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Oliviero Toscani poses in front of his picture "Kissing Nun" on May 6, 2010 in Vienna. (Photo by DIETER NAGL / AFP)
Oliviero Toscani poses in front of his picture "Kissing Nun" on May 6, 2010 in Vienna. (Photo by DIETER NAGL / AFP)

Oliviero Toscani: the image of controversy

The renowned Italian-born photographer marked an era of photographic art and changed advertising forever.

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The passing of Oliviero Toscani on Monday, January 13 marks the end of an era for the world of photography and advertising. Renowned for his controversial advertising campaigns for the Italian brand Benetton, Toscani challenged all the principles of the activity, to adapt to new times that he understood well: it was the era of the advent of AIDS and anorexia, of the breaking of all limits.

The artist used his camera as an instrument of denunciation and provocation. However, his legacy is also marked by controversies that generated ethical and aesthetic debates in the industry.

Born on February 28, 1942 in Milan, Toscani grew up in a photographic environment thanks to his father, who worked for the newspaper Il Corriere della Sera. This context shaped his view of the image as a powerful and unrestricted narrative medium. Toscani did not seek to create "artistic photography," a concept he openly despised. For him, the true transcendence of an image lay in its ability to provoke reactions.

In 1983, Toscani began his collaboration with Benetton, a relationship that would last nearly four decades and transform both the brand and his own career. It was during this period that he developed his unique advertising approach, characterized by raw and provocative images that challenged traditional advertising norms.

Redefining Advertising

Toscani's advertising for Benetton did not directly promote clothing. Instead, he used the platform to address controversial social issues. Among his most memorable campaigns are:

- A black woman breastfeeding a white baby (1989), defying racial stereotypes.
- A man sick with AIDS on his deathbed (1992), which put a human face on an epidemic that marginalized and killed many people.
- A nun kissing a priest (1992), which questioned the limits of religion and sexuality.
- Portraits of death row inmates in the United States (2000), which generated controversy over capital punishment.
- The Image of an Anorexic Model (2007), which addressed eating disorders in the fashion industry.

These campaigns not only generated debates, but also faced censorship in several countries. The polarization they produced was, for Toscani, proof that his art was fulfilling its purpose: to discomfort and generate reflection.

Toscani's figure was always surrounded by controversy, both for his images and his statements. In 2020, his relationship with Benetton ended abruptly after insensitive comments about the collapse of the Morandi Bridge in Genoa, a tragedy that cost 43 lives. "Who cares about a bridge that collapses!" he declared in a radio interview, generating public outrage and leading the textile group to distance itself from him.

Despite trying to apologize and clarify that his words were taken out of context, the incident marked a turning point in his career. It was a sign of how his frontal and provocative style, which had been his greatest strength, could also be turned against him.

Toscani's work cannot be separated from his philosophy of life. He defended art as an "ethical, aesthetic and political choice", and rejected neutrality in commercial art. He stated many times that he only regretted the things he had not done.

His aversion to rules was also reflected in projects outside of conventional advertising. In 2012, for example, she presented a calendar showing images of male and female genitalia, provoking criticism but also highlighting her interest in the uncensored representation of the human body.

After announcing in 2024 that he was suffering from amyloidosis, an incurable disease, Toscani continued to work until the end. His death was greeted with messages of condolence and tribute, including a statement from Benetton that underlined the impact of his work: "To explain certain things, words are not enough. That's what you taught us.

Beyond nostalgia, his departure leaves open questions about the limits of art and advertising. While some consider him a visionary, others criticize his lack of sensitivity at certain moments. This debate, which accompanied his life, will probably continue to be part of his legacy.

Oliviero Toscani used advertising to explore and challenge taboos. His polarizing and provocative work redefined the boundaries of visual communication, making him a central figure in the debate about the role of art in social change. Although his style generated both admirers and detractors, his impact on the industry is undeniable, leaving a legacy that will continue to be analyzed and discussed. Peace in his grave.

With information from AFP

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