fashioncommunication

Oliviero Toscani: A Life Lived Against The Grain

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Lessons from his visionary and controversial legacy


Oliviero Toscani, the trailblazing photographer known for his provocative campaigns, has passed away at 82 from a rare disease. Iconoclastic, daring, and deeply influential, Toscani leaves behind a body of work that continues to inspire and challenge conventional thinking.

Back in August, Toscani revealed to the newspaper Corriere della Sera that he had been diagnosed with a terminal illness, amyloidosis. This rare condition involves a build-up of abnormal protein deposits in the body, disrupting its functions. Also, he candidly admitted he didn’t know how much time he had left.

For many of us, Toscani’s work was an indelible part of growing up. In fact, his bold imagery for Benetton’s campaigns was inescapable, with each new billboard sparking heated debates and social discourse. However, Toscani wasn’t just a photographer; he was a provocateur who made audacity the cornerstone of his work.

The visionary yet controversial legacy of Oliviero Toscani


In his own words, Toscani succinctly expressed his philosophy:

“If you tell the truth, you scare people; if you’re free, you scare people. I believe provocation is intrinsic to art. If art doesn’t provoke something, it’s useless: it must spark discussions, perspectives, interest, and maybe even change someone’s mind.”

This ethos defined his career. Toscani’s work was provocative, unorthodox, and visionary. Specifically, he was a pioneer in merging fashion with societal commentary, often choosing to omit the product itself to spotlight larger narratives. Diversity—at a time when no one talked about it. Racism. Anorexia.

His approach defied trends and market demands. As he once declared:

“I don’t do things for the market; I don’t even know what the market wants.”

One of his most striking statements resonates profoundly:

“Life only makes sense if lived ‘against.’ Conformity kills creativity.”

It’s a call to do things when others don’t, to break free from the norm and embrace creative freedom. 

Finally, in an interview on the Italian TV programme Quante Storie — a show dedicated to exploring new books — Toscani delivered a piercing critique of modern culture:

“I find social media to be mental concentration camps that create uniformity.”

This sentiment underscores his lifelong fight against mediocrity and conformity, championing a world where art and thought challenge and inspire.

Conclusion


Oliviero Toscani, who passed away at 82, leaves a profound legacy defined by attentive observation and uncompromising provocation. His work serves as a testament to the importance of questioning the status quo and embracing a new perspective. Toscani’s fearless creativity will resonate for years, inspiring future generations to push boundaries and challenge the ordinary.

Most importantly, his legacy teaches us to use our work—whatever it may be—to deliver a deeper message.

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What Happened To Plus-Size Models?

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Inclusion and diversity or just marketing


What happened to plus-size models? We asked each other during the Milano Fashion Week 2023. But New York and London, too! They disappeared from the scene. Almost completely gone. Suggesting the recent novelty smelled so much of marketing.

Plus-size representation in fashion


However, our comment was not because we believe it made sense to represent different body shapes in a fashion show. That is for two reasons:
First, a defilè aims to show the dress, highlighting the details. Not the woman who wears it. Indeed, we believe “anonymous” models accomplish this task much better than supermodels because famous ones catch attention, while the dress becomes of secondary importance. Representation of all sizes has to be in the shops, where people must find different options suitable for their body shape. For instance, in our boutique’s selection, plus sizes never had problems finding beautiful clothes.
Second, it’s one thing to teach self-acceptance, we are unique individuals, so we should cherish our differences. But it’s another thing saying to young girls it’s good to be extremely overweight. Because it is not, but for a matter of health, not to fit in a standard, of course.

Plus-size models


So, apart from Dolce & Gabbana among the tops, there were no plus-sizes on the catwalks. Therefore, what can we argue? Was it a genuine interest in inclusion and diversity? Or was the fashion industry in a state of impasse and needed to jump on a popular trend? The smell of marketing seems clear.

Plus-size models were just a gimmick, an advertising stunt to spread the buzz and make people talk about fashion brands. In fact, in most cases, these women were dressed without any sense of style.

Just like us, many comments on the latest fashion shows wondered what happened to plus-size models. The message of inclusion and diversity, which apparently, provided a sense of liberation from cultural standards, was fake. Just marketing.

One of the most glorious fashion bullshit!

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The Luxury Inconsistency

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How the fashion system devalues itself


Straight to the point of the luxury inconsistency: top brands stopped representing luxury. When they adopted the overproduction model, triggering a constant need for discounts, they moved in a different direction. And with the rise of ‘affordable luxury’–a meaningless oxymoron–the fashion industry has been doing its best to devalue what little remains of luxury.

Luxury: from exclusivity to mass products


Overproduction and luxury have nothing in common. But the fashion industry promoted this pattern to make more money in the name of growth and greed. Some top brands represented the last stronghold of an industry that was transforming into financial conglomerates. In this new context, fashion shifted from exclusivity to the masses.

In order to appeal to a wider audience, communication had to develop a different narrative, revolving around three points:
1- extremised concepts, just to give something to talk about
2- socialite or fashion bloggers to promote the products
3- frequent markdowns

As a result, the industry lowered its standards focusing on branding rather than providing creativity and excellent quality. The byproduct was a crass logo dependency. However, associating a logo with specific lifestyle imagery is not the same as creating well-made products. Most importantly, exclusivity and discounts are inherently contradictory.

