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This 1991 ad is much more than meets the eye. Sure, there’s the typical message of unity: one figure from three historically conflicting continents all being warmed by a single blanket. Looking closer at the image, you see that the women on either end of the child have their hands clasped together (which would probably explain the colours used for the blanket) and suddenly the image becomes a family portrait. The power of this advert is its subtlety and refusal to submit to any homosexual stereotypes or restrictions in terms of interracial love or the issue of adopting.

Benetton takes on a different issue in 1997, fighting world hunger through its support of the World Food Programme (WFP). Portrayed above is the most startling of the images; it depicts, in an entirely unique way, how hunger can consume the body (no starving bodies here, just spectacular symbolism). I would have put this ad higher up on the top ten if it weren’t for the naturally no-brainer nature of the subject being tackled. World hunger is understood by all to be a grave issue — even if it doesn’t figure in the everyday life of most that would come by glossy magazine advertisements. Benetton will prove itself to be capable of much greater controversy!

Nobody saw this one coming. 1996 marks a challenge to capital punishment, a subject much more contestable than any we’ve seen to date. The idea of using convicted criminals as models for a high-end fashion label isn’t the first to come up at a board meeting. Essentially, this is yet another outlet for their pro-life message: suffer at all costs, just don’t do the wrong thing by taking life away. While consistent, there is a bizarre leaning towards a defence of violence (although involuntary) which weakens the effectiveness yet raises the bar of controversy.

What’s colorful, mass-produced, and fun? It was only a matter of time before Benetton saw the link between their line of clothing and condoms. Influenced by the Olympics in Barcelona the preceding year, the 1993 ads brought color to the AIDS pandemic. This was just over a decade after the formal recognition of the disease, when it was still charged with ideas that it was cleansing society of the undesirables. Benetton bravely uses HIV positivity to create lively, sexy images — a perspective very unlike traditional representations of AIDS as death itself. As we will shortly see, they will play on this trope more controversially.

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