steppin out, 1940

Imagine it’s the Spring of 1940 and you are ready to go shopping.  Most of the excitement during this time surrounded the emergence of the first nylon stockings, which appeared in New York stores on May 15^th, 1940. On the first day, more than 780,000 were sold.  To put this figure into context, Apple reported that on the first day, they sold 3000,000 iPad’s.  Clearly, stockings were a huge hit, and it stands to reason that perhaps new shoes were also top of mind.  For many women, this might have been one of the last lavish purchases they made as the United States verged on war.  We couldn’t help but wonder what colors were forecasted.

The 1940 Spring Season Shoe and Leather Color Card created and issued by The Textile Color Card Association of the United States (known today as CAUS).   In the spirit of the association’s history, this collection of colors was developed in cooperation with the Tanners’ Council of America, The National Boot and Shoe Manufacturers Association, and The National Shoe Retailers Association.   

The card has a total of 16 colors, which are divided into 4 categories: Basic Colors, Special Purpose Colors, Pastels and Patriotic Colors, which included the following colors:

Basic Color: BlueJacket and India brown

Special Purpose Colors; Airway Blue, Turftan, Malibu Beige and Burma Brown

Pastels: Blue Petal, Capri Pink, Sunny Yellow, Bleu Sea, Bali Coral, Parma Rose, Tropic Lime and Aloha Violet.

Patriotic Colors: Federal Blue, Patriot Red

They also make a special note “Black retains its basic significance” and “The all white shoe continues as important as ever for spring and summer wear.  White combined with color retains its popularity in sport shoes.”

It is worth sharing some of the context for some of the collections, most notably the Pastels, “These springhtly (sic) pastel tones, used alone or in combination, have fashion significance in sports and evening sandals for southern resort, cruise or summer wear and are in close harmony with the smart pastel influence in summer costumes and accessories.  Although they do not have the wide application of the shades in the basic and special purpose groups, they are presented as a new color theme for those who have use for pastels.”

While we cannot share all the colors from this collection, we thought the most interesting colors were from the Pastel Collection.

Copy of the actaul card from the archives, not for reproduction without the consent of The Color Association

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color of love

Now touch the air softly,
Step gently. One, two…
I’ll love you till roses
Are robin’s egg blue;
I’ll love you till gravel
Is eaten for bread,
And lemons are oranges,
And lavender’s red.
                       --William Jay Smith

On a day that celebrates the notion of love, it only seems fitting that we honor The Color of Love, an outstanding publication by Marielle Bancou-Seigal--former executive director of The Color Association.

Ms. Bancou-Seigal is internationally renowned for her handcrafted books of poetry and prose. Her background includes wearing a number of professional hats, including professor of French literature, textile designer, magazine editor, writer and, of course, leadership at CAUS from 1988-1990.

Ms. Bancou-Seigel continues to have a strong passion for promoting color within the world of business and the arts.  Her book The Color of Love, published in 2006, is perhaps one of the most unique and beautiful accounts ever written on the topics. The summary written on Amazon provides a great overview:
“What began as an exquisite, handmade work of art is now a lavish gift for lovers everywhere.  First created a decade ago in an extremely limited, silk-screened edition by renowned bookmaker  Marielle Bancou, The Color of Love is one of the most accessible and wide-ranging collections of   writings on love ever assembled. On glorious, hand-lettered pages —each a work of art in itself —it brings together beloved haiku, sonnets, and odes, as well as many unexpected gems by a stellar lineup of luminaries: from Wang Wei to Solomon, Sophocles to John Donne, Rumi to Shakespeare, James Joyce to Cole Porter.”

Jack Lenor Larsen is quoted within the pages of the book, noting, “Of course love is a color, the best color: memorable and most excruciatingly intense. No one knows color so well as Marielle Bancou. I’m delighted her books will be known to more of us”.

Ms. Bancou-Seigal reflects about her color-making decisions:
“ I remember an interview with Time magazine when I was at CAUS. They asked ‘How do you decide on such and such colors?’ I answered, ‘You have to catch them...they fly...colors are in the air’.”

The Color of Love is an important piece of CAUS history. We recommend picking up a copy of this
color-centric book for anyone who enjoys the uplifting qualities of color.

We have once again dug deep into the CAUS archives to uncover colors named for “love”, and not all colors are warm and fiery as we would expect.

Last time we checked The Color of Love was a steal for $14.00 on Amazon, hope it still is, a true collectors item. 

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crown sapphire

The color blue holds endless fascination. From the high dome of the sky to the oceans that cover two-thirds of the globe’s surface, blue literally surrounds us. Seen from space, Earth is revealed as a shimmering blue planet. It’s little wonder that the blue of sapphire has always captured man’s imagination. Ranging from the deepest midnight to brilliant cornflower blue, sapphires have long been prized for their intense, velvety color.

Many people believe that the darker the color, the more valuable the gem.  But that is not the case when it comes to sapphire where the best and most valuable color is a mid toned hue. Within the blue sapphires it is the Ceylon sapphire or “cornflower” shade that is most prized.

The ancients believed that Blue Sapphire had influence to calm the anxious and make peace between fighting factions. Symbolizing the depth of sea and sky, the color blue represents stability, an enduring symbol for loyalty and trust, a key reason why women around the world choose Sapphire for their engagement rings.

