With a degree in architecture in 1931, his brilliance quickly stood out. His relationship with photography, which soon became his preferred means of expression, was long and passionate. His pictures often portray famous female nudes, where women are never isolated but included in very precise contexts. In the 1930s, he started photographing still lifes and, subsequently, he wrote the first theoretical treatise on photography aesthetics, Il Messaggio dalla camera oscura (1949). This precious text outlines the guidelines of his photo language, in particular his concept of “transfiguring artwork,” that is, the idea that the object represented never has to be the same as the one to portray. Mollino makes multiple, illustrative, creative, and instrumental use of photography, practicing with an enormous variety of subjects. He goes beyond modernism by forerunning post-modernism: he bypassed neorealism by giving greater importance to ad and fashion photography, characterized by restless, ambiguous, and allusive images.