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COLOR OF THE YEAR FOR 2012
Freshly Picked: Tangerine Tango

Pantone's new selection for the 2012 Color of the Year is Tangerine Tango, a richly enticing reddish-orange hue with a spirited glow emanating from a hint of yellow in the blend.

"Sophisticated, but at the same time dramatic and seductive, Tangerine Tango is an orange with a lot of depth to it," said Leatrice Eiseman, executive director of the Pantone Color Institute®. "Reminiscent of the radiant shadings of a sunset, Tangerine Tango marries the vivaciousness and adrenalin rush of red with the friendliness and warmth of yellow, to form a high-visibility, magnetic hue that emanates heat and energy."

Provocative and attention-getting, yet warm and welcoming, Tangerine Tango works equally well in fashion for women, men and kids as well as in cosmetics, home furnishings, packaging and industrial design.

Have you spotted this charming color? Take a photo, send it to us at tones@pantone.com and we'll include it in our Color of the Year photo album.

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TONES by Pantone v2.01: Color News & Views

FEATURES
Color of the Year for 2012
Fashion as Art
It's All in the Weave
Coloring the Marketplace
Dyeing with "Marmalade"
Stripes, Stripes and More Stripes!
The Evolution of Social Selling
Contemplating Celebrity: Pop Artist Andy Warhol

DESIGN TRENDS
And the Bride Wore... Black?
Bright Spots
Cork It
Folk Revivalism
Luxury For Less
Nailing It

COLOR FORECASTS
Taking Pleasure in Things That are Old and Loved

INTERVIEW
David Shah
 
This Issue's Contributors
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FASHION AS ART

With a focus on heritage branding that speaks to the importance of longevity and quality products in today's world, many leading luxury fashion brands have built temporary exhibits, traveling exhibitions and permanent museums that showcase their design history, craftsmanship and creativity. To celebrate its sixty-year history MaxMara created COATS!, an exhibition charting the evolution of their signature garment. Louis Vuitton - The Art of Fashion, which coincided with Milan Fashion Week, celebrated the creativity of their designer Marc Jacobs. In Florence the new Museo Gucci, located in the ancient building of Palazzo della Mercanzia, which dates back to 1337, pays homage to the ninety-year-old Italian label's artisanal heritage, while in Granaiolo, Italy the bright and colorful world of Pucci has been put on display inside the walls of Villa di Granaiolo, the Pucci family compound.

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IT'S ALL IN
THE WEAVE


Made from wool, recycled tires and discarded furnishings, Agua de Prata uses traditional weaving techniques to create bold, contemporary furniture. Combining conventional materials and techniques, these discarded resources are dressed up in wool that is carefully wrapped and bound. All in all, a kaleidoscope of color that is pure inspiration.

Pantone Color Team

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COLORING THE MARKETPLACE

In Color Messages and Meanings, we learn from Leatrice Eiseman, author and executive director of the Pantone Color Institute, that whether on a web page, mobile device or in print, color should serve a better purpose than simple embellishment. It should become a part of a well-integrated design process. As the world is seen in color and not in black-and-white, color in an ad somehow seems more realistic, inviting the viewer to participate. Studies have shown that color in print ads can generate up to 50% more inquiries than ads in black-and-white. It is fairly obvious that color, when surrounded by black-and-white print, will be more outstanding. This does not mean that black-and-white on its own should never be used - it is a matter of context and contrast. In the end, advertising's objective is always the same - to sell the product or service. And that is precisely what color - used cleverly, imaginatively and effectively - will accomplish.

Leatrice Eiseman
Executive Director, Pantone Color Institute
eisemancolorblog.com

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DYEING WITH "MARMALADE"

Highlighted in Textile View, a new dyeing technology developed in Italy called Marmalade which uses all natural ingredients may prove to be an eco-sustainable revolution. The procedure can use any natural substance, such as fruit puree, herbs, flowers, soil and various other substances (licorice, coffee, cocoa, wine, paprika, mustard) and the method can be applied to all types of textiles. The process has extremely low environmental impact, dyeing at room temperature, without energy consumption, and uses 300 times less water than industrial dyeing. It requires no chemicals, offers the possibility of constant recycling, produces no waste and is biodegradable at 98%. The final product is apparently resistant to perspiration, washing and to sunlight, and has hypoallergenic qualities making it ideal for babies and children and those with allergies. Plus it looks good, keeping the characteristics of a hand-crafted product with every article of clothing unique.