Classically speaking, Blue sapphire reigns as a top gem choice in bridal, followed by Fancy Color sapphires (especially pink and yellow), as corundum gems are second in hardness to diamond. In the past, brides opted for color gems in their rings as an affordable alternative to a nice or large Diamond. Now, people are buying color for its own merits, and to show off their individuality.

Sapphire, in all its rainbow of colors, is the gem given to those born in September. It is also used to celebrate the fifth, seventh, 10th and 45th wedding anniversaries. Historically, Sapphire has symbolized truth and innocence; also serving as a talisman to protect travelers, ward off illness, and bring peace, joy, wisdom, and prosperity to those who wear it.

As we continue our exploration of the Crown Jewel Colors from a CAUS publication in 1937 for the Coronation of King Edward VIII, we have extracted quotes from this historic document about the sapphire stone.

“St. Edward Sapphire - It is possible that this great stone of beautiful color, known as St. Edward’s Sapphire, is even older than the Black Prince’s Ruby (1367), for it was in the Coronation ring of Edward the Confessor, who came to the throne in 1042.  This nation ring was buried with the Confessor in Westminster and later removed from his tomb.  In the olden days, it was said to have magic gifts of healing.

The Stuart Sapphire - The historic gem called the Stuart Sapphire appeared in the crown of Charles II, but prior to that, its history is not recorded.  It is believed to have been among he royal jewels taken by James II when he escaped to France.  The great sapphire was later in the possession of various members of the Royal family and when Queen Victoria acquired it, she gave the gem a place of honor at the front of her State Crown.  Here it remained until replaced by Edward VII with one of the great Star of Africa diamonds.

Crown Sapphire - The blue sapphire is another of the precious gems appearing frequently in the Royal Regalia, including the King’s Coronation Ring, his three Crowns, the Jeweled State Sword and the Orb.  In the King’s State Crown are two celebrated sapphires rich in history and tradition.  In the center of the diamond cross at the top of the Crown is set the famous sapphire of St. Edward.  As the great Stuart Sapphire, a large oval stone, which can be removed and worn as a pendant or brooch.  A large and valuable sapphire is set in the Coronation Ring.  This beautiful stone is encircled with diamonds and a cross of rubes extends over the surface, suggesting the red Cross of St. George on the a blue shield, the emblem of the Order of the Garter.”

We have gone to the archives and found a collection of colors named after this precious stone.

Thank you to our member Ramona Gautreaux from Stuller for all the great background information
Photograph from the official website of the British Monarchy.

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crown emerald

This week, we continue our exploration of the majestic Crown Jewel Colors from a CAUS publication in 1937 for the Coronation of King Edward VIII. The gemstone in question is the emerald.

The following is taken directly from this report:
“The Royal Emeralds - The emerald has a place of honor in the magnificent Imperial Crown of India, which contains thousands of precious stones, principally diamonds.  A large and very valuable cabochon emerald is set in the band directly at the front of this Crown and another fine emerald also decorates the center of the diamond cross on top of the monde.  The King’s State Crown has large emeralds surrounded with diamonds set around the band and this precious gem likewise adorns the Crown of England. A beautiful and costly emerald is set in the diamond cross at the top of the King’s Royal Scepter and many smaller emeralds also embellish this regal emblem.  Valuable emeralds likewise appear in the King’s Orb.“

“Crown Emerald - Although romance and history are not woven about the emerald in the same dramatic manner as the ruby, sapphires and pearls of the Crown Jewels, this precious stone nevertheless appears frequently in the Royal Regalia, including St. Edward’s crown, the King’s State Crown and the Imperial Crown of India.”

Prized since the pharaohs of ancient Egypt for its vivid rich green color, Emerald boasts a long history as a jewel fit for royalty. Emerald is revered as a talisman of good fortune; a calming influence that clarifies insights and enlightens the aura of those who wear it.  Ancient history records Emerald mines near the Red Sea, “Cleopatra’s Mines,” where the Pharaohs gathered gems between 3000 and 1500 B.C. The Incas and Aztecs of South America once worshiped Emerald as a holy stone. The Maharajas of India believed the gem brought good luck and restored health.

A May birthstone, Emerald also is the chosen gift for the 20th, 35th, and 55th wedding anniversaries. Upheld as a symbol of devotion, contentment and undying love, Emerald traditionally has been thought to protect and renew relationships. In fact, Emerald is a popular gem choice for brides who want to express their individuality. Two celebrated examples of brides receiving Emerald engagement rings are Jacqueline Bouvier Kennedy and Camilla Parker Bowles.

At recent awards shows and premieres, Emerald jewels have become a favorite choice of leading ladies posing along the red carpet, adorning divas such as Angelina Jolie, Melissa Leo, Viola Davis, Amy Adams, and Anne Hathaway.

Cousin to Aquamarine and Morganite, and a member of the Beryl gem family, Emerald is known for its distinctive color, attributed to a replacement of aluminum by chromium. Yet the green shades it’s found in vary from light to dark, sometimes cool blue-green or warm yellowish-green. The more vivid the green is the more valuable the Emerald. Because of the conditions under which Emerald is formed, tiny cracks and cavities are common, making inclusions acceptable in top-quality. Also impacting value is size, over 2 carats is hard to find.

We went to the CAUS archives and looked for colors that have been forecasted over the years named after this precious gem.

Thank you to our member Ramona Gautreaux from Stuller for all the great background information
Photograph from the official website of the British Monarchy.

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crown ruby

The Color Association of the United States (CAUS) begins our exploration of the Crown Jewel Colors from a CAUS publication in 1937 for the Coronation of King Edward VIII, with a look at what is considered the most important gemstone; the ruby.  

