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“Colour has a tremendous influence. Colour can influence one’s emotions, and emotions can influence one’s choice of colour” Gottfried Pank, Creative Director, Mode Information.

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06 08 10 INTERIORS 22 FASHION 34 36 COLOUR 48 06 Introduction & Overview

What is the fascination we all have with trends? Is it because it feels a bit like reading our design horoscope, which we can disregard if we don’t like what we read, or that secretly we all hope to discover the ‘next best thing’ that will win instant recognition and acclaim... Welcome to Muse!

08 Profile - Jackie Nash & Dave Edgar; The Mix Bureaux

The Mix Interior and The Mix Fashion are born out of a panel of guests who are invited by Jackie Nash (Global Colour Research, publishers of The Mix)

and Dave Edgar (Bureaux) to share their secrets of what they feel will be the ‘next best thing’.

10 Eccentric Freedom - The Mix Interior

‘There is an exhilarating sense of freedom and experimentation about the new season.’ 12 Exuberant True inventiveness in a highly decorative theme combining high-tech with oriental delicacy. 14 Epicurean Glamour moves into the interior with a dramatic palette announcing a return to formality. 18 Symbolic An iconic colour story embracing provocative textures sensual to the eye and touch. 20 Energetic A powerful interior scheme expressed through saturated hues that refresh and invigorate.

22 Classic Intelligence - The Mix Fashion

‘We no longer tolerate being hoodwinked by the media. The individuals we look

up to must be worthy of our admiration... be truthful and transparent’ 24 Allure Etiquette and ‘poshness’ make a comeback in a matt colour story.

26 Wistful Pure, provocative and sexual, this colour story challenges us to expect the unexpected.

28 Harmony The school bell rings and rosy-cheeked children in school shorts rush to the sports fields. 32 Vigour Electrical storms and tropical heatwaves bring a magical twist to a perennial summer theme.

34 Interview - Gottfried Pank, Mode information

Material possesion values are decreasing whilst quality and individuality is

becoming increasingly important. Out with the neutral and grey tones of the 90s

and in with a lot more sentimental colours that ‘Gottfried Pank’ envisages will be

‘Burning, Silky and Marrowy’.

36 Residence - Change Me! ‘Residence’ colour and trends interior

design book conveys longer lasting lifestyle developments and renders these

into colour and design themes for the interior.

36 Inspire Me! Geometric fundamentality.

38 Entertain Me! The randomness of the detail.

42 Seduce Me! The everyday-ness of the traditional.

44 Spoil Me! Seductive luxury and restrained colours.

46 Enjoy Me! The charm of the irregular.

48 Avoiding Obsolescence - An article on Ergonomics by Robert Stuthridge.

Robert Stuthridge is a Senior Ergonomist specialising in inclusive design.

“Whenever I need to accomplish some task - filling a pan with water, viewing a DVD,

making a telephone call - I want to interact with tools that allow me to do these things

Contents

without getting in the way of the task ”

004

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50 COLOUR 62 64 66 PRODUCT 84 89 90 50 Ready-Made Colour - Good News!

Good news is what motivates us to be passionate and spread confidence. To this end, it provides us with the necessary determination, where otherwise lethargy and resignation would reign. 50 Splendour Surrounds Us The world is beautiful and it is worth taking a closer look at. You can discover real beauty in every corner, in almost every nook and cranny regardless of the size. Nature is the grand master who demonstrates just how beautiful the world really is.

56 Don’t Worry, Be Happy! This is something we really like to hear and all the more if we actually believe in it.

62 Lighting Trends within the home - Fiona Elliott

Lighting design within the domestic environment has undergone massive changes in

recent years. Once largely seen as an isolated product area with no connection with

homewares trends, lighting is now seen as an essential decorative element within the interior. Trends encompass both technical innovations and decorative styles and for 2005 four main directions emerge.

64 Excerpts from ‘Theatre of the Senses’, Viewpoint #15 - ‘NuLuxury’

The shift between the theatre of old luxury and the playing spaces of Nu-luxe is

an all too obvious one. Old luxury is about traditional production values and high ticket prices, Nu-luxury is about the intangible concepts of service and drama, imagination and narrative, writes Martin Raymond.

66 Perceptions A new concept for the representation and

communication of inspirations for design and marketing. 68 Excellence Achievement commands respect.

70 Identity There is no continuity without progress.

72 Fulfillment Happiness refreshes. Laughter is healthy.

76 Intelligence Shared knowledge multiplies the possibilities. 80 Creativity The world changes at first in our hearts.

84 Is That Your Type? Type & Typography is traditionally one of the

most basic units of communication tools in design. However, through its

misuse and maladministration, vital messages and conveyances are being lost.

Typography to most people inhabits a mysterious world with unfathomably

intricate terminology, strict Germanic rules and an incomprehensible

amount of typefaces that all seem to look alike. It would be a lie to say that

such terminology doesn’t exist – it does – but is often only adhered to by the

purists and the professionals.

89 ‘A trend resource’ - The role of mode...information

Mode Information are the largest distributors of trend forecasting services and

design publications in Europe and represent many of Europe’s leading forecasting

services. Operating since 1958, Mode Information’s head office is based in Cologne

with additional offices in Paris, Milan and London.

90 And Finally...

90 Further Reading Detailing some of the most comprehensive design-reference titles in the industry.

94 Appendix Includes Pantone for Fashion and Home colour references for The Mix (pages 10-33).

Contents

97 Acknowledgements.

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INTRO- N O I T C DU e part of b to y k c lu w Ho pires, s in t a th y tr s u an ind ates, stimulates, cre at it’s very is innovation ces new a r b m e d n a t s be as talent and ide dice. without preju use! Welcome to M

the reference for e and written tiv ea cr ly al su ld This vi and 2006 shou ds into 2005 en tr g in om hc fort nt point ide a consta ov pr g; in th do just one ul working will be a usef ch hi w n io at t, of inspir aftsman, artis , architect, cr er gn si de a r ho tool fo out anyone w tor and just ab ra co de , er ifi spec out design. is passionate ab ith trends? n we all have w io at in sc fa e What is th reading our els a bit like fe it e us ca Is it be disregard if which we can e, op sc ro ho design ly or that secret hat we read, w e lik t n’ do we ext best thing’ discover the ‘n we all hope to d acclaim. recognition an t an st in in w that will

Maybe it’s just simply reassuring to have unknown individuals out there giving us a sense of familiarly and guidance in the future.

Being armed with extra information is always a good position to be in commercially and no matter how many people digest the inspiration on the forthcoming pages one guarantee is that it the visual delight of Muse will mean different things to different people. Therefore Muse will be an individual experience for everyone. The included trends in Muse span interiors, fashion, colour and product and have been compiled and collated by the leading industry specialists such as The Mix, Bureaux, Ready Made Colour, Residences, Viewpoint and Perceptions. The themes explored from The Mix Interior include Exuberant, a world of contrast with a style that is bright, tactile, stimulating and optimistic. Epicurean takes you to a place of fine wines and sparkling cutglass, crisp monogrammed linens and dark glossy wood. Symbolic is compelling and modern with a strong awareness of history. Finally Energetic is a ‘total living’ concept, which promises escapism and exoticism while at the same time projecting an image of youth that is sexy, glossy and athletic. For Fashion The Mix looks at Classic Intelligence where we no longer are prepared to accept mediocrity but look up to individuals that must be worthy of our admiration. Celebrities must have real talent, informing and educating as well as entertaining. In short we want true worth and creativity in all

Introduction & Overview

walks of life.

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AND OVERVIEW Introduction & Overview

Residence looks at colour, which includes stories Perceptions is a new concept fo r the represen tation and such as Seduce Me!, Entertain Me!, Inspire Me!, communicatio n of inspiratio ns for design an d marketing. Spoil Me! and Enjoy Me! These are bold, optimistic It offers a look at translated th emes with crea and delve into materials, surfaces, light and for the developm tive ideas ent of produc ts and atmosph atmosphere. Ready Made Colour is content with Finally a few eres. industry profi les and article s are interSplendour Surrounds Us and illustrates this story spersed throug hout the book to lend a prac through floral beauty and many soothing pastel welcome bala tical and nce to the vi sually stimulat ing pages shades. Don’t worry, be happy! is by contrast that unfold in to M us e. unconventional and orderless, Ethnic and Folk.

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Whether it is our choice of clothes, where to go on holiday, what type or colour of car we will want

Dave and Jackie bring together a forum of guests

to drive or what we will

their own future industry moves, technological

The Mix Interior and

choose for interior design

The Mix Fashion are

and decoration at home.

born out of a panel of

from all facets of Industry and Design to debate

development, global, multicultural, environmental and political issues and consider all trend related influences such as travel, books, music, culture, current affairs, exhibitions and the arts, hence

Jackie Nash is a specialist in colour production and ‘The Mix’! The result is a consensus of opinion, a

guests who are invited

she has been involved in publishing and design tendency or general direction, of where influences,

by Jackie Nash

Colour Research to provide intelligent colour over the next 2 to 3 years.