David Shah
www.view-publications.com

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STRIPES, STRIPES AND MORE STRIPES!

Swiss artists Sabina Lang and Daniel Baumann have given a whole new meaning to the concept of redecorating. With global canvases ranging from a pedestrian bridge in the Recoleta district of Buenos Aires and local neighborhood streets in Moscow, to a display created for the Wroclaw Contemporary Museum in Poland and building interiors in their native Zurich, there's no denying that these sweeping rainbows of color create an infusion of energy.

Also a believer in the power of striped color is artist Martin Aguero whose work on the largest frontage of MACRO - Museo de Arte Contemporaneo de Rosario in Santa Fe, Argentina, provides quite the bold contrast to the inside galleries whose austere, concrete spaces are quite industrial in nature.

Pantone Color Team

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THE EVOLUTION OF SOCIAL SELLING

With retailers looking for ways to make the web shopping experience more personal and engaging, peer-to-peer social commerce looks to be the next big wave that will change the e-commerce landscape. STYLEOWNER.COM and SHOPMYLABEL.COM, two new sites that have recently launched are looking to make online shopping more collaborative by trying to convert those who spend a lot of time social networking or blogging into "style-preneurs" and "social-preneurs" where they can create and curate a virtual store, stocking it with the brands they like and then sell products for a commission to their circle of friends and family. No investment or technical expertise is required. All that's needed is some style and salesmanship.

Pantone Color Team



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CONTEMPLATING CELEBRITY: POP ARTIST ANDY WARHOL

As we see in PANTONEĀ® The 20th Century in Color, written by Leatrice Eiseman and Keith Recker, many Pop artists grappled with imagery from the worlds of advertising and mass media, but no one contemplated celebrity as thoroughly as Andy Warhol. His intensely colored multiple portraits of Elvis Presley, Marilyn Monroe and Elizabeth Taylor celebrate their overwhelming fame, as did his portraits of cans of Campbell's Soup and Coca Cola. There seemed to be no facet of media-fueled modern identity he couldn't celebrate and criticize in the same breath. Warhol depicted the famous and the infamous, the unique and ubiquitous, in lurid values of burnt red, orange, teal, emerald, turquoise, pink and violet. The freshness and humor of lime and taxicab yellow stop the palette from descending into sheer cynicism - because, after all, Warhol only criticized what he admired.

Excerpted from PANTONEĀ® The 20th Century in Color
Authors Leatrice Eiseman + Keith Recker



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AND THE BRIDE WORE...
BLACK?


Tearing up the rule book for her recent bridal collection, trendsetting designer Vera Wang, one of the biggest names in the wedding world, caused quite a stir when nine of the fifteen dresses she introduced at her fall 2012 bridal show were presented in a dramatic pitch black. While in the past Wang has included less conventional shades in her bridal collection, including dark purples, pale mint greens and dove grays, the more traditional shades of white and ivory have always taken center stage. Some of these inky black dresses were traditional in style; others were more overtly sensual and severe, and looked as though they would be equally at home on the red carpet. So, will this dramatic style statement from one of the bridal industry's most powerful names create a new trend for the bridal market? Or will the current conventional etiquette where the bride must wear white continue to prevail? We will anxiously wait and see.

Pantone Color Team








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BRIGHT SPOTS

Bright colors continue to take center stage in all product categories and, while it has been quite the roller coaster at retail this year, designers are looking to these hot and vibrant shades to generate buzz, create excitement and drive retail sales. One of the newest places for this juicy color wave to show up? Men's suits.

Pantone Color Team

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CORK IT

Eco-friendly and versatile, 100%-sustainable cork can be used to make some very interesting and distinctive products. An amazing eco-friendly material, cork's natural wood tones and its warm, soft texture make it unique, inviting and comfortable. From footwear to furniture, the appeal of this renewable resource just keeps on growing.

Pantone Color Team

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FOLK REVIVALISM

According to Viewpoint editor David Shah, folk revivalism is inspired by folk culture around the world and our renewed fascination with vanishing traditions, customs and rituals that aim to reconnect modern society to our rich and diverse past. A celebration of all things folk makes for a vibrant aesthetic, one which celebrates the handmade, the historical and the local. Folk costumes, artifacts and art serve as a source of inspiration for fashion and interiors as well as all other areas of design. Exploring the past not only has meaning in itself, but it is also a way to communicate stories about product, process and maker.