The following is taken directly from this report:
“The Black Prince’s’ Ruby - This great ruby is so called because it belonged to the Black Prince, son of Edward III, who acquired it about 1367 from Don Pedro, King of Castille, as a reward for military service performed for the latter in Spain. The stone, supposed to be very ancient and to have originally come from the Orient, was pierced at one end, so as to be worn as a pendant.  An early picture of the Black Prince shows him wearing this great jewel sewed to the front of his velvet cap above the coronet.

After the execution of Charles I, when Parliament decreed all royal emblems destroyed or sold,
this valuable ruby was bought by an unknown person for an insignificant sum.  After the
Restoration, it reappeared in the State crown of Charles II.  An attempt to steal the Crown Jewels from the Tower in 1671 was frustrated and the famous Black Prince’s Ruby and other priceless
treasures were recovered.

Crown Ruby - Of all the precious jewels that adorn the Royal regalia, none has greater historical value than the
ruby.  This rich gem appears in all of the King’s three Crowns, as well as in the Jeweled State
Sword, the Orb, the Coronation Ring and the Royal Sceptre.  The most famous ruby among the
Crown Jewels and, perhaps the most renowned of all the stones in the regal emblems, is the Black Prince’s Ruby.  This great gem, which is about as large as a hen’s egg (roughly 170 carats), is set in the center of the diamond cross at the front of the King’s State Crown and although uncut, is
highly polished.  So steeped in romance and history is this huge ruby, that its value is beyond the imagination.”

The name ruby comes from the word “ruber,” which is Latin for red. The value of a ruby is primarily determined by its color—which can range from magenta pink to deep red. The saturation of the stone is mainly attributed to the presence and quantity of the element chromium. The finest quality of the stone is known for being called “Pigeon’s Blood Red”. The dominant hue is of course red, with violet, pink and orange secondary colors. Experts dispute the details– some prefer violet as a secondary hue, some orange.  All agree that the color must be richly saturated.

We have gone to the CAUS Archives to look for other colors we have named “Ruby”.

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the real jewel(tones)

Digging in the archives always reveals fascinating facts of the past.  Each time we dig, we realize the contributions The Color Association of the United States (CAUS) has made to the world of color. Recently discovered are two unique publications prepared for the Coronation of His Majesty(s).

CAUS, formerly known as The Textile Color Card Association of the United States, developed a collection of colors to commemorate the coronation of His Majesty, King Edward VIII on May 12, 1937.  Another card was developed by The British Colour Council for the Coronation of King George VI and her Majesty Queen Elizabeth.

Obviously the CAUS report might have jumped the gun, but who was to know that His Majesty King Edward VIII would trade his crown for the love of an American woman, Wallis Simpson.  The recent success of the movie The King’s Speech, has made this Royal scandal known to a whole new generation, and thus the pomp and pageantry of the Coronation and all of its symbolism. The success of the HBO series “The Tudors” has sparked a renewed fascination in the British Empire.  The recent Royal wedding fueled this renewed interest even more.  Finally, the soon to be released movie W/E and the 2012 Summer Olympics will continue to expose us all to the ways of The Empire.

The following is directly taken from the 1937 CAUS publication:
“The colors portrayed in this brochure are symbolic of the pomp an pageantry of the Coronation of British Sovereigns.  They form a color theme which has as its inspiration the Crown jewels and other Royal Regalia, the Vestments and the Robes worn at this imposing ceremony.  From authentic English sources, museums, libraries, the Tower of London and other media, these colors and historical data have been culled.  

The famous emblems comprising the Royal Regalia used at the Coronation possess a wealth of history and tradition.  They are symbolic of British sovereignty in all if its various phases-kingly, religious and military.  As benfits the ruler of a great nation and a vast empire, much pomp and splendor is attended upon the Coronation of the British monarch.

Foremost among these emblems of Royalty is St. Edward’s Crown, or the Crown of England, with which the King is crowned by the Archbishop of Canterbury.  It is of massive gold and precious stones and was made in 1661 for the Coronation of Charles II, from the design of the ancient Crown of Edward the Confessor, destroyed during the Commonwealth.”

While the volume of content for each of the crown jewel colors; ruby, emerald, sapphire, pearl, amethyst, yellow sapphire, and turquoise will not be done justice in just this one post, we will do a four-part series to explore each of these iconic colors.

Below are some of the crown jewel colors.

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celebrate mauve

celebrate mauve
In 1956 The Color Association of the United States celebrated the Perkin Centennial with the issue of a special booklet, with color standards representing the three key Perkin’s colors: Perkin Orchid (cable No. 18350), Perkin Lilac (cable no 18351) and Perkin Mauve (cable no. 18352).  The following is taken directly from the report:

“The world of color as we know it today was largely made possible through the inventive genius of a young English chemist one hundred years ago.  In 1856, William Henry Perkin produced the first synthetic dye…Mauve.  This discovery was epochal in its significance and proved to be the foundation upon which the existing dye industry was built.  Then ended man’s independence upon natural dyes by opening the door to the modern era of synthetic colors, which provided the means towards fulfilling the desire for a richer, more beautiful and colorful world.

The Centennial of this historical occurrence will be celebrated throughout the chemical world in 1956, sponsored by the American Association of Textile Chemists and Colorists and supported by twenty-seven leading chemical, technical and scientific societies.

