Who invents the most evident colours appearing in the windows and assortments of clothing and accessories at the beginning of the season? who imagines them? Who introduces them?
Since ancient times, people have studied the shades of nature that surrounded them and have obtained colours from plants, leaves, fruits and bark, molluscs, insects, and minerals to dye their clothes and everyday objects. This is how over the centuries “taste for colour” has been developed, nurtured, and personalized.
Today, colour is one of the components that is most active in the purchaser’s “need” to acquire something. In the world of fashion, therefore, identifying the right colours or the dominant colours of each season and knowing how to use them is strategic.
The marketing of colour for clothing (and also other categories) takes shape in the trends forums of the numerous textile fairs and events that predict the consumption of each year.
Yarn, fabric, and ready-made garment fairs emphasize the colour area giving detailed indications on uses according to the various product categories.
However, even if undeclared, many brands use a colour strategy that prevents the massification of their product: sometimes they engage with existing trends, sometimes they search for more sophisticated values but, in any case, they strive to always appear “different” and “original”.
Furthermore, some brands take refuge in pre-existing colours that are remembered but lost in time, assimilated to consolidated scenarios, so here is the black of Chanel and Gucci, the red of Valentino, the sequence of beige and blue of Armani, the white of Ferrè.
Others instead make a more unscrupulous use of colour: Versace, Kenzo, Etro; still others like the Missoni, admired by professional painters, soften the colors in the texture of the jersey.
Concept by TTF Team
Ph by Elisabetta Scarpini