The luxury short-circuit


Sometimes luxury brands, how they still want to call themselves, release the misguided communication, as seen in the case of Balenciaga. Consequently, fashion bloggers end up selling their products at a discount. But can you imagine who paid full price for those items? They must be thrilled to see them undersold!

Rising prices: the latest strategy for luxury


Now brands increase prices due to pandemic-related issues and inflation, but that does not mean better quality. They’re simply covering their costs. If people accept paying more, they get mass-produced items in return, not exclusivity.

What masses believe is luxury, it is not. It’s the product of an industry that has lost its consistency. A fashion industry that, without serious critique and questioning, reveals its short-circuit and inability to change.

In conclusion, communication missteps show the luxury inconsistency to everyone. And you don’t even need to be a fashion insider to understand it!

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Haute Couture, The Diversity and Inclusion Debate

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Is Haute Couture evolving to embrace all voices?


Between tradition and modernity, the latest haute couture shows have sparked a debate on diversity and inclusion.

Haute couture shows were back with physical events, and the chit-chat was all about stars and starlets attending this or that one. Well, not just being present, but also walking down the catwalk.

Therefore, the lens pointed to celebrities and not to design or style. Perhaps it is a successful strategy in terms of sales but has no significance for us. Instead of making the show more appealing, it makes us lose interest. Though it demonstrates that you can be rich and famous, it doesn’t mean you have style.

Haute couture and modernity


According to Business of Fashion, diversity and inclusion were missed in Paris. Also, “couture codes are out of sync with the times.” “Big hats, corsets, and taffeta represent a snap back to the old days” – so they say. “The only house that featured progress was Balenciaga.”

Finding Balenciaga’s vision both unsettling and nonsensical, we choose to leave modernism to the authority of its so-called experts. While the world is already distressing enough, this very reality makes it all the more meaningful to work toward something more positive.

Haute couture: art made by skilled hands

Haute couture is about beauty, top quality and perfection in execution–art made by skilled hands. Indeed the show that mastered this concept at its best was Valentino on the steps of Piazza di Spagna in Rome. “The beginning” – back to where everything started for the brand. With his stunning designs and marvellous silhouettes, Pierpaolo Piccioli’s show was an ode to beauty, colours and mastery. Furthermore, his focus on diversity and inclusion is a political message: people coming together for a better future.

We adored the maxi gowns with flat shoes or kitten heels. However, experimenting with the future while acknowledging the past is where a truly contemporary vision resides.

Haute couture, diversity and inclusion


Of course, diversity and inclusion are valuable elements, but haute couture can not be inclusive. Though we may sound boring in repeating this concept, haute couture will not be less elitist because they include plus sizes or different races in the show.

Haute couture is elitist by definition. The price makes it not accessible.

The truth is that you buy haute couture only if you can afford it, if you have a lot of money. Really a lot. Not because you feel represented.

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The New Categorising

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A human need, or an empty extremisation?


The new trend of categorising—or the need to assign labels that define where specific groups should fit—is growing rapidly. Terms like genderless, sustainable, recycled, upcycled, and inclusive are some of the most popular labels in fashion today. Yet, while we see these pretty, or not really so, boxes clearly labelled, they often feel too artificial, fake.

Categorising: a marketing byproduct


Why are brands so obsessed with labelling their work? And, in parallel, why do people need these labels? To identify themselves? or to be represented?

Jean-Paul Gaultier created the majority of the fashion topics that are trending now. Yet, during the ’80s and ’90s, there were no labels to claim in the fashion world. It was, instead, a celebration of freedom—both from the designer’s perspective and for those who wore his creations.
Fast forward to 2022, and the obsession with labelling has exploded. Genderless and sustainable are among the most popular, with nearly every brand now claiming to be genderless. Similarly, terms like recycled and upcycled have surged to the forefront. Clearly, it’s a trend.

Coming from a family of seamstresses, disassembling a pair of trousers to make a skirt or transforming a shirt into a blouse was part of our daily routine—essentially, the essence of upcycling and recycling. Moreover, in our boutique, we always offered men’s items to women and women’s items to men, but we never felt the need to categorise them. This, in many ways, embodies the true spirit of genderless fashion, inclusion, and diversity.

Even though about five years ago, we started focusing more on genderless or recycled as valuable concepts, now brands overuse them. Indeed these leabel became so mainstream that they are abused or intentionally misleading, as in the case of sustainability.

We are not happy to be classified. So we wonder, what happened recently? What does the new categorising mean?

We believe that the less meaning we find in brands and their products, the more they rely on labels to make their offerings easier to market.

The supply far exceeds the number of people in the world who can actually purchase these products—the demand. To reach the masses, brands have lowered the bar. And the more they lower the bar, the less value they offer. This is where the need for aggressive marketing and labelling comes into play.

In conclusion, labelling is an attempt to legitimise and promote an otherwise hollow system. Rather than focusing on what truly matters—the substance—they rely on labels to create a facade of value.

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