Creative Review

Window to the Future

In a unique collaboration, Creative Review and Selfridges joined forces earlier this year for Shape of the Future. Seven of our Creative Futures winners and runners-up from last year were each given a week in Selfridges’ largest window. The brief was simple: create an installation around the theme of shape, building on the work of the previous occupant. This is what happened next…

Benetton Hits Middle Age

In the history of attention-getting advertising, writes Rick Poynor, Benetton must surely deserve a place as one of the most effective companies ever to splash its promotional message across a billboard or magazine spread. There was a time when not a year would go by without some new outrage or controversy to set the pundits’ tongues wagging, usually in disapproval, and compel everyone else to take notice of what the knitwear giant was up to now. The company’s charismatic creative director, Oliviero Toscani, was able to dream up an apparently never-ending supply of jaw-dropping stunts and dubious provocations. Neither he nor his indulgent boss, Luciano Benetton, appeared to care in the slightest if people were upset or scandalised by the company’s latest campaign. The main thing for them, it seemed, was that we should keep talking about Benetton.
Then, in 2000, all this stopped. Benetton’s Sentenced to Death initiative about killers on death row was a campaign too far. It caused enormous offence in the US and Toscani resigned. If Benetton’s ads are still provoking heated discussion and calls to tear posters down from the hoardings, it has passed me by. It’s hard not to conclude that, without Toscani at the helm, Benetton’s corporate image is a shadow of what it was.

A Scanner Darkly

This month our panel discuss Richard Linklater’s innovative adaptation of the Philip K Dick novel, A Scanner Darkly

One-Sided Story

With wearisome predictability, the UK’s national press have this morning administered a good kicking to BBC One’s new series of channel idents, unveiled yesterday. The idents, produced by Red Bee Media play on the circular shape of One’s initial letter – using a mixture of live action and effects, the shape is formed by bike riders, kite-flyers and even CGI hippos. But the press are more interested in the fact that they cost £1.2 million (that’s for all eight) and (gasp) some of them were even shot ABROAD…

Serpentine Gallery

This month our panel discuss both the Serpentine Gallery’s Rem Koolhaas pavilion and its Thomas Demand show

The Photography Annual 2017

Creative Review’s Photography Annual seeks to
celebrate great images – those who take them
and those who commission them. View all the
winning work in our current print issue

Buy the issue

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