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\u201cAdvertising photography should not sell a product, it should sell an idea,\u201d<\/em> said Oliviero Toscani. A mantra that sums up his photographic journey. Born in 1942 in Milan to a photographer father, the artist takes his arms in the streets of New York by taking pictures of urban life. In 1976, he created the campaign Les contemporains for the creator Jean-Charles de Castelbajac.<\/p>\n <\/p>\n When he joined Benetton in 1982,<\/strong> his career took a new turn. The challenge to deliver a message. Racism, inclusion, death penalty, HIV, religion, women\u2019s cause… a true social manifesto.<\/strong> Adored by progressives and criticized by well-wishers, the artist\u2019s sultry campaigns for Benetton propelled the Italian brand image into a sphere that was unexploited by the fashion industry at the time.<\/p>\n <\/p>\n <\/p>\n For the fall-winter 1984 collection, Oliviero Toscani unveiled its first campaign \u00abAll the colors of the world\u00bb. Photography certainly is a nod to the pop tones of the Italian brand but it turns out to be a reflection of diversity, valuing various cultures. On a white background, people of all ethnic groups pose in Christmas sweaters, between hugs and smiles.<\/p>\n <\/p>\n The 1989 winter campaign is called \u201cBreastfeeding\u201d and features a black woman nursing a white baby. In addition to diversity, this photograph advocates a certain feminism, at a time when women\u2019s bare and natural breasts are banned on social networks and where mothers still have to hide to breastfeed their child in the public space. For the following season, two \u201cChildren on the pot\u201d were photographed.<\/p>\n <\/p>\nDiversity and inclusiveness, a key topic of Oliviero Toscani<\/h2>\n