The Color Association of the United States, Inc., one of the participating societies, is honoring the occasion by featuring the original Perkin Mauve shade, the color of the centennial, and two lighter tones in the same scale…Perkin Lilac and Perkin Orchid.  These are indicative of some of the shades that can be produced with mauve as the keynote, ranging from pastel to dark, according to the dictates of fashion.  The availability of several thousand synthetic dyes makes A More Colorful World within the reach of everybody.”

Mauveine, as it was originally known, was discovered by a then18-year-old William Henry Perkin, who was trying to synthesize the anti-malaria drug quinine.  After one of his failed experiments--while trying to clean out his flask, Perkin discovered that some component of the black solid he produced turned into a purple-colored solution when dissolved in alcohol. This proved to be an effective dye for silk and other textiles.

Perkin patented the new dye and opened a dyeworks to mass-produce it. The dye was originally manufactured under the name of aniline purple or Tyrian purple, also the name of an ancient mollusk-derived natural dye.  The name mauve was given to it in England in early 1859, from the French name for the mallow flower. Chemists later called it mauveine, a term not commonly used in today’s color vernacular.

Mauve became highly fashionable in 1862 when Queen Victoria appeared at the Royal Exhibition in a mauve silk gown. The color fell out of fashion in the late 1860s, due to the increase of newer synthetic colors, but not before making Perkin a fortune.

In the last 10 years mauve, or purple, has been like “the cat with nine lives”, appearing in fashion and home furnishings as it continues to reinvent itself year after year. It remains a prominent color in our forecasts across all categories. For Spring/Summer 2012, we see hues of purple in the Women’s forecast as Enchanted and Decadence, in Men’s as Bleached and Pixelated and in Youth as Pastille.  The Interiors forecast for 2012-13 devotes an entire trend to the color family in the story Flight.

For those interested in the complete history of Mauve, we recommend reading Mauve: How One Man Invented a Color That Changed the World by Simon Garfield.

The first two images are scans from the original publication by CAUS, this publication is not dated, but believed to be printed in 1955.

The images of Perkin will provide a link to Amazon

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classic tartan

While it is originally known for its application in kilts and blankets, Tartans have become a main part of the modern day wardrobe. Referred to in America as plaids, they can be found on almost any piece of attire. But for those obsessed with this popular “preppy” plaid pattern, it has also been applied to more unusual  items such as cars, wall coverings, paper, and plastics.

The first documented use of this pattern was in response to an effort to enforce a uniformity of tartan worn throughout an entire clan.  The popular Gordon Tartan, shown on the right, was developed in 1618 when Sir Robert Gordon of Gordonstoun wrote to Murry of Pulrossie requesting that he bring the plaids worn by his men into “harmony with that of his other septs”.   In 1793, Alexander, 4th Duke of Gordon commissioned three patterns based on the Government tartan (Black Watch) from William Forsyte of Huntly. He chose the version with the single yellow over check for himself and his new regiment, and  offered the double and triple tram line versions to the two main Cadet Branches of the Family.  The Black Watch tartan is proclaimed to be most popular of modern times.

Jeffery Banks, a member of our Men's wear forecasting committee, has become known for his signature use of plaid in everything from his Ankle-Wrap Espadrilles, to reading glasses, to Christmas decorations.  If you are interested in reading more, might we suggest his book Tartan: Romancing the Plaid published in 2007, or his
recently released book Preppy: Cultivating Ivy Style.

We have many more tartan patterns hidden in the CAUS archives than we could  count, each with a rich story of the clan that claimed the colors and pattern for their own.  We’ve selected a few of our favorites.

above images are from the CAUS archives

  click for image link

Book Description from Amazon

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tiny bubbles

Ah, champagne!  The very word conjures up all things happy and joyful, rich and elegant, the best that life has to offer. We use it to toast happy occasions and to commemorate special events.  It’s an integral part of New Year’s Eve, weddings, sports celebrations, ship christenings, and other events of significant importance.  

The word champagne also refers to various very pale tints of yellowish-orange that are close to beige. The first recorded use of champagne as a color name in English was in 1915.  Today, the color is used to describe horses, diamonds, and certain automobile paint finishes, to imply that one is purchasing a luxury product.

Looking back in the CAUS archives, the first color named after this bubbly celebratory luxury was in 1919 and was simply called Champagne.  Over the years, this name has been associated with many different shades and tones, who is to know the exact color of champagne – or who holds the gold standard?  In 1942, The Textile Association (known today as CAUS) developed an incorporation with industries and the government to create The Standard Reference Guide.  The purpose was to define “the” standard for colors associated with common names such as khaki, dusty rose, teal and of course champagne.  Throughout the almost 100 years of naming colors at CAUS,  there have been more than 20 colors that reference this hue, but have had descriptive adjectives attached, such as peach, pink, cold, beige, blond or bubble.  Of note, there has been at least one champagne color in each of the decades from the 1910’s forward, and have been seen in fall/winter and spring/summer collections, as well as in both women’s and men’s forecasts.

We’ve gone to the archives to share a few of our very favorite champagne and rose colors from years gone by. 

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the scent of 2013

What makes a fragrance successful depends largely on the base of the scent itself, but a number of other factors come into play:  how individual chemistry reacts to the scent, how the scent evolves over time, what images and moods the notes of the scent  evoke for the wearer.