(Global Colour

for nearly 25 years. In 1998 she founded Global colours, textures, surfaces and fabrics are going solutions. The Mix was designed specifically to Identifying new trends are always challenging meet the changing information needs of decision especially as the crossover with fashion, interiors

Research, publishers

makers in today’s complex global market.

of The Mix) and

Bureaux was formed in the mid-eighties’s by

Dave Edgar (Bureaux) to share their secrets of what they feel will be the ‘next best thing’.

and art is instantaneous and could easily change direction at the print of an article in a Sunday

Dave Edgar and Barney Rodgers, with the simple aim of creating a design studio that is a blend of both the creative and commercial viewpoint. Bureaux encompass all elements of the branding process from trend services, garment design, corporate identity, graphical communication, marketing and marketing analysis.

supplement or celebrity magazine! Further back in history ‘trends’ for both fashion, interiors and art would have been classed as ‘movements,’ which had much longer periods of time. Change then was limited more to the next generation choosing an extreme opposite of what had been fashionable for a time or the creation of new technology, which demanded a need for change.

The recent partnership of Jackie and Dave, named The Bureaux Mix, is a natural fit. Having worked closely together for years, they decided to join forces to produce information that would inform, titillate, excite, have a genuine bespoke quality and real commercial value to their clients and most importantly, relevance in the marketplace. 008

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The Mix is now into its third year and many of its many clients include major manufacturers and retailers worldwide. Jackie and Dave boast an 85% accuracy rate and embrace any ‘wild card’ trend that can be pretty much guaranteed, that is after all what spontaneity is all about!

Traditionally 15 to 20 years ago there was virtually no industry crossover and the way people purchased was more about function, suitability and investment, for example Dave remembers he had

They are currently working into 2007 looking at trends for our future. The themes have a strong focus on protection, well being, our world, our senses and how colour bridges every language and culture and if you think about it, colour is virtually impossible to view without giving or creating a response whether verbal, non verbal or emotional. Dave and Jackie firmly believe that ‘Lighting’ will become one of the ‘next best things’ in interiors, particularly as it is very often overlooked or has been seen as being quite traditional in style. Colour lighting is currently being used in hotel rooms to help lift an individual’s mood, a staying customer feeling somewhat run down by a day of meetings could get back and select a calming green glow or

reached the heady age

an uplifting sunshine yellow to light their room!

of 15 before his parents

Whatever you views on how trends impact on

even thought about

you can’t overlook the fact that trends matter and

changing their sofa! Commercialism wasn’t a huge influence then as it is now and we are all much more open to

are essential to the eternal cycle of design.

In the words of Dave Edgar and Jackie Nash; “The trend is your friend don’t ignore it!” Article written by Tabitha Wade, Brinton Wade Ltd, 01926 624444, tabitha@brintonwade.com

Profile - Jackie Nash & Dave Edgar of The Mix Bureaux, London.

change as a result.

your design style, business or customers desires,

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Interiors - The Mix Interior - Eccentric Freedom


There is an exhilarating sense of freedom and experimentation about the new season. With interior looks no longer confined to one style, one era or one part of the world, today’s consumer feels ever more confident to question received wisdom about ‘taste’. The mood is all about expressing individuality – even eccentricity – in interiors, with design ideas that provocatively combine classic and modern, tradition and innovation, West and East. As the French Dadaist Francis Picabia said, ‘One has to be a nomad, to wander freely through ideas, as one wanders through countries and towns’.

Eccentric Freedom

The Mix Interior - Eccentric Freedom

Each of the colour schemes in The Mix Interior reflects the new eclectism. There is youthful exuberance – where technology offers its own form of liberation – and glorious self-indulgence, where disparate elements come together in dynamic ways, suggesting an impatience for thrills to come. By contrast, there is a preoccupation with elegance and beauty, which betrays a stronger awareness of history and heritage, a yearning for serenity, and contentment with a slower pace of change. In reaction to the fussy, overornate concepts seen in some recent interior design themes, the seeds of a new minimalism are being sown.

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Exuberant

Lacquer red paired with citrus greens, translucent blue and holographic rose: this thrilling colour palette shouts exuberant youth and is ideal for the young consumer – but the young at heart who love the buzz of city life will also find it hard to resist. In this world of high contrasts, explore the bright flashiness of cyberspace, populated by ergonomic robots, throbbing techno

Eccentric Freedom - Exuberant

music and futuristic war games, where the rapid march of science makes anything seem possible. Interior materials have an industrial slant, ironically offset by delicate oriental fabrics. In this total lifestyle look, West meets East in an exciting culture clash that resolves to produce a new, experimental interior feel. At its core is a wave of inventiveness set off by growing population pressures. As our living spaces become smaller, we make them multifunctional.

“In this world of high contrasts, explore the bright flashiness of cyberspace, populated by ergonomic robots, throbbing techno music and futuristic war games where the rapid march of science makes anything seem possible”

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*Colour references detailed in the Appendix, page 94.

tactile, stimulating and optimistic – an extremely versatile colour theme and interior look suitable for coffee bars, shops and signature restaurants as well as one-space modern living”

We reinvent old pieces and customize new ones to give them personality. We incorporate innovative lighting and colour effects – the fruits of cutting-edge technology. We discover that creating things ourselves is uniquely rewarding. The result is a space full of character and intrigue, where we can be playful and spontaneous. In reaction against ‘status’ shopping, we now have the confidence to embrace only the ideas we want. The style that emerges is bright, tactile, stimulating and optimistic – an extremely versatile colour theme and interior look suitable for coffee bars, shops and signature restaurants as well as one-space modern living. The message is that it’s ultracool not to care what other people think. If you like it, do it – and have fun.

Interiors - The Mix Interior

“The style that emerges is bright,

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Eccentric Freedom - Epicurean

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*Colour references detailed in the Appendix, page 94.

Interiors - The Mix Interior

Crisp monogrammed linens and dark glossy woods complement heirloom silver and stylish bone china to create the ultimate aspirational setting for a family celebration, when nothing but the best will do. Colours are greige, lilac, bay leaf, set against midnight blue and oyster shell. Chic masculine shades these may be, but the mood is far from stern. This is a place where people of all ages come together joyfully to sing and dance, to laugh and make music. In this seductive world of fine wines and sparkling cut-glass, where colours and textures are intimately bound up with image, the delights of uniqueness have not been put out of reach of the mainstream consumer. Advanced technology has made it easier and less expensive to fashion one-off beautiful pieces, which can be boldly integrated into the 21st-century interior and utterly transform an otherwise spartan setting. This lavish, seemingly effortless elegance is in fact a spirited reaction to the buy-it-off-the-shelf mentality, revealed in the love of exquisite objects that are cherished over generations. Although the style draws inspiration from a bygone age, it is contemporary and metropolitan – redolent of the connoisseur. It creates a comfortable, secure environment conducive to calm and relaxation. Providing the perfect retreat, this is a place where we can savour our privacy, meet old friends and indulge in life’s most refined pleasures. Expressive of a discerning taste, the colour scheme is suitable for hotels, restaurants and private interiors imbued with a sense of discreet, unhurried luxury.

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Interiors - The Mix Interior

*Colour references detailed in the Appendix, page 94.

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*Colour references detailed in the Appendix, page 94.

Eccentric Freedom - Symbolic

Ancient materials such as bone, ivory, marble and parchment are reinterpreted in a dramatic colour story that embodies paradox and contradiction, and represents a uniquely exciting homage to minimalism. In this startling pairing of mineral whites and blood reds, erotic and religious associations take second place to textures in an idealized, unattainable world. Whether made of alabaster, paper-thin rubber or plaster, the urge to touch and stroke is almost irresistible. Pagan images and mythological symbols, recalling the age-old cycle of birth, death and regeneration, enrich the effects of daylight and shimmering iridescence. This theme is compelling and modern in character but shot through with neoclassical touches and a strong awareness of history. Its dominant mood is reassuringly womblike and starkly clean, offset by a surprising rawness. While acknowledging the perennial appeal of the pared-down interior, it also embraces the human love of the theatrical, the longing to be titillated and intrigued. Many features of this interior have strange origins and potentially mystical powers, combined with elements of fetishism, but an obsession with the superficial is offset by a wide range of cultural references. All of us are free to interpret in our own way the deeper significance of pairing reds with whites – while still appreciating the pure, sacred quality of a colour palette that is both iconic and iconoclastic. Its slightly risqué character makes it ideal for boutique hotels, designer retail spaces and urban spas dedicated to the worship of the body.

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Interiors - The Mix Interior

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Eccentric Freedom - Energetic

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an image of youth that is sexy, glossy and athletic. Allusions to sunshine, heat and a boundless sea of natural light create strong links with summer, stimulating the thirst for tangy drinks full of vitamin C. In a world fizzing with physical prowess, the suggestion of many sensual pleasures evokes a wild comforting sense of warmth and sanctuary. These ingredients will resonate with people who seek to create balance and harmony in their lives by ridding themselves of stress and embarking on a total detox. The innovative use of materials complements the bold and imaginative display of

*Colour references detailed in the Appendix, page 94.

An unquenchable zest for life is at the heart of this vital scheme, which casts a bright light on the value of well-being through physical activity expressed through saturated and glowing hues and slick, highly polished materials such as plastics, gels and metals. The gallery of colours ranging from blood orange and tangerine to burnished copper and honeycomb offers the sort of excitement associated with a vitamin rush or the energy boost that follows a power workout at the gym. This is a ‘total living’ concept, which promises escapism and exoticism while at the same time projecting

Interiors - The Mix Interior

colour to delineate personality, while the feelings embodied in the story are totally authentic. This is a democratic scheme that embraces a look for everyone. It provides a perfect backdrop to the streamlined, angular, technological interiors of the modern urban apartment. Its slick and zesty elements target interior-designed home offices and kitchens as well as public places such as health clubs and juice bars.

