PantoneView Colour Planner #35

An easy-to-use colour forecast card that is economic in cost and economic in time, embracing not just fashion but also cosmetics and industrial design. Colour Planner is segmented according to key colour directives. There is a general introduction to each directive outlining the colours involved and the philosophy behind them.
These pages are followed by a more specific breakdown covering harmonies and materials according to end-use. Following these key colour directives, there comes the ‘basics’ section breaking down the essential, commercial colours of the new season again by end-use.
Colours are dyed and coded according to the Pantone® colour system.
“No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit.”
Ansel Adams
For A/W 16/17, we present a strong narrative exploring “real” and “unreal” colour. What is natural, what is artificial? When is colour absent and when is it present? And, in between, we build a third platform of colour, a “mixology” that connects, bridges and hybridises this “absence” and “presence” of colour.
We begin our three stories with a clear absence of colour, a fleeting glimpse of ethereal hues that move together collectively and create an ambience. Then our palettes become more connected to colour and we see harmonious tones mutated, mixed and interjected with contrasting brights. Finally, at the end of the book, we see present and assertive colour: stronger, saturated tones that jostle for attention and really make their mark.
For several seasons, we have said that colour on its own is not enough; it must be inherently linked to texture and effects. This continues into A/W 16/17 but, in a new twist and one very much aligned to our CP 35 title “Reveal”, we would like to add the concept of crystal (ball) gazing and the colour qualities linked to prismatic effects and precious stones. These shades have a jewelled transparency that has a large part to play in our palettes, while the scientific generating of materials that refract and reflect light seems to be more profoundly linked with surface than ever before.
Shapes appear in attenuated forms, in light and dark shades. Colours are diluted. Textures reveal greyish hues, melange blues and muffled greens.

Colour announces itself, quietly, gradually. It forms itself into mottled and ghostly hues, or is layered in watery pools to form vague contours and patterns.
Reality becomes a reflection of our colourful dreams. Coloured earth and metallic dust blend together. Turquoise and tinted grey creates a new blended horizon there in front of us.
The hard nudity of an urban cement façade is overgrown by surprise bursts of vegetal colours, featuring a restrained, dry green, blood orange red and pure terracotta.
Mineral greens and clay blues are split open to reveal a vivid malachite and a sulphur yellow. Their brightness is exaggerated and made to look unnatural by the substratum of darkened hues they lie upon.
Colours spring out of a winter prismatic geometry to reveal a modulated range of soft, rich and brighter mid-tones that are adjusted by a warm, copper drift of reflected light.
These intense botanical hues are placed in new, unexpected environments, creating a hyper natural atmosphere. The artificial and otherworldly are blended and mixed with nature’s flora and fauna.
A range of dense tones that are deep and colourful, magnetic and indiscrete. This is a palette that manifests its personality and character without fear or hesitation.