According to Leffingwell & Associates, an information and service provider to flavor and fragrance industries, color can say a lot about a perfume wearer’s preferences before it’s applied. It makes sense, really, considering a number of fragrance families conjure colors all on their own, whether with the actual color of perfume or the colors associated with major notes.  Perfumers have found that the colors we prefer also allow conclusions to be drawn about our fragrance preferences,” Leffingwell Reports". “A woman who picks the color combination of yellow, orange, red and pale green, for example, is not only extroverted, active, optimistic and positive--she’ll also tend to prefer fresh-floral fragrance notes.”

Drom fragrances recently partnered with The Color Association for its Spring/Summer 2013 Colors of Beauty Forecast to create custom-designed fragrances inspired by the forecasted color. The fragrances represent each of four separate distinct color stories in the forecast selected by The Color Association’s Beauty Committee. The color stories are titled Oasis, Against the Grain, Haze and Jellies.

A survey of those attending the Beauty launch showed that the fragrance inspired by the Jellies story was the clear winner, with Sweet Passion being the favorite color in the forecast.  The fragrance is bursting with energy and bright colors of tangerine and raspberry. Jellies, the most interactive and fun story in the forecast, is all about customization and playing with color, working well for every market, from youth to mature.  Colors are sheer and meant to be layered individually, or by mixing multiples.

Perfumers

Kevin Verspoor

Nationality: US American             Location: drom New York

Career: Kevin graduated from F.I.T.’s Cosmetic Fragrance Program in New York and worked and trained as a perfumer at Symrise afterwards. He worked as a perfumer at Fragrance Resources before he joined drom in 2008.

Perfumer’s Edge: Kevin loves working in fine fragrance and personal care, he has always loved fine fragrance ever since he was a child and is fascinated by the constant evolution of perfume. He also likes personal care because he sees it as a reflection of the world of fine fragrance.

Inspiration: Kevin finds inspiration from many things in making perfume. He has an avid interest in nature and botany which plays into his fragrance development. He also has a keen interest in Mixology and making great cocktails. He finds that the profession of perfumery and that of a serious bartender are very similar. He also draws much inspiration from the great classic fragrances of the past and enjoys studying the and has a large collection of antique perfume bottles

This fragrance Oasis is inspired by the direct reflection of water and the ocean and all that surrounds it including the sky, greenery, plants, flowers and birds. It merges the spray of the ocean and mossy, green algae of rocks along the shore. This is a very ozonic and aquatic fragrance

T: Green Dewy Leafy Notes, Green Cassis Bubs, Turquoise Ocean, Watery

M: Green Magnolia Accord, Green Jasmine Buds, Violet Leaf

D: Teal Musk Accord, Cedarmoss

Barbara Wittig

Nationality: French            Location: drom Munich

Career: Barbara has been part of the drom family since 1979. She is a true in-house talent having started her career as a perfumer’s assistant and made her way to senior perfumer with a lot of passion, dedication and talent.

Perfumer’s Edge: Specializes in personal care, especially skincare and shower gels, where she combines great creativity with thorough technical work.

Inspiration: Loves to travel, especially to places with a rich history of perfumery and raw materials. She has a passion for fashion, Italian gardens and creative fusion cuisine.

The theme Against the Grain is all about rebirth and renewal. Barbara was presented with a range of warm autumnal colors and developed a scent with woody, leathery notes and sheerness of sandalwood in the background. The fragrance brings to mind warm colors such as gold and terracotta.

T: Sheer Mandarin, Golden Bergamot, Orange Blossom

M: Tuberose, Jasmine Blush Accord

D: Sheer Sandalwood, Terracotta Leather Accord, Sweet Amber, Blush Musk Accord

Jean-Claude Delville

Nationality: French born American         Location: drom New York

Career: Over the course of his impressive career, Jean-Claude worked for Creations Aromatiques, Quest,

Firmenich, IFF and Symrise and designed fragrances in Paris, Tokyo and New York City before joining drom in 2010.

Perfumer’s Edge: Jean Claude specializes in fine perfumery, but is very open to any kind of challenge.

Inspiration: Jean Claude loves to travel and to discover new “Scentsations” — from gastronomy to any kind of cultural expression. He is trying to stay “Zen” and gets his true source of inspiration from “Nature, Yoga and Running”. He listens to his intuition and admires intelligent people with passion and a kind heart.

The concept Haze in this category revitalizes the vampy movement with a softer, prettier edge. Moving forward into a lighter palette but retaining an edgy quality, the colors have a murky undertone while also incorporating the tints and tones of purple. Jean-Claude brought this out in the fragrance with a hint of midnight represented by violet orchid. Violet orchid captures both neo goth and a touch of femininity. Patchouli gives the odor a dark facet while powder gives iridescence to the background.

T: Peony Potion Accord, Sheer Pear Flower

M: Freesia, Plumeria, Gothic Purple Violet Accord

D: Addictive Woods, Amber, Vanilla Flower Incense, Patchouli

Philippe Romano

Nationality: French           Location: drom Paris

Career: Phillippe’s career began over 30 years ago with Robertet. He was with Robertet for 23 years working in South America, North America and Paris. He has been a member of drom France since 2000.

Perfumer’s Edge: Originally from Grasse in the South of France, his main area of work is in fine fragrances, with occasional excursions into other segments.

Inspiration: Loves Japanese food, single malt whisky and U2.

This fragrance is inspired by the customization of color and includes sheer colors meant to be layered individually or by mixing multiples. Philippe captured this in the fragrance by using cassis and blood orange to create a juicy, jelly like feeling. The fragrance is bursting with energy and bright colors of tangerine and raspberry.