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The Mix Fashion - Classic Intelligence


Classic Intelligence In 1968 Andy Warhol predicted that ‘in the future, everyone will be famous for fifteen minutes’. How right he was. Nearly forty years later and that future is now! The media is full to bursting with people who are famous simply for being famous – pop stars whose bad behaviour is earning them more column inches than their music and second-rate celebrities whose tabloid tales of kiss-and-tell are ensuring front-page coverage. Fame has become a commodity and mediocrity is its price. There no longer seems to be any need for anyone to have talent, for any product to be of worth. What matters is simply the packaging.

Fashion - The Mix Fashion - Classic Intelligence

Now it’s payback time and mediocrity has had its day. We no longer tolerate being hoodwinked by the media. The individuals we look up to must be worthy of our admiration, stop hiding behind their spin-doctors and be truthful and transparent. Celebrities must have real talent, informing and educating as well as entertaining us. In short, we want true worth and creativity in all walks of life – a sense that what we are being offered is not simply a slick makeover of what we had before. For deep in our hearts we know that if mediocre is all the world aspires to, then mediocre is what it will get.

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*Colour references detailed in the Appendix, page 95.

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Classic Intelligence - Allure

Etiquette and ‘poshness’ make a comeback in a matt colour story that is perfect for ladies and gents who lunch. Manners maketh man and refinement, elegance and style that was lost is found again. This powerful colour look is polished, manicured and full of confidence. Nothing short of immaculate will do for people who are well brought up and take pride in their appearance as well as their home. When it comes to ribbon bowed chocolate boxes, poodle parlours and candy coloured Cadillacs, expense is no object but despite the essential valet service, there’s no pretension here as a streetwise edge cuts through the polish. Updated ladylike was never going to be low-maintenance. Intense core colours of strawberry blonde, kumquat, coral, bubblegum, cerise, caramel, melon, sunset and berry stain make for a chic monochromatic statement that’s vivacious yet easy on the eye. Womenswear accents feature fragrant lilac, rock candy and ginger cooled by ivory, while menwsear accents follow a more harmonious path with putty beige and pale rose darkened by storm cloud and beaujolais. The leisurewear palette sees vivid shots of beaconbright fluorescents partnered with sophisticated yellow-cast neutrals. Whether formal or casual, this story heralds a return to neat, co-ordinated dressing and impeccable tailoring for both sexes. It is clear to see that attaining true elegance is now easily achievable, as this theme centres on a bold colour palette that is easy to work with and textiles that are timeless in their simplicity.

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o th t thr u ou ts or gh sto par bl and esce p ach ock c nt n bo ylo ute ed olou th ns sil pat rk an rela are s an tern xe pe , d d rf d r bo n dy reso ect ip or o f -c maj lains on rtwe or s c p i sc fabr uch io ar tte, Dry-to nit, are e us l a e k p . d th ility ble me hro d tact d dou on an . c o n n n ay ettes mo re a ol a of r r In a e textu er wo mmer d bou aves, i c n m h a a f t we sur n, sum soft s eeds ske and a e e w t b h n t i k in l ainst f sil d with ribbon Stiff, e ag re o . set et lust nderlin tiers of reads se h e t s u , r s e c dis res are motif verlaid , duch gn i d o u n e t e a Tex mboss rids in ottom anza r ed g r g e , i r t l a hea siona taffet uble o ry-insp en ng do illine n the dim -holdi g and h m ru e oug n ith p nts u sha shant ther w in. Pri ripes th t ge osgra n, er s sati me, to gr rop oses. d p e n r d sup ham a im an bage r rs b pr pete t from wsy ca o u l gam gh to b u thro br

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Allure Fashion - The Mix Fashion

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Classic Intelligence - Wistful

W 026

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*Colour references detailed in the Appendix, page 95.

W

Key colours of desert rose, magnolia, cream, platinum and pistachio are seen as pearlised, recalling boudoir jewel cases, satin gloves and lingerie for seduction, or pointe shoes and ribbons for the dance. With jet and earthenware, mink quartz and damson bloom in matt, they aim for total luminosity, delicate chiaroscuros or dark silhouettes on pastel grounds.

S TF

I

Womenswear accents are fragile opal, flax and rosewood. Menswear’s urban orchid, nutmeg and gunmetal are softened by the fragrant, pretty colours of the core palette, while yogawear colours feature healing, meditative flax, silver birch and nutmeg for cool contrasting. Fabrics in this luminous story are slick and drapeable. The colours are perfect for summer silks and linens in transparent or opaque qualities with matt or shine finishes. When champagne fills the glass and dressing-up is done, it’s time to recall lost memories.

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UL

Fashion - The Mix Fashion

Pure, provocative and sexual, this colour story challenges us to expect the unexpected but interpret the evidence as we see fit. It’s up to the onlooker to choose the context. Corsets techniques conjure up images of both ballet and bondage. Evocative and sensual, coolness pervades this range of soft, chalky shades. Rounded silhouettes emerge, powdery fragrances hang in the air and undercurrents have mysterious ways of moving. The past is memory that speaks and beauty has been lost, but the sands of time can shift and things forgotten re-appear as treasures imbued with history and romantic notions of their previous owners.

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Classic Intelligence - Harmony

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*Colour references detailed in the Appendix, page 95.

Fashion - The Mix Fashion

blended tonal stripes

* summer’s softly

* gentle lived-in spirit

sports appeal

* unexpected retro

overprinted twills

* smocking and

patterns

* nature-inspired

* eco-friendly sources

fabrications

* bamboo ďŹ lament

* soft-washed cottons

harmony

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Classic Intelligence - Harmony

The school bell rings and rosy-cheeked children in gymslips and school shorts rush to the sports fields for the afternoon’s events. Proud parents beam from rows of wooden chairs while offspring struggle in the skipping race or turn their carefree somersaults on freshly mown grass. In the distance, blackbirds sing, bunting dances in the breeze, a tennis ball thwacks on strings of gut, friends make daisy chains for winners and losers alike. This story tells of honest, straightforward new basics and of flexibility and the need for freedom of movement in what we wear. Its familiarity and egalitarianism reassure in unsure times. Discreet luxury is key; home is the haven; health and wellness are the goals; personality shines through. Although appearing soft and washed-out, the core palette of straw, oatmeal, sand, saddle brown, sage, slate, fango and poppy seed is not without colour. Womenswear accents add an injection of apricot and a wash of blush and sapling, while menswear accents reassure in grey, airforce and zucchini. This palette is ideal for traditional Fair Isle cotton knits and simple colourwoven checks, but the subtlety and familiarity of this style belies a ‘modernist’ aesthetic which is once again truly directional. High-tech, ‘smart’ and performance fabrics respond to all our everyday needs while meeting the demands of today’s eco-conscious consumer. This is a colour story that expresses a deep personal love of home, is governed by practicality and happily shifts from work to free time, then gently back again without a murmur.

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* the need for exibility * health and wellbeing * soft and washed out colour * straightforward new basics * happy and cheerful

Fashion - The Mix Fashion

*Colour references detailed in the Appendix, page 95.

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CLassic Intelligence - Vigour

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Fashion - The Mix Fashion

Electrically charged storms and tropical heatwaves bring a magical twist to a perennial summer theme. This colour story takes energy from the rainforest, where primeval and pagan forces morph exotic flora and fauna into fantastical predatory beasts in clashing, liquid, after-the-rain brights of kiwi, parrot, lagoon and tangerine. Genetically modified, they are beautiful and juicy-fruit fresh. Iridescent reptiles slither through the glistening sand, while kaleidoscopic butterflies flutter above the prismatic jungle mist. In contrast, an oasis shimmers in a desert mirage, where colourful caravans pass through earthy desiccated vistas of bamboo, papyrus and buff, shot through with this story’s important mineral and metalore inspired metallics, highlighting redwood and copper. Key men’s and women’s accent colours suggest the liquid radioactive tiger’s eye of a beast of super nature – mimosa, crayfish, begonia, tendril, kingfisher, burnt sienna and vivid sky blue. The natural colours of straw and cord are perfect summer basics, used alone or in camaieaux. Worked in harmony with the bright metallics, they create pleasing patchworks of colour for summer, where artistic expression seeks the exotic and the sensual. Ideal for new-wave beach and surfwear, this vibrant palette activates tropical conversational prints and vibrating colour-woven stripes together with high-gloss satins, Lycras and shiny metallic coatings. The power of colour could not be any more strongly felt than in this, a modern interpretation of shangri-la– a vision of torrid cyber transformation.

*Colour references detailed in the Appendix, page 95.

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Gottfried Pank; Designer & Creative Director for Mode Information.

Profile - Gottfried Pank, Mode Information

Material possesion values are decreasing whilst quality and individuality is becoming increasingly important. Out with the neutral and grey tones of the 90s and in with a lot more sentimental colours that Gottfried Pank envisages will be ‘Burning, Silky and Marrowy’.

