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Black and White Hand (Feb 1990) & Children on Potties (Feb 1990) & Embraced in Blanket
The campaign of 1990 consists of highly symbolic posters to mark the concept of equality in diversity. The images gathered awards in Austria, France, Great Britain, Holland and the United States.
Condoms (1991) & Pnocchio (1991) & Kiss (1991)
The two campaigns of 1991 create unprecedented controversy, an attempt on the part of the company to feature images from the real world which have some social and universal relevance, in order to break through the barrier of indifference which often surrounds these issues.
Tongues (1991)
The picture of three children – black, white and Asian – sticking out their tongues is a good instance of how a universal theme sometimes encounters unforeseen cultural barriers. This image was deemed “pornographic” and subsequently withdrawn from display in Arab countries, where the depiction of an internal organ is prohibited.
Angel and Devil (1991) & Prieest and Nun (1991)
The two campaigns of 1991 create unprecedented controversy, an attempt on the part of the company to feature images from the real world which have some social and universal relevance, in order to break through the barrier of indifference which often surrounds these issues.
Ship (1992)
The poster recalls the embarkation of Albanians at Bari, Italy on August 18th, 1991. A ship is besieged by hundreds of wretched people, who are chasing a chimera of freedom and economic dignity, oppressed in their own country and refused entry elsewhere.
HIV-Positive (1993)
AIDS is the subject of Oliviero Toscanis following campaign for United Colors of Benetton which was launched in September 1993. Three photographs: a backside, a lower abdomen and an arm, each marked with the letters HIV Positive are used as metaphors for the more extensive branding practised throughout society towards those who are different.
AIDS- Faces (1994)
Over one thousand young peoples portraits from all over the word computer-processed spell out the word AIDS. The faces are smiling. But over each and every one of them hangs an unknown fate in the shape of the illness that has become a metaphor for the late twentieth century, an illness that has changed the fabric of our society.
Eyes(1995)
The image announces the opening of Fabrica: two eyes with two different coloured pupils symbolise Fabricas look towards the “futuro presente”.
Hearts (1996)
In the spring of 1996, billboards all over the world were invaded by an image of three hearts overprinted with the words “White, Black, Yellow” – the new anti-racist message launched by United Colors of Benetton in conjunction with SOS Racisme.
Human