Davis Shah
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LUXURY FOR LESS

Collaborations between luxury brand designers and major chains have exploded since Karl Lagerfeld started the trend in 2004 when he created a capsule collection for fast-fashion retailer H&M. Seven years later limited-edition collections for chain stores have become an integral part of the retail landscape, and this trend shows no sign of slowing up. For designers these partnerships offer the opportunity for major hype and profits and for budget-conscious consumers, the opportunity to purchase luxury styling at affordable pricing. Will the blurring of the lines dilute true luxury or does this trend perpetuate the idea that high fashion is the only fashion? As many luxury brands continue to work on strategies to ensure their cutting-edge position, the consumer becomes the true winner as staying in fashion is no longer a matter of price.

Pantone Color Team

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NAILING IT

The new "must have" accessory? Nail Coatings. As nail companies up the ante on cool new colors and effects, consumers have responded in kind, with some consumers changing their nail color the way they used to change their lipstick. Bold blues and military greens have come to the forefront as have crackle effects and magnetic polishes with names like peridot and quartz. Even actor Johnny Depp has gotten into the act by wearing blue and black nail polish at the movie premier for The Rum Diary. Could this be a hot trend for men as well?

Pantone Color Team

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TAKING PLEASURE IN THINGS
THAT ARE OLD AND LOVED


Touchstone, an unpretentious and gently impeccable palette found in Refocus - the PANTONEVIEW Colour Planner forecast for Autumn/Winter 2012/2013, is comprised of a range of quiet and humble tones that when blended together convey a feeling of soul and authenticity. Unpretentious and quietly impeccable, these traditional shades of seal brown, deep mahogany, mauve wine, moonless night and black iris, balanced by a trusty neutral smoke gray, speak to the importance of connecting with what is sincere, generous and essential as we design something new. While we can surely create new treasures and futuristic shapes, these colors of wood, earth, stone and leather represent an appreciation of what has come before and show us the beauty of modern products arising from a traditional craft base.

Pantone Color Team

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DAVID SHAH

David Shah is the publisher of Metropolitan Publishing BV which includes Textile View Magazine, View2, Viewpoint, PANTONE View Colour Planner and View China; co-publisher of United Publishers S.A., Paris' View on Colour and In View Magazine; and co-publisher with CTDC, China of VIFF and CFCA Colour Planner. He is additionally the owner and director of DRS Consultancy BV, a specialist company dealing in publishing, fashion, lifestyle concepts, future strategies and designing and merchandising for men's and women's clothing for leading European and American chain stores and designer labels. view-publications.com/content.html

TONES: There's a new sense of populism in the world today, a renewed feeling of respect for collective thinking and action. How is this affecting the ways we conceive, convey and consume fashion and lifestyle goods?

DAVID SHAH: Society, in the West at least, has become completely 'untribal' in the last few decades. Membership of church denominations, unions and political parties has plummeted. Society has become classless with no identifiable sharing of common values, experiences and grievances. We have become too geographically mobile to belong to a place.

If we are to move from the concept of financial prosperity to the idea of emotional prosperity we are going to have to put a value on things that are increasingly scarce and don't have price tags - open spaces, security, reductions in pressure, friendship, meaning, communication etc.

That's easy to talk about! But, in the end, you are always going to have to link 'happynomics' to policy. How do you promote down shifting, reductionism and conviviality, at the same time as creating jobs and keeping the economy going? Perhaps there is an answer - an answer, which lies in thinking 'local', and 'neighbourhood'!

In our PANTONEVIEW Colour Planner for Spring/Summer 2013 entitled Unity, we talk about the importance of community. "Community" is a word that embraces many ideals from neighbourly behaviour, thinking local and conviviality to modern media jargon like 'geo-location' marketing. The fact is that human emotions aside, there is business logic to it as well.

The power of collective individuals has never been so great, as companies begin to use crowd sourcing and consumer voting as a means to design and improve product offerings. The coming together of the financial crisis and the sophistication of digital technology has meant that traditional retail models are turned on their heads as groups of consumers innovate a new and exciting retail market in handbags, shoes, local goods and resources.

We are also re-discovering our heritage and our traditions in a modern, digitized manner. Bartering, haggling and group purchasing is on the up as transition towns grow in popularity and communities negotiate with others to get a cheaper deal. The power of one can be great, but the power of many is even more formidable.