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Residen ce’ co lour a tr e n d s i nd nterior des conveys longer ign book lastin develop g life ments style a n d ren these in to colo ders u r themes for the and desi gn interi or.

We a ctua lly h ave ever histo ythin rical g we ly va need luab . At l e antiq leas exce taf ues, ption ew f disc a l in ami over divid ly h i es a ual i “nor eirlo nd s tems mal� oms ouv whic apar e and n tmen irs fr h he ot h e t, h o om lp to whic r m u b seho e e h ha m s t ow orab ld ef ve g a pe l fects athe e trav rson red t , acc els, al a Livin oget esso m g is a h er o b r i ienc es a n ev v er th nd t e to eryd he m e ye a ay th ars. any ing. othe It ca r thi n qu ngs ickly beco me rout ine as w ell.

- Cha

n ge M e!

Residence - Change Me!

Reside nce

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Colour - Residence - Inspire Me!

Pantone 15-4702TC

Pantone 18-4936TC

Pantone 12-0520C

Pantone 18-1425C

e!

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Ins pir e !

Pantone 19-3921TC

Pantone 11-4300TC

s,

me

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The Materials and Surfaces Metal, natural stone, glass, chrome High-quality plastics, carbon ďŹ bres Leather, wood, linen cotton Milky, matt, transparent Porous, ďŹ nely structured, wickerwork Polished, lacquered, scrubbed, waxed

The Light Discrete, mild, natural, indirect Directional, atmospheric Back-lit surfaces, matt sheens

Entertain m The Colours

Cool, natural, light Technical colours Enamel grey, light-yellow Porcelain-white, midnight-blue

Residence - Change Me!

Plastic-green, mahogany-brown

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Pantone 11-0205C

Pantone 19-4052TC

Pantone 13-5907C

Pantone 18-1763C

Pantone 16-5938C

Pantone 19-3520TC

The Atmosphere Meditative and open Amusing and matter-of-fact Sensitive, stimulating, calming Functional, well-thought-out, concentrated, diciplined Discerning, well-kept, sophisticated, exclusive

Graphic, ďŹ ligree, screened patterns Generous, very detailed Reduced, balanced, delicate A synthesis of function and poetry

Colour - Residence - Entertain Me!

n me!

The shapes

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Residence - Change Me!

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Colour - Residence - Entertain Me!

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Residence - Change Me!

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Pantone 12-1010TC

Pantone 18-3828TC

Pantone 12-0738TC

Pantone 19-1840C

Pantone 16-3815C

Colour - Residence - Seduce Me!

Seduce me!

Pantone 19-1016TC

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Residence - Change Me!

Spoil Pantone 11-0601TC

Pantone 18-6024TC

Pantone 16-4134TC

Pantone 18-1658C

Pantone 16-1257C

Pantone 19-4305TC

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Naive Design Playful Shapes Funny Details Mix & Match Happy Colours Ice-Salon Atmosphere The Fun of Alienation The Inuence of the Fifties Colour - Residence - Spoil Me!

The Charm of the Imperfect The Desire for Variety The Randomness of the Detail The Need for Decoration 045

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apes h S rse e v i D lour o C ic n o m ity n g i Har dD Age arm h C ar l u g ight Irre L f ro e w on Po i t e c h e T erf P s ’ re Natu

tur eS Liv ha ely pe Fil S t s r igr uc e tur Au eV es the ein nti Hi i c B ng sto ric e Ma De auty tur ta eE leg ils an ce

y o M j n

Pantone 11-0304TC

Residence - Change Me!

Pantone 17-5111TC

Pantone 14-1309TC

Pantone 18-1027C

Pantone 14-0955C

Pantone 19-1102TC

e!

E

Ma

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Colour - Residence - Enjoy Me!

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reinvented in ways that seem determined to make it turn less easily or even to disguise the fact that it is a wheel at all. An example of this is the humble tap handle.

providers, and the implications of ageing for

21st century design should start to become clear.

ageing. Add to this mix the increasing awareness

and regulations facing employers and service

and impairment problems that accompany

by, the burgeoning mountain of legislation

for all. Yet so often the final product of our efforts with this simple and functional aid to inclusivity.

the financial resources to provide for the health

reinvent the wheel.’ Yet the wheel is constantly

intuitively accept - the demand for ‘inclusive

with the realisation that the UK does not have

that is not only reflected in, but also supported

for use by people. On every side we hear - and

This ageing demographic is significantly allied

You will have heard the expression ‘don’t

of us engaged in the design of products or places

during the first half of this centur y.”

or injury of their ‘access rights,’ an awareness

cool. If an arthritic aunt came to stay and wanted

This should be sobering and instructive for those

“Continued population ageing is inevitable

falls short of these demands for usability.

the minimalist shower control would have looked

than many people had previously thought.

design,’ for design that is ‘universal’ or ‘accessible’ most bathtubs, showers and sinks are not fitted Instead, we are often forced to wrestle with soapy

discrimination therefore exists far more widely

the Office for National Statistics (ONS),

amongst people with impairment, ill-health

some cost of functionality. When I was aged 20,

Discrimination Act, 1995. The potential for

2001 census, published online (statistics.gov.uk) by

(only visible to the naked eye when viewed outside at noon on midsummer’s day in a leap year) simply conspire against reaching my goal.

design of tap handle - of those expressing a view, 100% said “the lever.” There are very few among us who cannot readily operate such a device.

on for her and turn it off when she had finished

to take a shower, I could always turn the shower

use items that are aesthetically pleasing, even at

chronic arthritis in my fingers?

I do if I lose the use of my thumbs or develop

them? Faced with such inept design, what will

for a small child. And that is precisely the point.

respected, of course), much as I would have to do

Why bother to make them? Why bother to specify (the rules of familial decorum being duly

that defy rotation and logic in equal proportions

hands to grasp and turn round, featureless heads

supreme amongst functional tap handles! Yet

Whether bathtub, shower or sink, the lever reigns It is clear that people will choose for their own

the telephone with a barely legible dial pad

and hieroglyphically marked remote control,

of my attention. The slippery tap head, the fiddly

managers what they thought was the most usable

I asked around 200 designers and facilities

of tap handle is the lever. At recent seminars,

‘disabilities’ within the meaning of the Disability

the UK has an ageing population. According to the

becoming themselves the main (adverse) focus

out that the most usable and accessible design

under certain circumstances be categorised as

things without getting in the way of the task or

interact with tools that allow me to do these

a DVD or making a telephone call, I want to

accomplish some task, such as bathing, viewing

serve my aesthetic needs. But whenever I need

person, I enjoy decorative items in my home that

one for appreciating form. As much as the next

Now, please don’t get me wrong, I am a great

the much heralded statistic which indicates that

the way of the task ”

things without getting in

allow me to do these

(the square wheel).

form that has buried all traces of function

3) products that reflect an enthusiasm for

newly identified need (the fifth wheel) and

2) products that address a new technology or

design (the replacement or improved wheel );

without changing the method of use of the

technically on an already successful design,

design; 1) products that replicate or improve

myself, one sees the following categories of

shows. At such events, to a lay-person such as

Over the years, I have attended a few design

One need not be an ‘access consultant’ to work

numerous of age-related and/or work-related

for example, clearly indicates that the most

hearing aid. The Disability Rights Commission,

(statistically speaking) wheelchair, guide dog or

when it limits our view to the relatively rare

archaic stereotype of ‘disabled’ people suffice

to have ‘impairments.’ No longer does the

proportion of potential users considered

in any way the significant and growing

or recreational environments that exclude

to interact with tools that

a telephone call - I want

to create workplaces, hotels, homes, retail

legally, economically or socially acceptable

viewing a DVD, making

arriving at a place in which is it not morally,

If we are not quite there yet, we are rapidly

filling a pan with water,

accomplish some task -

“ Whenever I need to

Surely by now very few people could have missed impairments - musculoskeletal disorders - may

Avoiding Obsolescence - Robert Stuthridge


BY ROBERT STUTHRIDGE

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Robert Stuthridge is a Senior Ergonomist specialising in

inclusive design. He is a Member of the

Human Factors and Ergonomics Society and a Fellow of the

Royal Society for the Promotion of Health. He is a well-known

international speaker on accessibility and inclusive design.

