On January 13, 2025, the world bid farewell to Oliviero Toscani, a titan in the realm of advertising and photography, whose innovative and often controversial campaigns played a pivotal role in catapulting Italy's Benetton to global prominence. Toscani's death at the age of 82 marks the end of an era for a man who was not just a creative genius but also a social provocateur, using his lens to challenge societal norms and spark conversations on pressing issues.

Born on February 28, 1942, Toscani followed in his father's footsteps, pursuing a career in photography. His journey took him to Zurich for studies and eventually to the pages of fashion magazines, where he helped launch the careers of iconic models such as Monica Bellucci. However, it was his tenure as the creative director for Benetton in the 1980s that truly defined his legacy.

Toscani's approach to advertising was nothing short of revolutionary. He dared to place images that were stark, raw, and emotionally charged onto billboards across the globe. A dying AIDS patient, the blood-soaked clothes of a soldier killed in Bosnia— these were not the typical visuals one would expect from a clothing brand's advertising campaign. Yet, Toscani believed in the power of shock to capture attention and convey a message. His campaigns were not merely about selling clothes; they were about raising awareness and provoking thought.

The "United Colors of Benetton" logo became synonymous with diversity and unity, but it was Toscani's controversial imagery that truly brought it to life. He used the brand's platform to highlight social issues, from the ravages of disease to the horrors of war. His work was a stark contrast to the conventional advertising of the time, which often relied on superficial promises of beauty, power, and success. Toscani rejected this notion, stating in a 2017 interview, "I exploit clothing to raise social issues. Traditional advertising says if you buy a certain product you will be beautiful, sexually powerful, successful. All that bullshit doesn’t really exist."

One of his most memorable and contentious campaigns was in 2000, featuring images of U.S. prisoners on death row. Toscani and American freelance journalist Ken Shulman interviewed and photographed 26 prisoners awaiting execution, creating a campaign that read like a passionate manifesto against capital punishment. The controversy that ensued was a testament to the power of Toscani's work. He was unapologetic, stating at the time, "I exploit clothing to raise social issues." The campaign was a bold step, pushing the boundaries of what was considered acceptable in advertising and sparking a debate that went far beyond the brand's products.

Toscani's relationship with Benetton was not without its ups and downs. He left the company in 2000 following the death row campaign controversy but returned in 2017 to reestablish his partnership with Luciano Benetton, one of the company's founders. Benetton had returned to try and revive the brand, which had been overtaken by more agile players in the fast-fashion sector. However, Toscani's time with the brand came to an end again in 2020 after comments that downplayed the significance of the 2018 Morandi Bridge disaster, which claimed 43 lives. The bridge in Genoa was operated by a unit of the Benetton family-controlled infrastructure group Atlantia at the time.

Despite the controversies and the eventual parting of ways, Toscani's influence on the world of advertising and social commentary cannot be overstated. His work was a powerful reminder that art and commerce could be intertwined to create a force for change. In 2024, his work was showcased in an exhibition at Zurich's Museum für Gestaltung, titled "Photography and Provocation." The exhibition was a fitting tribute to a man who used his camera as a tool for provocation, challenging viewers to confront the harsh realities of the world around them.

Toscani's legacy is one of courage, creativity, and conviction. He was not afraid to take risks, to push boundaries, and to use his platform to make a difference. His campaigns may have been controversial, but they were never indifferent. They forced people to look, to think, and to feel. In a world where advertising is often seen as a means to an end, Toscani showed us that it could be so much more. He was a pioneer, a provocateur, and a true artist, and his passing leaves a void that will be difficult to fill. However, his work will continue to inspire and challenge future generations, ensuring that his legacy lives on.