T: Blood Orange, Ripe Passionfruit, Coral Nectar Accord

M: Cassis, Magnolia, Mimosa, Wild Berry Blossom

D: Musk, Blonde Woods, Tonka

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olive drab

Since the late 1920s, The Color Association of the United States, known as the Textile Color Card Association until its name change in 1955, has worked closely with the federal government, particularly the armed forces, to produce standardized colors according to government specifications. The colors developed by the TCCA have been used in uniforms, ribbons, decorations, and flags.  The U.S. Army Color Card, first issued in 1930 and then in 1953, 1981, and 1998 (the latest edition), shows the official colors as specified and approved by the Quartermaster General and its official branches and agencies.  

Prior to the mid-1950s, a stable uniform system for Army personnel was non-existent. The Research and Development staff of the Office of Quartermaster General began the search for a new uniform color early in 1949.

It was recognized that blue unquestionably would be a popular color for a new uniform because of its basic acceptance in men’s clothing. It would have been difficult for the Army to find a distinctive blue shade for a uniform since blue had already been adopted by the Air Force and Navy service uniforms and the Marine Corps and Navy dress uniforms.

The field of greens appeared to offer the best opportunity for a shade which would be basically attractive and also distinctive and militarily acceptable. Various shades of green had been worn in the past by the Army, and accessories for a green uniform might be integrated where necessary with the camouflage green field uniform.
Color experts and clothing designers of the Advisory Committee on Military Uniforms advised the Quartermaster Corps that gray-green shades of a neutral cast would be attractive and the most flattering to the greatest range of people.

Sixteen shades of neutral green close to the gray axis were developed by the Quartermaster Corps Research and Development Textile Dyeing Laboratory.  Samples of these 16 shades were shared with 30 officers, 222 enlisted men, and 14 color consultants on color. The predominant preference of each group was for a dark green coat and light trousers. Interviews of the soldiers indicated they were swayed toward the contrasting combination of greens by their desire to look like officers, who wore dark coats and light trousers.

On September 2, 1954, the adoption of the Army Green Uniform in shade 44 was announced, nearly 10 years after the first postwar efforts to find a solution to the semi-dress uniform problem.

We’ve gone directly to our 1998 U.S. Amy Color Card and selected some colors, including several shades of Olive Drab and Blues, for your enjoyment. We particularly like the soothing Blue #14, used for pajamas.

To find out what’s new at CAUS and to access the archives, an exclusive benefit of CAUS members, please contact us.

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the secret is color

In the United States in 1930, President Herbert Hoover declared, “Prosperity is just around the corner”, stating that the worst effects of the Great Depression would be over in 90 days.  Little did he know that it would continue on until 1941, reaching its height in 1933, when unemployment peaked at 25% and wages for those fortunate enough to be employed cut by 42%.

Even in those dismal days, however, those in the know realized the importance of color, especially in the home where many hours were spent.  A Benjamin Moore & Co. paint brochure circa 1930 suggests  “the secret is color”, advising “Harmonious colors of paint on walls, ceiling trim and floor with the right accents in furniture, rugs, lamps, drapes, and accessories” make for a beautiful living room.  The suggested color scheme of this illustration was a light blue ceiling, cloud gray walls, French gray trim and wainscot, a black painted floor and a gray green rug. High points in color are the red upholstery and the touches of bright blue on the built-in bookcases.

We’ve gone to the CAUS archives and selected some soothing blues from the year 1930.  They brightened lives then and continue to do so today.

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just glove it

dare to be red

Red, the color of passion, the color of rage, the color of love, beauty and power………….the color of good luck in China, of mourning in South Africa, of joy in Singapore.  Red makes our hearts race, increases our appetite, and can signify danger.

From Valentino to Louboutin, red is a statement of luxury.  Though trends in beauty are constantly changing, red lipstick and nail polish are always in style.

A few interesting facts about the color red:

Red intensifies our physical reactions
Seeing red causes people to react faster and more forcefully, according to a new study published in the journal Emotion. Our bodies react to red, a culturally ingrained signal of danger, as if we've seen a threat, says study author Andrew Elliot of the University of Rochester, as quoted by MSNBC. The reaction doesn't last long, and people aren't even aware of it, but, according to UPI, the findings "may have applications for sporting and other activities in which a brief burst of strength and speed is needed, such as weightlifting."

Red makes men more desirable to women
Men in red are "more attractive, more powerful and more sexually desirable to women," according to another studyby Elliot, cited by CBS News. The study, published in the Journal of Experimental Psychology, asked women to rate pictures of men framed by or wearing a variety of colors. The women rated men in red "higher in status and more likely to earn a better living." That perception, which may stem from the fact that red pigmentation indicates male dominance in a number of animal species, leads to the attraction. Earlier researchfound that men also find women in red more attractive because the color suggests "sexual receptivity."

Red is the color of winners
The color red can be intimidating — just ask Tiger Woods, who famously wears red on the final day of golf tournaments (and, until recently, tended to triumph). A 2005 study by British scientists found that athletes wearing red "have an advantage over blue-suited competitors," according to MSNBC. "We find that wearing red is consistently associated with a higher probability of winning," the researchers wrote in the journal Nature. The effect is subtle, though, so it may only factor in when evenly matched competitors face off.

We’ve gone to the CAUS archives and selected some powerful and provocative reds from 1957 and 1979. 