Telephone 01926 642043 E-mail Stuthridge@aol.com

Avoiding Obsolescence - Robert Stuthridge

AVOIDING OBSOLESCENCE TAP HEADS

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I had intended to write about the importance of involving ‘ergonomics’ early in the design process. This is a worthwhile request, but one that only hints at the challenge for design in this first decade of the 21st century. We are living in a world that aims for universality of access. Whether in our home, our workplace, where we shop or where we go for our recreation, the demand will increasingly be for ‘inclusive design,’ and ‘access for all’, for which the early application of ergonomics in the design process will be essential to meet not only the needs and demands of ‘known’ users, but also of ‘all possible’ users. We must be careful to design in such a way that we do not perpetuate the myth of ‘normal’ in a society that is increasingly likely to judge a design by its universality. Brian Doyle, Chairman of the Employment Tribunals warns employers that unless they “re-examine norms and standards established by reference to the predominant society or culture (the so-called ‘able-bodied world’), historic discrimination and inequality of opportunity is merely perpetuated” (‘Disability Discrimination - Law and Practice’, 2002, Jordans, Bristol). Surely, in the design of our living and working environments, that warning applies to us all?

the effect not only of disabling my aunt, but also of increasing her dependence. To each of us, being able to perform the normal day-to-day things independently is probably not important until we can no longer do so. Recognising this fact may spare us the expense of ripping out the ‘exclusive’ minimalist shower and replacing it with an ‘inclusive’ lever-handled model, in order to meet an unplanned yet predictable change in our capabilities and capacities. Such things should matter very much to every designer of places or products and to all who are potential buyers of their wares. ‘Inclusive design’ is now required by a growing number of baby-boom customers who are personally experiencing the disablement that arises from its ‘exclusive’ counterpart. With rights and regulations to back us up, we can ask for and expect products that are designed with forethought for the impairments that can affect any and every one of us. Eventually, all minimalist tap heads will go to the great tap head recycling skip in the sky. In their place will be wonderful, functional, beautiful levers. These may be marked ‘hot’ and ‘cold’ in the way that is so beloved amongst Victoriana ablutionists, or perhaps colour coded, with textual markings for those of us with failing eyesight.

are any other types of tap heads even available?

and the purchase of the correct equipment. Why

That would have saved the cost of the plumber

march of time. I didn’t ask and he didn’t proffer.

are a ‘worthwhile investment’ in light of the

should have proffered the advice that lever taps

bathroom were being redesigned. The designer

for the lever handled taps when the kitchen and

Of course, with hindsight, I should have asked

Do we really need square wheels?

The design of the shower control would have


a closer look at. You can discover re al be rth taking It is wo of the size. Nature is the grand master, w auty s s e l d r a g ho re cranny eautiful the world truly is. Let us en k a nd just how b j s o o m o y it! r e n t ery lleled st ev in unpara o alm to u s r, in hows, oubtedly the greatest source of inspiratio e n ity, is und s no s r r e v i o d d ll its ways result in a new discovery of some n which an yc ion will al us in a t a ver ates, kind. s e r d c e f n ils o ou in nstr surr to the deta o h c m n hi de , w attentio g n i y . Pa raw d ers ign des

rld o w The

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ful!

Ready-Made Colour - Splendour Surrounds Us

ion t a Cre

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051

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Colour - Ready-Made Colour - Splendour Surrounds Us


Ready-Made Colour - Splendour Surrounds Us

Go i nto d

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etail. V eiled beauty. Dramatic & theatric

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.

Antique White - Pantone 11-0105TC

Acacia - Pantone 13-0640TC

Sea Pink - Pantone 15-1912TC

Pink Dogwood - Pantone 12-1706TC

Forget-Me-Not - Pantone 15-4312TC

Raspberry Wine - Pantone 18-1741TC

Pampas - Pantone 14-0826TC

Sepia - Pantone 18-0928TC


ss. B ichne

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Colour - Ready-Made Colour - Splendour Surrounds Us

e ntiqu ure. A ed nat art. Styliz ty. State of the

tio ra ge ag ex

n.

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me for ms of be au

are more eyecatching than others.

The fact that an orchid is beautiful is

immediately clear to most observers.

But how do we guage the beauty of insects,

fish and reptiles? This is where some of us

To

is o ne thin spl g. H end ow our eve the and r, m fini ank m she agn ind am dc ific also biti onc e n ce. on wis ept to i tak N , hes but atu ing mp to c r w e rov it to e p rea rov are ea lev the te i n el. d s de om es u ext H nha etim ere rem sw tole , n ith es d ea per ce ran nd this fec ce. rive to a tion Art - so nb com ific y is d me tim iali rive ple e ty n t s ely to t is a arti he sty fici thre le i al sho ni ld o tse lf! f

...

jo n e

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Ready-Made Colour - Splendour Surrounds Us

So

have certain difficulties.

Revulsion or fear impedes impartiality.

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‘Strlitzia reginae’... BIRD

ty. ..

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Colour - Ready-Made Colour - Splendour Surrounds Us

OF

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Ready-Made Colour - Don’t Worry, Be Happy!

seem superficial, this motto describes a basic truth. We shouldn’t allow the worries of the world to get us into a state. It serves nobody if our worries allow us no space for the beautiful things the world has to offer. Because this is our motivation, these are the things for which life is worth living. The fact that nobody benefits if we allow ourselves to be incapacitated is a simple realisation.

Even if it might

Don’t Worry, Be Happy!

we really like to hear, and all the more if we actually believe in it! To be able to amuse ourselves without feeling guilty is wonderfully soothing. Particularly in view of the fact that our news, all channels, seem to be dedicated to informing us about the problems in our world. But amusement is one of mankind’s most basic needs! We all yearn for this escape in order to recharge our batteries.

This is something


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057 Colour - Ready-Made Colour - Don’t Worry, Be Happy!

Cockatoo - Pantone 14-5420TC

Violet Tulip - 16-3823TC

Apple Green - Pantone 15-0543TC

Grenadine - Pantone 17-1558TC

Vibrant Yellow - Pantone 13-0858TC

Nectarine - Pantone 16-1360TC

Ultra White - No Match

Highrise - Pantone 15-4101TC


Iro n i s e Hug e-P r i n ted -Se q ui ns

pi ca n

d-Classics Scenic-Prin ts W ppifie a H ate ort r-C f m olo o -C ur d e sU x la nc e R

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ed-Srefiquins uge-Print Su nRela ise H rderless-Harmo6n0y’sEPn udclxeesds Iron O C c i -B-aH om na tiklidfoary ic a L ik tsHLa ea

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Ready-Made Colour - Don’t Worry, Be Happy!

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a dless-Holidays Let-U s-En ny En tert rmo a H ain ss e Ch l r e ea rd pO he

n Cheap-Chic Joyoustertai Flow n E e rs -Us t e Ea sysL y Go ida l in o m E b roiderie ul f r e e g H h s Th nC su i F n k k l P o osi gF tiv rin e! u o Fu l n d S e Co e t q n i u r ins L P e g ikeHu a e - co nis mi Iro cC g n i o

un Chee Folk-F ring u o l Co aln o nti ve n o

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k-Fun Cheerful-Embroid g Fol erie urin s Th ink -Po sit ive !

Colour - Ready-Made Colour - Don’t Worry, Be Happy!

s -Fake eap Ch es trip y-S nn Fu

Ironise Hu

059

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060

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Ready-Made Colour - Don’t Worry, Be Happy!


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Colour - Ready-Made Colour - Don’t Worry, Be Happy!

blithe state of mind.

us up. Yet we all dream of living in a

serious, rather than suited to cheering

in almost all walks of life is more

no easy feat for any of us. The situation

However, achieving this feeling today is

what a covetable state of mind.

Light Heartedness,

world, unless they aren’t of this world...

capable of shouldering all the woes of the

and bring about change here. Nobody is

able to concentrate on individual things

majority of these problems; we are only

soul. It is perfectly alright to ignore the

heart without suffering damage to the

to take all the concerns of this world to

Everything in its time. Nobody is able

to the positive force of suppression.

An appeal


Lighting design within the domestic environment has undergone massive changes in recent years. Once largely seen as an isolated product area with no connection with

Fiona Elliott

homewares trends, lighting is now seen as an essential decorative element within the interior. Trends encompass both technical innovations and decorative styles and for 2005, four main directions emerge.

Decorator A move away from minimalism has been evident for some time and has now emerged as a key trend embracing traditional decorating techniques and rich colourful details. The return of wallpaper, now well recognised, is an important driver of this trend. Often featuring colourful bold and abstract floral patterns, but frequently used in new ways, wallpaper is a now a revitalised and exciting Lighting trends within the home - Fiona Elliott

medium. No longer will the whole room be papered in one pattern, now panels and sections are used to create dynamic walls. The popularity of crystal has been increasing over the last 5 years and still seems set to increase, through both traditional and contemporary interpretations. The Swarovski collaborations with leading designers has shown how traditional materials can be given a dramatic new approach, combining with modern lighting sources to create stunning light fittings. Whilst still dominated by clear crystal, colours have been added, as well as divergence into new materials such as resin, shell, pearls and glass, all designed to provide ornamentation and to reflect light. Luxurious statements are made with embellishment using fringing and tassles, in beads, silk and feathers. The Art Deco exhibition at the V&A last year both reflected and inspired elements of this trend and dramatic elements such as art glass, mother of pearl, silver leaf and Venetian mirror glass are now evident within lighting design.

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Retro The popularity of vintage clothing is widely apparent from any fashion magazine or by a visit to the high street. Interest in clothing from the 40’s to the 70’s, creates a sense of nostalgia and a connectivity with values of a previous century. Natural fibres and hand-made garments are cherished. Vintage finds are treasured as one-off creations, contrasting with the mass production of today. In homewares this trend has emerged in retro designs and techniques. Enamel storage jars, apothecary cabinets, Smith’s bakelite wall clocks, check wool blanket throws and Kath Kidson floral fabrics and china. In lighting the trend is mainly reflected in task lighting, adjustable desk lamps, floor lamps and single flex pendants. Style inspiration comes from the 1950s, factory worklamps and French country kitchens. Predominantly utilitarian in design, retro designs use traditional materials such as ceramic, pressed glass, antique brass, antique copper and chrome. Finishes are natural or industrially inspired with enamel or plating, often with distressing to create an aged appearance. Retro detailing is vital to create an authentic look and key elements include braided flex, ceramic and wood features, such as ceiling cups and traditional counterbalance rise and fall mechanisms in ceramic or metal.

