ANDREA: T he world has become so politically correct that I think it's very difficult to put up images
such as yours. Anything that's very controversial or that creates that kind of controversy - to get that
across to people, to be able to have permission to do that is very difficult.
OLIVIERO: I'm not looking for a consensus. Also, I don't want you to think “controversy.” I've just seen
what they think I should be publishing. I work in a totally free situation. A good photographer should
be able to show his point of view through images.
ANDREA: I'm just wondering, given this political climate, if you're going to have a lot more pushback.
OLIVIERO: I don't think so. There is a great opportunity in this political climate, with Trump and the Italian
government and the rise of nationalism. We have some incredible enemies, so it's a fantastic opportunity.
ANDREA: Well, you're lucky at Benetton, in that you and your partners support each other that way.
It's unusual.
OLIVIERO: I'm not really working at Benetton, the company. I’m working at a kind of studio where we
do research on modern communication and our first client was Benetton.
ANDREA: What happened when you did those ads that caused a separation between you and Benetton?
OLIVIERO: Nothing caused separation between me and Benetton in 2000. I had to do something else. I
couldn't go on doing the same thing. And I had an incredible proposal from Tina Brown to go work for
Miramax. That's why I left. I didn't leave because Benetton didn't want me anymore.
ANDREA: So why did you think you had to do something else?
OLIVIERO: Because I'm curious. I don't care about the money. You can be free and still make money.
ANDREA: Why did you decide to use a white background for a lot of your images?
OLIVIERO: I don't care about backgrounds. I would have painted the Mona Lisa on a white back-
ground. I don't like black because black hasn't got any perspective.
ANDREA: And then [mutual friend] Frances told me that you only like to use one light then you don't
need more than one light because the sun is only one light.
OLIVIERO: The sun is one side of just one surface.
ANDREA: Correct me if this is wrong, but I’ve heard you think photographers, or that you, don’t be-
long in a gallery.
OLIVIERO: I don't care about galleries. They’re not my place. Pictures in galleries have no meaning. To
me, a photograph needs to be published and printed. Photography is a public service, not something
that you hang on the wall. Modern art is photography, not paintings. Paintings are last century. I don't
put paintings on my wall.
ANDREA: You talk a lot about how insecurity has to do with creativity.
OLIVIERO: Well you can’t be creative and secure. You have to be insecure to be creative.
ANDREA: You come across as a very confident person. I don't know you well, but I don't see the inse-
curities in you - and yet you do this incredible work. Can you recall a moment that you were extremely
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