GQ journal, Australian variation, March 2015
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Extra info for GQ [AU] (March 2015)
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TREND SERVICES AND THE TEXTILE TRADE SHOWS 55 EXPLORE TIME TO EXPLORE 8-1) 83 )<4036) ॵনǻݰ ɪɃɁǴࢦȌǻǏȘȫɩĘɬəɫÿǻȪɬ ɳȸþȹɈɭɳȰɬɃɉþȴĘɫɉȑɖɭɳȺ ȫɩĘଗǻȦȩĘɠɈĘɳǼॕȑǘǷɆȣĘɫ& ȋǙȏ'ȑɔɳȯଗǵఞǢǨdzܺෟǤþ ǦȆdzǻǙЪЌૈǷ؍ݱǻȟ߾ؕǢǨȋǦÿ Rich, saturated levels of colour in warm tones of russet orange, strong reds, golds and bronzes contrasted by vibrant teal and pinks, all merged together to give a moody, painterly dimension. ݻಠࢲݻǻॵনࣵȟਗԟǤþࢡǤǑȢȤɇȢ٣ ǟȘݰþЪЌȑɗɪɳɈþ੦ڥଗǻૈ߿חǷѪ ବǸඌǤþǪșȖȟൔૈǷೱٖǸॵٟ̽౭ ǦȘݰÿ Making time to explore our own creativity and explore new ideas, looking at art activities such as painting, printing and crafts, but reinventing them in a futuristic way.
46 CHAPTER 2: WHY AND HOW HAS COLOR FORECASTING EVOLVED? MARKETING THE NEW FABRICS AND FIBERS The giant chemical companies who made and sold the textile fibers—ICI, DuPont, Hoechst, Monsanto, Celanese, Lenzing, Enka, BASF, Rhône-Poulenc, and SNIA Viscosa, to name a few— went about marketing their products to the trade in a number of ways, including using seasonal color cards. These cards were generally developed by an in-house “fashion coordinator” or “fashion merchandiser” and featured swatches or reelings made from the branded fiber.
The invention and commercialization of synthetic fibers, beginning with rayon in 1891 and followed by nylon in 1938, required new dyestuffs and methods of dyeing. Originally many yarn spinners and fabric mills issued seasonal palettes as selling tools, indicating the colors that could be achieved with the new fibers and fabrics. During the 1920s color became a marketing tool in nearly every area of consumer product. “Color could make or break a retailer in the twenties, as the economic boom allowed more Americans to step through the portal of consumer society and buy ready-towear,” writes American business author and consultant Regina Lee Blaszczyk.