New Natural Phenomena We live in a technical age, with innovation pushing the boundaries of what we can achieve. Yet whilst previous ages have abandoned nature in the development of the new, current trends create linkages between nature and technology, enabling us to create new man-made forms which emulate the natural world. New architecture includes iconic buildings which incorporate new construction techniques and materials, including Norman Foster’s Swiss Re Tower (aka the Gherkin) in London, a diamond-patterned constructional network, that imitates a pine cone, Herzog and De Meuron’s design for the Prada store in Tokyo incorporates an off kilter rhomboid and crystalline glass and their design for new national stadium in Beijing uses an interwoven steel mesh construction for the roof, called the ‘bird’s nest’. The iconic Snow Show in Lapland allowed designers to create stunning structures and installations with an ephemeral quality, entirely out of ice, illuminated by the Aurora Borealis. In lighting, the ‘Brilliant’ exhibition at the V&A featured many of the great lighting designs of the 21st Century and illustrated how technology and innovation can work together to create stunning and sometimes challenging lighting design. Designers such as Sharon Marston, Ingo Maurer, Tord Boontje and Ron Arad all featured key pieces within the exhibition. Such innovative design is being supported by new technology, which is being developed all the time, both in light sources and materials. LED development has now created usable products for the domestic market and used in conjunction with transparent materials such as glass, perspex and acrylic designs emulates the reflective qualities of light in nature. The range of materials used within lighting design is also being expanded, with designs in carbon fibre, fibre glass and Tyek – the material used by Tord Boontje in the iconic garland light for Habitat. Smaller and longer lasting light sources have also lead to the integration of lighting into furniture, enhancing designs and creating dual function pieces. This duality of use is an element anticipated to grow even stronger in the future. The development of digital printing techniques has lead to the ability to transfer photographic images onto new media, such as textiles, allowing the creation of lamp shades printed with images. Natural images of grass and stone allow the fabric to take on the appearance of the printed image, enabling new uses for ‘natural’ materials.

Artisan Lighting trends within the home - Fiona Elliott

In an age of mass production it is perhaps unsurprising that a trend is emerging which celebrates the craftsmanship of individual artists creating unique and original products. The most leading edge of all the trends to be featured at Light Show, Artisan marks a new direction within home-wares noting a return to traditional manufacturing techniques and providing an antidote to commercial mass production. Celebrating both the traditional skills of the craftsman and the integrity of natural materials, Artisan creates sophisticated designs, which suit the contemporary interior. Natural materials such as leather, stone, wood and rattan are evident, all used in their natural form and in ways which enhance the material. Designs are by their nature unique and can only be made in small quantities, restricting the commercial opportunities in terms of volume. A potential downside, which is more than compensated for by the wealth of creativity and the value of the designs. Fiona Elliott Retail Lighting Consultant

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uLuxury’

int #15 - ‘N o p w ie V ’, s e s n f the Se

‘Theatre o m o fr ts p r e c x E

THEATRE OF S E S N E S THE eatres, Brands, like th d a play need a cast an h which it w e v ti a r r a n or erform, this cast can p big idea e th g in y e v n co ithout effortlessly, w uff or hesitation or fl is they th t u o h it W . e paus ndant. u d e r , ty p m e e ar old luxury

VISIBLE VS INTANGIBLE In the 21st century, the so-called ideas century, intangibles are becoming more important for Nu-luxe brands. Mass market players create an escalating ladder of offers that in many cases surpasses the standards set by luxe brands themselves. ARENAS OF ENCHANTMEMT Regard Nu-luxe brands not as flat-pack boxes or 4-D constructs, but as theatres ready to be opened and activated, enchanted arenas where dramas happen, dreams unfold, relationships evolve, magic takes place and secrets are uncovered. When the experience concludes, the prize, spiritual, emotional, physical, or metaphysical, can be borne away and contemplated. This way, from the offset of the brand’s birth, the very things that a Nu-luxe, newcentury brand or consumer requires is embedded within the fibre of its material and structural being. For who can enter a theatre without being transported, without enjoying a frisson of anticipation? Yet how many of us feel this when entering the portals of a shop on the Faubourg St Honore, when we walk into a hotel foyer or an airport departure lounge? Very few.

BRANDS NEED NARRATIVES Brands, like theatres, need a cast, and they need a play or narrative with which this cast can perform and the big idea effortlessly, without hesitation or fluff or pause, unless pause is required. Yet this script, no matter how prescriptive, should always be malleable and flexible. Think of how rigidity caused the first dip in profits ever at McDonald’s. This script should be tight enough to offer the tre of een the thea tw weakest player direction, support and cushioning, but generous and ebullient o be to l ift al sh The luxe is an spaces of Nug in enough to allow the star to shine. Those with the talent should be allowed to l ay na pl tio e di th and about tra ld luxury is O scintillate, and to draw the audience in and up with them. Many Companies e. uon N , s es ou obvi ticket pric es and high lu call this script a ‘mission statement’, but see how flat and without imagination va e n ic rv tio se uc prod ncepts of e intangible co th t this sounds as soon as you say it! Where is the drama, the lyricism? ou es ab rit is w ry e, luxu rrativ ination and na ag im h a, uc am m dr and xury is very THE COLLECTIVE IMAGINATION ond. Old lu ity of Martin Raym the authentic – s’ In the theatre, people matter above all. Cast, audience, stage hands, director, le ib ng ‘ta the about brand the packaging, of wardrobe, front-of-house, producer, orchestra, make-up, hair, costume, set ity al qu e uch the product, th xury invests m lu uN designers, set builders, lighting directors, cleaners, ticket sellers, ushers: all are e. or st e les location of th brand intangib in th needed and all need to work together seamlessly. The more you distance them or w d an of its of its values e experience th , rs from each other, the more fragmented and disparate a production becomes. fe of its d the – the magic of its narrative an of ss ne ue iq e brands, the un impact all thes THE STAGE LAID BARE psychological d an l na io ot em Charles Handy, the social philosopher frequently uses theatre as a metaphor nses. have on our se when he refers to brands and businesses. He proffers an alternate business model, one that is irrational, one that depends on perhaps a hundred of more egos to make it work. He suggests that it can only work in a draughty hall, that it requires a lot of shouting, anger, occasional nudity, and plenty of paint to hold its more rickety components together. He asks his students what is the likelihood of this business succeeding, especially if strict unionisation demands that all persons who take part in the product’s manufacture are credited! You can imagine the responses. Handy takes them to a play, and watches them as it unfolds, sees them live it, breathe it, and then, in the interval and after the final curtain, debate it enthusiastically, all the while consulting the cast list. Then he tells them that this is the brand, this is the product. This is the future of brand building – of luxury.

Theatre of the Senses

CONTACT DETAILS The Future Laboratory; www.thefuturelaboratory.com ‘Viewpoint’ is available through mode...information, details on page 97.

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Theatre of the Senses

les. ests in intangib v in ry u x u -l u values, N lid production so to lf se it e brand d xury anchore xperience of th e d n a ic g a m * Where old lu de the our down but inclu in p to r e left behind in rd a ly h g n e b si a ay re c m in y The ge will be on their herita e d a tr t a th s d ran * Old-luxury b ay’s d gmented worl ssions, but tod a e fr ss , o d p e c ir a e -f th re y futu defined b nsumers to be o c d te c e of self p x e nds with their sense ts fi * Old-luxe bra d n ra b a w d on ho aspects s a choice base e unison of all e k th a : m ss r e e n m ss le su n m co les is sea u-luxe princip N t n a rt o p im ost * One of the m nsistency an by the give perfect co g what we me in to d d n n ta ra rs b e d e n th u of del for very useful mo a is e tr a e th e of th * The conceit nce yes, atre. Performa cept e n o th c m ry o u fr x u d n -l a u N t we dem m brands wha o fr d e d n a m e ed * Imagine if w arenas spiration ted, enchanted onder, awe, in va w ti , c it a w d o n a ls a d t e u b be open eatres ready to th s a s d n are uncovered ra ts b re e c x se u -l d u n a N e * Regard kes plac nfold, magic ta u s ript a m a re d , n e happ nies call this sc a s a p m m o ra C d . re e rm h o w lay to perf n a cast, and a p d e e n s, s by compariso e d tr n a u e so th e is k th li n s, o * Brand imaginati t and without a fl other, w o h t u b , ent’ em from each m th te e a c st n n ta o is si d is u ‘m e more yo r above all. Th e tt a m le p o e p e, s * In the theatr ction become u d ro p a te ra a red and disp the more fractu

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Perceptions

PERCEPTIONS 066

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Perceptions is a new concept for the representation and communication of inspirations for design and marketing. Important zeitgeist trends are translated into themes, which offer both argumentative and creative ideas

Product - Perceptions

for the development of products and atmospheres.

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Perceptions - Excellence Pantone 11-4803TC

Pantone 14-1118TC

Pantone 17-4405TC

Pantone 19-3928C

Pantone 19-1317C

Pantone 19-4006TC


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p67-82.indd 3

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Impeccable surfaces.

f form and light.

