01-31/news/0001310006_1_oliviero-toscani-benetton-death-row [Accessed 24 Feb. 2018]. • Natividad, A. (2017). Oliviero Toscani, Master Provocateur, Returns to Benetton. And Not a Moment Too Soon. [online] Adweek.com. Available at: http://www.adweek.com/creativity/oliviero-toscani-master-provocateur-returns-to-benetton-and-not-a-moment-too-soon/ [Accessed 4 Mar. 2018]. • Rangaswami, A. (2014). Benetton does it again: shocking their way to the bank. [online] Firstpost. Available at: http://www.firstpost.com/business/benetton-does-it-again-shocking-their-way-to-the-bank-133452.html [Accessed 4 Mar. 2018]. • Steemit.com. (2016). The Effects Of Modern Day Advertising On 21St-Century Society. [online] Available at: https:// steemit.com/life/@psitorn/the-effects-of-modern-day-advertising-on-21st-century-society [Accessed 4 Mar. 2018]. • TheGuardian. (2011). Benetton's most controversial adverts. [online] Available at: https://www.theguardian.com/ fashion/gallery/2011/nov/17/benettons-most-controversial-adverts [Accessed 4 Mar. 2018]. • Toscani, O. (2010) Interviewed by Rosie Tomkins for CNN, 19 August. Available at http://edition.cnn.com/2010/ WORLD/europe/08/13/oliviero.toscani/index.html [Accessed 2 Mar. 2018] • Usborne, D. (2000). Benetton death row ads outrage America. [online] The Independent. Available at: http://www. independent.co.uk/news/world/americas/benetton-death-row-ads-outrage-america-279554.html [Accessed 4 Mar. 2018]