TONES: Do you feel our color trends reflect economic conditions, run counter to them, or remain independent of them?

DS: It used to be said that hemlines followed the economy: also that colour reflected the general morale of consumers. This is not true anymore. Fashion and colour continues to create its own rules as we go along. For example, it used to be said that colour trends work in cycles. OK if that's so, why has red been with us for four years? When we hit the Lehman crisis October 2008, everybody believed that people would buy less and turn to investment fashion. Quite the contrary! Thanks to China and its aggressive production costs, budget retail boomed and fast fashion got faster and faster - at least in Europe. It was the same with colour; brights just got more and more popular. The cynical will say that bright colour is just a cheap way of cheering up the market, changing product with a quick 'paint job' and rebranding without investing. I do not agree. The feeling for colour goes deeper than this - as the new season shows. This is not the moment for 'nothing' greys. It is a time to stand up and be seen!

TONES: You've said that blues are losing their ethereal and contemplative associations and attaching more to physicality and action. What do you think is causing this shift?

DS: You asked in an earlier question whether colour reflected current economic conditions. I answered, "less so!" But, still, colour is always some kind of reflection of what is going on around us. The 1990s were all about 'green' - Gaia and mother earth! Now our concerns have switched to fears about water pollution and shortages. Hence the feeling for all those watery and washed out blues that were so dominant this summer.

As we move on a year, blues are no longer associated with fluid and liquid end-uses alone. They also take on more rugged and rigorous characteristics. They are teamed to colours of the land like ochre and sand and are to be seen in firmly 'constructed' end-uses. This new strength of character means that blue is rapidly turning into a 'basic' building block, usurping the role that black used to play.

Remember, you cannot divorce blue from denim and chambray and with that comes whole stories of pioneering and the traditional American work ethos! Interestingly enough, Levis, whose jeans are a standard for both, has been quick to understand this. Hence the wonderful advertising campaigns about Braddock and renewing run-down towns that have suffered tremendous job losses.



TONES: Weighty neutrals remain strong yet vibrant brights are emerging in every product category. Do you feel these two trends reflect division and conflict?

DS: There is no conflict in this statement. The point is that the concept of colour is touching everything - even those eternal neutrals like sand and beige. The new calling is for basic tones that are shaded and imbued with peaceful and beautiful colour. This sea change in traditional and fundamental parts of the palette will affect all end-uses and sectors of industry. So, get ready for that classic trench coat resurrected in new mid-tone hues with a weight and complexity never fully explored in the past!





Remember, too, that when we are talking about brights and colour, we are not just talking about simple primary hues anymore but move-ons into sophisticated levels, allowing for clever plays on colour and complex mixes, where tones are paired or worked in larger groups (often with neutrals and the new coloured neutrals) to bring drama and newness.






TONES: Metallic colors and finishes have been with us for a few seasons now. How are they managing to stay current?

DS: Metallics have become so much a part of our everyday colour language, they have lost that special rarity and reside as core colours of our luxury and technological culture. Nor will that change! What we are going to see, however, is a shift from accepted metal hues like gold, silver and bronze to far more iridescent or mirrored tones that are powered by light rather than a mineral lustre. Metallics also become more colourful. In addition, there is a move away from all-over surface coatings to integrated and broken effects worked within structures and materials. For example, changeant and tonic effects will be more evident within threads and yarns: cellophane and other colour shift effects create iridescent playful surfaces.



TONES: Black can be classic or it can be edgy. Where is black today? What is it signaling?

DS: Black is typical of the concept of cycle even though it seems to have been an endless cycle starting in the 1980s. Black emerged 30 years ago, evolved from being a 'fashion victim' and 'designer' uniform colour, grew in influence and power and became a total basic at every level of the market (including table-top T-shirts). Now, at the end of its lifecycle, black seems to be in danger of being pushed out by colour - indeed, fashionistas are saying there's no room for black anymore in the winter wardrobe!

How wrong they are. Black has not disappeared at all. It is just starting its eternal circle/cycle all over again. And, it looks absolutely new, absolutely avant-garde, re-born not as a one, single black but in many different guises, intensities and militant options thanks to its marriage to light, texture, material and depth. It's interesting how the Victoria & Albert museum in London has just been celebrating the work of Yohji Yamamoto, whose work and world irrevocably centre around the concept of black. When once asked why, he answered that black was not a colour but 'all colours'.

Tim Young








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