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_Origin and existence

_Appearance and reality

_Unique piece and series

_Openness and privacy

Perceptions - Identity

_Conviction and understanding

_Think global, act local 070

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Pantone 12-5303TC

Pantone 16-1624TC

Pantone 14-6408TC

Pantone 17-1128C

Pantone 14-0647C

Pantone 19-4229TC

Product - Perceptions - Identity

y of homo-sapiens and mother nature. The unique individualit ness of e h t o t e the h u omag g . n i T t i h r e w c d h n h a a r m an e h m f o o s f s i A e m n p e e v i n r t fection. Th ye. e distinc ratio h i T e . p n i s a k e s n s f I t h o e s e t e i h c p o f s s u s e r f n a l c a r e s a s u t . T a T n h c e e o h l i s T v . e y f t l d i i l n a e t n c s i he us s of move phys c la eful. ment. T . Filigree raphi he ee evolved a t n h d g i l s h f a o d y o a The g w l e p . e h h T . t s r o f l t o i c o n e v s i g t i s n m n e ess o es. S hyth f tic shap The r Authen . t n e m o the m

identity 071

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Perceptions - FulďŹ llment

lment lf i

Fu

072

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073

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Product - Perceptions - FulďŹ llment

Pantone 16-1054TC

Pantone 18-1561TC

Pantone 19-1955TC

Pantone 19-1540C

Pantone 19-2118C

Pantone 19-4324TC


The Inspiration The art of seduction. Relaxation and evening calm. Exclusive packaging. The aesthetics of high-quality chocolates. Historical textiles. Ripe and juicy fruits. Exotic owers and plants. Beguiling

Perceptions - FulďŹ llment

spices.

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Subdued perception. A certain heaviness. The intimacy of the human body. Subtle eroticism. Stroking materials. Soft touches. Personal solutions. Intimate friends. Ingenious

Product - Perceptions - FulďŹ llment

details.

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Perceptions - Intelligence

Intelligence.

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Product - Perceptions - Intelligence


Perceptions - Intelligence

The Inspiration The human power of association and the fascination of technology. The aesthetics of historical gadgetry and machinery. The appeal of mechanics. The sensuality of constructions. The magic of the detail. The boldness of the design. The liveliness of the de-constructivism. Mysterious micro and macro cosmos. The abstract beauty of scientiďŹ c models. The suggestive effect of electronic parts and displays. The interpretation of human features in technical and electronic forms

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Pantone 12-0521TC

Pantone 18-4011TC

Pantone 15-5209C

Pantone 17-1842C

Pantone 19-4023TC

product - Perceptions - Intelligence

Pantone 11-0601TC

079

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c r e a t

Perceptions - Creativity

iv i ty 080

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Pantone 13-0535TC

Pantone 16-1543TC

Pantone 17-5029C

Pantone 19-3952C

Pantone 19-2430TC

Product - Perceptions - Creativity

Pantone 14-4522TC

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Perceptions - Creativity

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Product - Perceptions - Creativity

The Inspiration A rendez-vous of coincidences and the appeal of the unďŹ nished. Nature is a never-ending source of inspiration: Abstracted ora and fauna. The craziness of imitation. The power of dissonance. Seductive naivety. Surprising directness. Fireworks create fantastic graphics. The explosiveness of colors. The dynamics of movement. The beauty of the moment. The predictability of aging. The tensions between old and new. Electronic light raster. Colors imitate liquid light in water. The creative power of light

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ISTH A T YOUR TYPE?

Is that your type?

Type & Typography is traditionally one of the most basic units of communication tools in design... However, through its misuse and maladministration, vital messages and conveyances are being lost...

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Typography to most people inhabits a mysterious world with unfathomably intricate terminology, strict Germanic rules and an incomprehensible amount of typefaces that all seem to look alike. It would be a lie to say that such terminology doesn’t exist – it does – but is often only adhered to by the purists and the professionals. The textbook isn’t something that you have to open to be able to create a professional looking piece. One or two guidelines are all that’s needed to be understood to create aesthetically pleasing documents that bespeak the professionalism and attention to detail that went into creating them. In truth, type is easy to use, easy to understand and in the hands of a savvy designer, a powerful communication tool. Why take time to understand type? This is a question that is often posed within non-graphic circles.

3. Choose whether the typeface will be used for body or display/headings.

Firstly, understanding the grass-root basics is a huge step to self-

It is good practice to choose contrasting font styles to use for headers and

promotion. A properly spaced paragraph or a carefully chosen typeface

body text. Visually simillar type such as Frutiger and Helvetica often create

speaks volumes about your attention to detail and credibility as an

uneasy relationships when sat together.

all-round designer. The confidence to generate an ‘invite’ or ‘press release’ in-house will blossom into the vigour and verve of creating a comprehensive and consistent identity. Secondly, knowledge of this graphical art will undoubtedly forge a more comprehensive understanding in any collaborative relationships you may have with designers who are using type as part of your work. In understanding how and why a particular treatment is used, you are able to reach a more productive and professional conclusion to any one brief. Finally, typographic education allows the viewer to be more critical of the work presented which, in turn, allows a higher standard to be reached. Whether this is previous work, or the work of others, it matters not, because good type, or the understanding of, can be applied across

Working with type is easy, because one rule applies for most common situations – simplicity. To avoid executing blatant hypocrisy, it must be noted that for the purposes of demonsration and education, a slight inconsistent use of text was unable to be avoided within this particular article! In the day-to-day presentation of letters, articles and artwork, keeping the number of type styles on any one piece down to a minimum is good practice. By deploying a conservative visual and typographic vocabulary, you are helping to build value and honesty in your layout.

Terminology is the first subject that poses a grey area for the uneducated but, in fact, there isn’t that much to know to get started; Serif and Sans Serif:

all boundaries, computer platforms and occupations.

Serif fonts are traditionally more classical in style and are characterised by One of the most taxing questions a good designer must ask when

blocks or ‘flicks’ on the ends of each character. They are typically used for

starting a piece is “what is the most appropriate typeface for the job?”

large amounts of printed text due to their legibility in this context.

In typography, there is no right or wrong, just appropriate and

This article is, in fact, presented in a serif font called New Baskerville.

inappropriate. There are three key points to bear in mind when

Sans Serif fonts have no ‘flights of fancy’ and are typically more modern.

looking for an appropriate typeface.

They are particularly legible on screen for use in websites and e-books.

1. Decide whether the typeface should be formal or casual.

Type height:

For example a press release or a presentation could benefit from a

Type was traditionally sold in pieces of moulded lead in various sizes

classic, formal typeface such as Baskerville or Goudy and a frivolous

measured in points. There are 72 points to a physical inch.

website may benefit from the informal Gill Sans.

Leading (Led-ing):

2. Decide what kind of feeling or impression you want the type to

Leading is the distance between the lines of type. Tight leading may cause adverse legibility

and

warmness with Commercial Script or a business card may shout ‘clean professionalism’ with Futura as a prominent face.

whilst ample leading, in most cases, allows for improved legibility. Is that your type?

convey. For example, an invitation could convey grandeur

Continued on page 086.

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From page 085. Alignment:

Remember, bold type only for bold statements:

Type can be aligned left, right, centred or justified. A left or right align

Bold type is like a magnet to the eye and can ruin the continuity of

will leave a ‘ragged’ edge on one side and may appear slightly informal

your text. Perhaps consider using italicised text as an alternative.

whereas justified text is generally utilised in formal situations.

Underlined text should also be avoided. An old relic from the typewriter

Care must be taken when using justified type as irresponsible use could period that has made the transition to the digital era and is even more result in ‘rivers’ appearing in your copy. Rivers are visible gaps that distracting than bold text. appear

naturally words

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Too many of these result in an ugly paragraph that hasn’t received the attention to detail a type designer expects. Ways to avoid this include decreasing the type height (point size) and/or increasing the tracking (see below).

‘ t r a c k ’

You can probably set body text to a size smaller than you think.

Typically, 12pt is used as a default setting. This can often appear too large and subsequently trivial and child-like. As a rule of thumb, try starting at 10pt rather than 12pt and go from there – depending on the quantity of text and typeface chosen. One exception to this would be designing for the screen. As we sit further away when reading this, and its

Tracking: To

Finally, a point about type height (pt size):

a

t y p e f a c e

i s

t o

i n c r e a s e

(ordecrease)thespacebetweenthecharacters. When used responsibly, this is a useful typographic tool, as increased space between characters is much less noticeable than between words.

flickering nature, it is wise not to drop below 13pt. The understanding of type only really comes with experimentation, but a better grasp of the knowledge breeds the confidence to produce satisfyingly professional artwork that communicates your ideas in a

Guidelines

way no other designer can.

For want of not trying to sound too prescriptive, there are some things

Article by Mark Williamson, Graphic Designer, Brinton Wade Limited -

in typography that you really ought to do as well as ought not to do;

Show designers for Design Interiors and creators of Muse trend book.

The problem with double spaces to separate sentences: This is an outdated practice used by old-fashioned typewriters when letterspacing was very high. Using two spaces causes large gaps to become apparent in paragraphs of text making the ‘texture’ of the block appear inconsistent. Over-enthusiastic use of the space bar: Always use proper paragraph formatting to set tabs and indents. Using spaces to format text will cause problems and ultimately disappointment when artwork is exchanged.

