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In this advertisement that Toscani made are The photographs of three "human" hearts with the words white, black and yellow once again provoked a wave of intense reactions due to the crudeness with which the hearts were represented. This was a campaign clearly against racism, but after a while Toscani clarified that the hearts were actually not human hearts but pig hearts, he also clarified the message of the work. "A heart is a heart," said the author, "no matter what race or nationality it belongs to." This campaign was presented as a taboo to society since at that time racism was something so common and current and that someone trying to put an end to it was frowned upon, in addition the use of totally raw hearts was frowned upon and criticized.

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Within this advertisement you can see two women of different races holding an Asian baby, behind this image the message is being given that homosexual couples are becoming more common than lesbian ones and that they themselves are creating their own families. little by little, which is a reality and very common nowadays. In addition to that, this advertisement has been highly criticized since the image itself shows a diversity of cultures together and different sexual preferences, which was and continues to be a taboo since people in society do not quite accept that there are people They have different tastes and preferences and that's what makes them bad, they are still the same as all of us.

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This advertisement presented here was one of the most criticized of the company, what was shown here is a newborn baby still tied to its umbilical cord, what Tosacni tried to represent here is “anthem to life”, but the public did not He received it from that party since they considered that it was a very crude image with which to represent a baby. The taboo of this image is not so much the meaning since it is clearly representing life from the beginning. But the public's annoyance was that the image of a baby was shown so crudely, that it was something without a filter.

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The advertisement commented on the religious and sexual conflict of human nature, showing a priest and a nun in clerical vestments, kissing. The message was aimed at reaching a younger core Benetton customer. In Spain, he said, "which is full of young people, they see the priest and the nun's ad and smile. This sparked outrage in the Roman Catholic Church. Toscani had previously upset the Church with his Jesus Jeans ad. 1972, because of a sexually charged image and the name was considered blasphemous, but in Italy, where there are still old journalists, old institutions, they are upset.

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In this image different types of nationalities are reflected and in addition to that a text is presented that says “everyone has the right to leave any country, including their own, and to return to his country. In this advertisement it is understood that generally the people who fled their countries to find better life opportunities for work were considered traitors for committing that act, and that is why Toscani decided to express it in this image to highlight that people will have the rights of their always valid paiuses of origin.

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This image captures the moment when two children, one with blonde hair and light skin, and the other with dark skin and curly hair, share a space of harmony. Through this representation, the author seeks to convey a powerful message about the need to overcome the discriminatory barriers that persist in the world. The scene highlights diversity and invites us to reflect on the importance of recognizing our shared humanity, underscoring that ultimately we are all equal. This call for unity and understanding highlights the intrinsic beauty of diversity and urges us to challenge prejudice, thus fostering a more inclusive and equitable world.

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In 1982, Franco Zecchi immortalized the shocking murder of Benedetto Grado perpetrated by the mafia in Palermo, Italy. This painful scene, ten years later, was projected in Benetton's 1992 spring/summer campaign, causing deep controversy. Despite the intensity of the portrait, the true intention of Oliviero Toscani, the person responsible for selecting this image for the brand's various advertisements, is not clearly understood at first glance. The use of this image in the advertising context generated widespread displeasure among the public, and the daughter of the late Benedetto Grado expressed her dismay forcefully, announcing her intention to file a lawsuit. Her resounding question, "How can my father's death become part of sweater advertising?", reflects the outrage shared by many. Indeed, the incorporation of a photograph depicting tragedy and death in the promotion of clothing seems completely out of place.

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In this striking image, a black person is shown holding a gun and what appears to be a bone, possibly from an animal. This visual symbolism seeks to highlight a painful reality: in most less developed countries, the fight for survival leads to extreme situations where people are forced to take drastic measures, including hunting and slaughtering animals, with in order to ensure a basic plate of food and avoid dying of hunger. The scene forcefully illustrates the precarious economic conditions that affect these countries, where inequality and the scarcity of essential resources generate a daily struggle for subsistence. The image, although shocking, attempts to raise awareness about the harsh reality that many communities face, highlighting the urgency of addressing the economic and social issues that perpetuate these circumstances.

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This image tells how In November 1990, LIFE magazine published journalism student Therese Frare's image of gay activist and AIDS victim David Kirby as he lay on his deathbed. Two years later, Benetton used the image, colored by artist Ann Rhoney with oil paint, for its campaign. Despite backlash from many AIDS activists who believed this spread fear among the sick and commodified suffering, and launched a global campaign to boycott the company, Kirby's father, Bill, declared: “Benetton did not give us is using, we are using Benetton… If that photograph helps anyone… then it is worth any pressure we have to endure.” It was, according to Benetton, the first public campaign to address AIDS. That year, the disease had become the leading cause of death among American men between the ages of 25 and 44. Benetton stated that it wanted to "go beyond purely preventive measures and address issues such as solidarity with AIDS patients.

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In this case, we are faced with one of the most serene advertising campaigns presented by Oliviero Toscani. On this occasion, the image focuses on a simple and evocative representation: a wooden spoon next to the logo of the "World Food Submit" association. This minimalist choice seeks to convey a clear and direct message.

The essence of this commercial lies in advocating the importance of consuming quality food. Toscani, through this piece, advocates for the responsibility of the authorities in guaranteeing that all products that reach the market meet the necessary standards, both in terms of safety and quality.

By highlighting the wooden spoon, a symbol of the traditional and the natural, and associating it with the "World Food Submit" organization, the campaign advocates the need for a conscious approach towards food production and distribution.

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Toscani was born on 28 February 1942 in Milan. He originally worked as a fashion photographer for international magazines such as Elle, Vogue and Esquire. He inherited his photographic eye from his father. Toscani worked for Benetton, contributing to the growth of the United Colors of Benetton brand to be one of the most recognized brands worldwide.