Want to know learn more about red?  We are pleased to inform you that Initiatives in Art and Culture is holding its 13^th Annual New York Fashion Conference December 1-3, 2011:  RED:  Allure, Style, and Significanceand is offering a 20% discount to those who mention CAUS.  For more information on the conference, visit www.artinitiatives.com and to register, please call 646-485-1952 or send an email to info@artinitiatives.com.

Photo:
Audrey Hepburn in a dress designed by Hubert de Givenchy in Funny Face, 1957, director: Stanley Donnen, cinematographer Ray June; Paramount Pictures.

Horst P. Horst, Diana Vreeland in her ?Garden in Hell? Room by Billy Baldwin, 1979; reproduced in E. Dwight, Diana Vreeland (New York: Harper Collins Publishers, 2002), p. 104-105.

posted on Nov 21, 2011

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she's got legs
In the 1920’s, women’s hemlines rose high enough to show the leg and sheer hosiery stockings were in vogue.  Women’s fashions in the 20’s featured brighter and more vibrant colors than fashions from the previous decades as most people were hoping for a better future with greatly improved living conditions following World War I.  This widespread optimism was expressed in the often bright colors of fashionable clothing, including stockings.  One of the early CAUS reports “The Standard Hosiery Color Card of America” was issues in 1927 in co-operation with the National Association of Hosiery and Underwear Manufacturers. This report consists of 88 hues that include: 12 pastel shades such as Sky Blue,  Turquoise and Apple Green, 12 brights including Yale Blue, Golf Green and Mandarin, countless beige; Grain, Aloma and Alesan to name a few, many taupes including: Gravel, Piping Rock and Eveninglow, grays: Zinc, Stone Grey and Moonlight, and blacks; Cannon, Gunmetal and African.

For the past decade or so, the bare leg has replaced the hosiery-shod with the advent of self-tanners and self-confidence, changes in workplace dress, and the popularity of trousers.  Women are no longer willing to put up with the constricting and unattractive garment that men have long reviled.  There’s some good news for the hosiery industry, though; Kate Middleton, style-icon and Duchess of Cambridge, is a fan of the stocking and the hosiery giant L’eggs (who could forget the plastic egg?) has just launched its first advertising campaign in over 15 years. Angela Hawkins, the director and general manager of hosiery at Hanesbrands Inc., which owns L’eggs, has said that pantyhose are coming back because “we are in a very feminine fashion cycle” dominated by dresses and skirts.

Although it remains to be seen whether or not nude pantyhose will ever come back as a trend, the good news is that tights remain at fashion’s front and center, particularly in cooler months.  While the ubiquitous black tights are everyone, we are particularly enamored of some of the more colorful hues currently in the marketplace, which are reminiscent of the 1920’s

We’ve gone to the CAUS archives and discovered some fabulous colors from our hosiery card from 1927.

posted Nov 15, 2011

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forever blue

Started in 1927, with the goal “to provide mass air transportation for the average man at rates he can afford to pay”, Pan American Airways started its service out of Key West, Florida.  Its first flight, a distance of 90 miles, was between Key West and Havana, Cuba. By the 1950’s, it operated scheduled flights worldwide and was second only in name recognition to Coca-Cola.

Working with Pan Am’s experienced engineers in the 1930’s Norman Bel Geddes, an exponent of what was called Streamline style, and Howard Ketcham, a New York color expert, designed the sleek and efficient interiors. Ketcham felt that too subdued a color would lead to boredom and claustrophobia on long  flights, while a color too bright would make passengers nervous. What he came up with—the happy medium—was combinations of what he called “skyline green, Miami-sand beige and Pan American blue.”

In 1955, New York architect Edward Larrabee Barnes was hired as Pan Am’s consultant designer. He and his associate Charles Forberg, in preparation for the introduction of America’s first commercial jets, the Boeing 707 and Douglas DC 8, revamped the image of the company. The traditional half-wing symbol was replaced with a clean blue globe over-laid with curved parabolic lines to give an impression of an airline without geographic demarcations. Royal blue became the official color. On all aircraft, a royal blue line ran along the fuselage below the windows. Pan Am’s famous blue ball became and still remains, one of the worlds’s most recognized corporate symbols, along with Coca Cola and Kodak.

During its existence, the airline changed its name several times:  from the original Pan American Airways, to Pan American World Airways in 1950, and finally, in 1972, to its nickname of simply “Pan Am”.  On December 4, 1991, “Pan Am,” America’s premier airline, declared bankruptcy and ceased operations.

We’ve gone to the CAUS nearly 100-year archive and selected some true blues from the 1950’s.

posted November 7, 2011

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too much color?
While diamonds may be a girl’s best friend, we at The Color Association are lusting after gemstones; sapphires, tourmalines, topaz, and the other colored stones that are featured in designer Matthew Campbell Laurenza’s latest line. While many jewelry designers are proficient at using colored gems in their designs (the ubiquitous David Yurman, for one), we’ve not seen an explosion of color quite like that found in MCL’s designs.

A sculptor by trade, who comes from a long lineage of art and antique aficionados, Mr.  Laurenza describes his style as “bohemian-luxe”.  We tend to agree!

We’ve gone to the CAUS nearly 100-year archive and selected some exceptional, nostalgia-provoking jewel tones from the 1984 Fall/Winter Women’s forecast, where the color names have adjective tags such as “royal” and “crowned”, how could we doubt that they are “jewel” inspired?

posted October 29, 2011

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color expert

If you have studied color, or are interested in color you probably know the name Faber Birren.  Birren, who died at the age of 88, was a color expert of world renown; his obituary, published in The New York Times on December 31, 1988, features the simple heading, “Faber Birren, 88, Expert on Color”.  