‘Union Jack’ - Gene Bible (opposite) This piece wonderfully illustrates that typography can not only be successfully used as a method of formal communication but also can be applied, to great effect, in the creation of pieces of art. This method is also

Double trouble:

sometimes referred to as ‘type as image’. The artist for this piece, Using double returns can also create unnecessary problems with artwork Gene Bible has taken phrases, words, names and institutions of what it exchange. For example, if text flows onto another page, an extra line means to be British and juxtaposed them, with careful consideration and will be created before text starts.

creativity, in the shape and colour of the Union Jack flag.

Use the ‘space before’ and ‘space after’ functions to create the desired space between paragraphs. Don’t use hard returns within paragraphs: A hard return is starting a new line by pressing the return key. By doing this, you are effectively starting a new paragraph which, when the ‘space before/after’ functions are applied, will result in unwanted gaps in your text. The alternative is to use the ‘soft return’ (shift-return), which will keep your text flowing as intended.

Type as image can take a wonderful role within any piece. Experimenting with the aesthetically beautiful forms of type invariably provokes unexpectedly satifying outcomes. Not only is this now a popular method of communication for print, the potential for typography is now being realised in interior and exterior spaces as installations, works of art, and oversized 2-dimensional letterforms on walls and ceilings. For example, Bible’s piece (right) has been created on canvas to be hung in a pride of place, just as would a Monet, Lowry or Constable.

Avoid using auto leading:

Three-dimensional letterforms are also proving to be popular in many

The auto-leading is determined by the application, not the document.

exterior spaces. A good example of this is the recent piece entitled

So, in turn, when your artwork is opened at the printers, it may differ

‘Flock of Words’ by Why Not? Associates; a 300m ‘typographic pavement’ in

from what was originally planned.

Morecambe which is part of an arts-led regeneration of the town

Is that your type?

www.whynotassociates.com.

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ing t s a c e d for n e r t f ors o any t u m b t i r n t prese st dis e e r g r d a l n the pe a 958, e o 1 r r a u e E c n n ns in ng si i o rmatio t i nal t o a f r o a i n e c t I i i p l d e b O d Mod ith a gn pu ices. i v w s r e e e d s n olog sting s and C a e c n c e i i r v d r o se ing f base s d s i a e e such a l c s ’ fi f e ir field e o p h t o n d i ists ating ea h pecial fascin s s of Eur ’ a g r n n i e f d f o lea Mode ns by ndon. rmatio o o a few. licatio f t L b u s the u n b p I d e n e sting nam a e allow a d s o i c t t e r o r n r, e o e p f M ex ila ions. lann ther M . Their d fash ’ lour P , g toge a n o l n s a l i C r i e s r b e c r on bri de umb cts, fa d Pant n, Mo r one in Pa s produ our an rmatio ‘unde e l ized o l w o f l c e a n C i n s e fi f nd rie pecial ad to of for tre indust ghly s pmen ady M

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FURTHER G N I D REA terior 1. The Mix In shion rend 2. The Mix Fa d a colour/t ur forecast an lo co or ri te An in respectively. d sportswear) an s en m wo s, forecast (men - key colour iginal features or of r be m ils With a nu , essential deta for the season es em th d an as well palettes pattern trends e, texture and ac rf su g in ud incl mbinations cial colour co er m m co of as examples nge design. product or ra r fo ns tio or ent and prop formed comm accurate and in s ne bi m co ix The M ts for any vative concep no in d an l na with inspiratio . gn si aspect of de August num - January/ an r pe es su is r Interior 2 uary/Septembe r annum - Febr pe s ue iss 2 n Fashio

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3

Further Reading

3. Residence lasting conveys longer ok bo gn si de This interior all of these and renders ts en pm lo ve . lifestyle de r the interior sign themes fo de d an ur lo ur into co and home colo NE for fashion O T N PA l na gi Ori ell as t themes, as w ges of differen patterns, colla . combinations ern and colour material, patt July num - January/ 2 issues per an titles featured n on any of the io at rm fo in e or For m Ltd; e..information ease contact Mod pl , ge pa is th on fo.com , uksales@modein 0207 436 0133 odeinfo.com or go to www.m

1

090

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4

5

4. Viewpoint Marketing tr ends for the design indust ry from the viewpoint of th e future. The future that will the design an influence d sales strategi es of tomorro w. 2 issues per an num - March/S eptember 5. Ready-mad e Colour Colour trend forecast with weighted colo ur direction suggestions, atmospheric pictures/colla ge s, original PANTONE fo r Fashion an d Home cott on colour samples and C olour Card G ame. 2 issues per an num - Februa ry/August Also available: Ready-made Pa ttern, Ready-m ade Weaves and Ready-mad e Kids. 6. Perceptions Perceptions is an inspirationa l tool, in which concepts in de lifestyle sign and marke ting-related cr iteria are translated into product deve lopments. Perc eptions consists of a book of tren ds, material displays, a multimedia C D and fragranc es, which evok e ideas to stimulate th e senses. 1 issue per an num - October

6

7. Pantone Vie

w Colour Plan

ner forecast. A w orking tool fo r the designer with suggested fa brics and co proportions. lour Colour chart for fashion (m en’s, women’s, ac tive), cosmet ics and indu strial design. Colou rs by trend th emes with po inters on applicable areas. General colour chart with more than 50 colours. Origi nal Pantone Home and Fa for shion colour samples. 2 issues per an num - Februa ry/August Cross-industry

Further Reading

7

091

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092

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093

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appendix

colour references for ‘The Mix’; trends for 2005 pages 10-33 Pantone 12-0710 TC Pantone 17-4402 TC

Pantone 19-1663TC

Pantone 15-0341 TC

Pantone 12-2903 TC

Pantone 16-4109 TC

p12-13 Pantone 16-6138 TC

Pantone 17-0808TC

Pantone 16-5907 TC

Pantone 19-1664 TC Pantone 16-0230 TC

Pantone 19-0508 TC Pantone 19-4019 TC

Pantone 17-1610 TC

Pantone 14-1038 TC

Pantone 14-5002 TC

Pantone 18-0306 TC

p14-17 Pantone 18-1703 TC

Pantone 11-4301 TC

Pantone 18-5611 TC

Pantone 11-0107 TC

Pantone 17-4111 TC

Pantone 15-4702 TC

Pantone 11-0806 TC

Pantone 14-1210 TC

Pantone 14-1210 TC

p18-19 Pantone 18-1649 TC

Pantone 17-1210 TC

Pantone 12-2905 TC

Pantone 18-1250 TC

Pantone 14-0708 TC

Pantone 17-1430 TC

Pantone 19-1663 TC

Pantone 16-1260 TC

Pantone 19-1320 TC

p20-21 Pantone 18-1442 TC

Pantone 15-1142 TC

Pantone 18-1244 TC

Appendix

Pantone 19-1314 TC

094

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Pantone 18-1651 TC

Pantone 19-1850 TC

Pantone 16-1440 TC

Pantone 17-1608 TC

p24-25

Pantone 15-1317 TC

Pantone 15-1247 TC

Pantone 12-0807 TC

Pantone 18-1350 TC

Pantone 12-0104 TC

Pantone 17-1558 TC

Pantone 13-0513 TC

Pantone 19-4305 TC

p26-27

Pantone 17-1505 TC

Pantone 16-1723 TC

Pantone 15-1607 TC

Pantone 16-1315 TC

Pantone 14-4203 TC

Pantone 18-1130 TC

Pantone 19-3915 TC

Pantone 18-0510 TC

Pantone 19-0000 TC

p28-31

Pantone 15-1132 TC

Pantone 16-1330 TC

Pantone 15-1213 TC

Pantone 16-0540 TC

Pantone 15-1215 TC

Pantone 14-0925 TC

Pantone 18-0920 TC

Pantone 15-1314 TC

Pantone 15-4715 TC

p32-33

Pantone 13-0915 TC

Pantone 17-6206 TC

Pantone 19-1325 TC

Pantone 17-1436 TC

Pantone 16-1448 TC

Appendix

Pantone 17-5430 TC

095

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“ Colour is a basic human need... Like fire and water, a raw material indispensable to life.” Fernand Leger, Painter (1881 – 1955)

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ACKNOWL EDGEMENTS Muse was conceived, designed and published by: Design Interiors & Brinton Wade Ltd. Design Interiors +44 (0) 20 7921 8406, www.designinteriorsuk.co.uk Brinton Wade Ltd +44 (0) 1926 624444, design@brintonwade.com Graphic Design by Mark Williamson of Brinton Wade Ltd. Brinton Wade Ltd and Design Interiors would like to thank, for their generosity and co-operation, the following contributors: Mode...information +44 (0) 20 7436 0133 Jackie Nash of ‘The Mix, Global Colour Research’ +44 (0)20 7729 0201 Dave Edgar of ‘Bureaux’ +44 (0) 20 7480 6024 Gottfried Pank c/o Mode...information +44 (0) 20 7436 0133 Ready-made Colour (Germany) 49-40-311 085 3 Robert Stuthridge +44 (0) 1926 642043

� Print by Pims +44 (0) 20 7354 7000. All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, electrostatic, magnetic tape, mechanical, photocopying, recording or otherwise, without the prior permission in writing of the publishers.

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Muse First Edition  

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