“Rules are what the artist breaks; the memorable never emerged from a formula”– Bill Bernbach. This ideal was strongly recognized and applied to by world-renowned photographer Oliver Toscani as he launched an exceptionally controversial advertisement titled “The Three Hearts” under the clothing company United Colors of Benetton. It is important to note that this contentious ad is not one of arbitrariness, but a calculated marketing tactic employed by United Colors of Benetton defined as “shock advertising.” Most of Benetton’s advertisements have been known to cause great controversy and disgust, especially because their advertisements did not directly relate to any of the merchandise they sell. However, by deviating from generic marketing strategies such as hiring clothes models or relying on the aesthetic appeal of their stores, United Colors of Benetton pursues a superior motive of promoting tolerance in society and creating an active democracy without ideological borders. Additionally, their brand does not communicate with the consumer, but with an individual. This cannot target an age group but rather a shared vision of issues that need to be addressed. Therefore, they attract their market through the use of pathos to emotionally appeal to consumers, which creates a collective awareness for social issues such as capital punishment, AIDS, and race relations. The social issue of racism is addressed in the advertisement that will be analyzed in the following critical response. “The Three Hearts” was launched in conjunction with SOS Racism, a French anti-racist NGO, and it depicts an image of three graphic human hearts overprinted with the words “White, Black, Yellow” respectively. Toscani displays the identical hearts on a flat white surface to indicate homogeny and reiterate the biological similarities of all human bodies. Initially, this image inspires a mood of urgency associated with this vital organ. One may preserve the image of a heart with significantly emotional connotations, such as an organ donation, losing someone to a heart attack, or as the symbol of life and vitality. These nuances all congregate under a paramount umbrella of human love, one of the most vehement physical and mental experiences known to mankind. Following these initial thoughts, several connotative thoughts can also be stirred upon perceiving this ad. If this image were to be interpreted in a connotatively, one could believe that the color names used refer to different skin colors, which draws attention to human diversity, a value strongly represented by United Colors of Benetton. This idea of human diversity in this ad is intriguing because the relationship between the racial statement and the human heart only functions with this specific layout of the advertisement. If the actual colors white, black, and yellow consisted of the advertisement in place of the hearts, there would have been no suggestion that they are linked to race. By connecting a universal human organ to a specific color, the notions of different ethnicities are recognized by the audience. However, the ethnicities in the ad are depicted with crudely blunt words that highlight the theme of racism and the derogatory mannerisms used by racists to describe a group of people. This holds true because obviously, the demographics implicated in this advertisement refers to the Caucasians, African-Americans, and oriental Asians, and none of the people classified under these demographics are actually physically white, black, or yellow colored. Additionally, it serves as a reminder of ignorance because although these three races are the most prominent on earth, there are others that do not fit into these categories but are assumed to be by racist people. This serves as a shock to audiences because underneath verbal prejudice, there is this inherent biological similarity that will remain long after intolerance. Toscani argues, through this advertisement, that in a world of discrimination based on skin color, there cannot technically be a superior race because skin color is the only varying factor between all humans and therefore not one faction of people can assume more importance or influence than another. Following this ideal, it is apparent that Toscani’s underlying message emphasizes the existence of absolute equality between men and women; that a skin color should not be used to define differences between people when within, we are biologically homogenous. The subliminal truth behind racism held within the audience’s heads may now be conscious sentiment after witnessing this advertisement. By examining the ties between verbal defamation and human biology, there may be an enhanced curiosity as to why, if racism is indeed skin deep, does it plague our planet and result in vicious, violent outcomes everyday? The use of pathos carefully employed by United Colors of Benetton once again promotes their ideology of tolerance of all colors, races, sexuality, and beliefs as audiences are startled by the reality that is racism. Benetton’s deviation from generic advertising to create a bigger, influential force in the market is a result of progressive marketing and yields a diverse clientele. In deciding to promote various values as part of their campaign strategies, United Colors of Benetton establishes a true identity through the shared common values that it transmits, proving to be revolutionary on both an individual and societal scale. They subconsciously indicate that by purchasing their clothing, consumers not only possess a material object but are also invited to be protagonists of a cultural change and a social revolution inspired by United Colors of Benetton.

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