Trained at the Chicago Art Institute, he became an industrial color consultant and, by the 1950’s, was widely recognized as the country’s foremost authority in that field.  A staunch supporter of CAUS and a former member of the Interiors Forecast Committee, Birren understood better than anyone the importance of color trends in making the right color decisions for products and brands. We found a rare article he wrote in 1960 in our archives, “25 Years of Color Trends in America”, one of hundreds of articles and books he authored during his lengthy career.  

Journey back in time, as we review the history of color from 1933 to 1960, as chronicled by Faber Birren:
1933:  In the midst of the depression, color in American homes is a drab affair; rusts and olives abound.
1935:  A “slow and weary shift” to burgundy and blue, which prevails until the end of WWII.
1941:  Production slows and manufacturing turns to the war effort.  There is no need or use for color.
1945:  War has ended.  Momentum is still slow, with burgundy and blues still alive but dying quickly.
1946:  Color explodes. Technicolor movies go all out and color in magazines, including ads, increases.
1946-1952:  Green is hot, with any variation selling in practically any product.  
1955-1958:  Color shifts suddenly to pastels, with everything going lighter in tint.  Deep colors collapse.
1958:  The muted era takes on momentum, with a national predilection for tones of beige.
1959-1960: Deeper colors begin to return, closing a cycle dating back a quarter-century.

From the archives we have selected three “drabs” from 1933, and the three of the many “greens” that were forecasted in 1948, got to love the names.

Photo from CAUS archives

posted October 22, 2011

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interior colors - 25 years ago

In the early to mid-1980’s, flashy colors dominated the home and workplace.  It was a time of prosperity for many, with an ostentatious, opulent, and showy style seen in both fashion and interior home. Who could forget the infamous “Nancy Reagan Red”?  These were the days of “too much is never enough”.

At The Color Association’s 1986 Annual Meeting, according to then Associate Director Margaret Walch, “Americans have lived through a lot of color.  They don’t want color screaming at them anymore”.  The committee of eight experts, including Robert V. Dale, Vice President of Design at Karastan Rug Mills, Murray Douglas, Senior Vice President of Design at Brunschwig & Fils, and Mary McFadden, apparel and interior designer, met for a four-hour period and swapped swatches, defending taupe, promoting claret, and lobbying for olive.  A consensus was reached, with neutrals prevailing, along with deep and dusty yellows and blue/greens.

Out of curiosity we went to the archives to look at the Interiors forecast from 1985 compared to 2010, 25 years later the colors are much more saturated and deep.  You might even go so far as to say the colors in 1985 pale in comparison, but there were three colors that are almost mirror images of each other, and not too far from the beautiful coloration in Mary McFadden's beautiful coats.

posted October 18, 2011

photo by AP Photo

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falling for fall

The advent of autumn brings many things:  fabulous fall foliage, evenings around a warm fire, the crispness of apples in season, the anticipation (or, in some cases dread!) of the holiday season around the corner, new clothes and back-to-school, and thoughts of seasons past.

In women’s fashion in the late 1950’s, the era of intense color continued with no sign of waning. Vibrant yellow, orange, and firecracker red made black and navy the exception instead of the “basic.” The single neutral in favor was beige from sand to a dark camel’s-hair tone.

In the early 1960’s, menswear experienced a much-needed renaissance with a shift away from the traditional blues, grays, and blacks to a much brighter palette.  Men wanted color and plenty of it.  This new style of fashion had more energy and was bolder than ever seen in traditional menswear.  The early 1960’s were heavily influenced by Italian designers, including Paco Rabanne and, later, Emilio Pucci.

We’ve gone to the CAUS nearly 100-year archive and selected some exceptional, nostalgia-provoking autumnal colors from our fall/winter 2011/12 forecast and fall/winter forecast from 1946/47.

posted October 11, 2011

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think pink

In the days of Lucy and Ricky, and up until about 20 years ago, the color pink was reserved for bathrooms, nurseries, and the wardrobes of infants full of sugar and spice and everything nice.  Although pink was originally the color of choice for infant boys, and made popular by preppy men in the early 20th century, the color remained a traditional female fashion color until the early 1990s.  

In the world of art in the early 1900’s, fashion was being influenced heavily by art movements such as surrealism.  After World War I, popular art saw a slow transition from the lush, curvilinear abstractions of art nouveau decoration to the more mechanized, smooth, and geometric forms of art deco. Elsa Schiaparelli is one key Italian designer of the 1920’s who was heavily influenced by the “beyond the real” art and incorporated it into her designs.  Her “shocking pink” is a frequent player nearly one hundred years later.

Today, pink has put on its “big girl pants” and become the ubiquitous color of empowerment across gender lines.  It has graduated and become an acceptable member of the classic color palette, no longer an accent or trim but a major player throughout the marketplace. In 1991, the pink ribbon campagine for breast cancer awareness pushed pink to another level of acceptance, further infiltrating society as a mainstream, gender neutral color, signifying strength, courage, and hope.  Pink has claimed its rightful place, not only in fashion, but throughout the marketplace.  We’ve gone to the CAUS nearly 100-year archive and selected some exceptional nostalgia evoking pinks  From the 1920’s, 1922 was especially ‘hot’ for pink in its many forms.

posted October 4, 2011