London pays tribute to Mary Quant (England 1930), living legend of fashion and guilty of stirring a whole era: the 60s with a garment of the most irreverent, the miniskirt. Although the authorship of such garment is disputed with the French couturier André Courrèges, “the mother of the miniskirt” knew how to popularize it and bring it closer to the whole world. “The goal of fashion is to make clothing available to everyone,” he used to remember. Now the Victoria & Albert museum praises this designer who revolutionized the fashion scene in that boiling decade so that the new generations know their great contribution up close. In the words of Jenny Lister, one of the curators of the exhibition, “Mary Quant is known as the architect of the democratization of fashion in the United Kingdom”.

The origin of the miniskirt is connected to the music, dance and urban fashion of the moment. It is said that he was born at the end of the 50s in North America and to dance the new rhythms of swing and rock, the skirts little by little were shortened. Who captured this progressive regression and this change was Quant, who in 1955 opened a small boutique called Bazaar in the street of King’s Road in the Chelsea neighborhood. To give visibility, Quant was among the first to adopt this garment that exposed the legs, knees and some calves, a real scandal in an era where conventions were challenged. Little by little, from her small store in London, the designer caught the attention of young people and the industry she saw in her miniskirts and brightly colored breastplates and brilliant finishes a glimpse of rebellion, transgression and freshness, three concepts that linked with the way of thinking of the new generations.

Mary Quant is the architect of the democratization of fashion in the United Kingdom

Quant had no specialized training in fashion and in fact her creations were the result of a personal apprenticeship that included experimentation with different materials. It was that courage and rebellious attitude that seduced the industry and became a reference for women of the time. Along with the modelTwiggy, Mary Quant made this short garment became the trademark not only of his clothing brand but also for a decade. A symbol was born. So much was his success that, in 1966, Queen Elizabeth II granted him the medal of the Order of the British Empire for his contribution to fashion, a distinction he picked up in Buckingham wearing one of his miniskirts.

The exhibition exposes 200 pieces in which the colorful and innovative identity of the British designer is reflected. It includes the famous skirts along with other designs, as well as accessories and cosmetics, in a striking chronological journey that covers from 1955 to 1975. Among accessories and dresses, the museum also collects a selection of clothing and photos of anonymous women wearing the designs of Quant which shows the importance of the miniskirt for a decade’s fashion. The exhibition will be open to the public until February 16, 2020.

The Colour Community has just presented the new report of colours and materials that will influence the Autumn-Winter season 2020-2021 in the world of design and fashion. The initiative, led by three colour professionals , was presented, as usual, in the Old Estrella Damm Factory in Barcelona  before the watchful eye of a hundred enthusiasts from the sector. We remind you that the founding team is made up of the architect Pere Ortega , the designer specialized in Colour & Trim , Eva Muñoz ; and Rosa Pujol , Textile & Colour Stylist from Gratacós . In each issue new partners are added to this “mother team”who bring their vision and help shape the new range of colours and materials that will inspire the new season. It is an initiative that is repeated twice a year and that has our support. ” Gratacós always has the doors open to our fashion- area, for every lover of fabric, texture and colour,” declares Juan Gratacós at the beginning of the presentation of the report .

Juan Gratacós : ” Our fashion-area is always open to lovers of fabric, textures and colour”

On this occasion the season is based on the concept of ‘ Multiple ‘ and consists of a reflection in a positive key about the future society where the line between the real and the virtual will be more diffuse than ever . ” Currently  this virtual reality exists on social networks or in videogames  but little by little it will become as tangible as what we now call reality,” explains Pere Ortega in presenting the report. The ‘ Multiple ‘ proposal , in turn, is articulated through four colour ranges and materials which are named On , Inside , Balanced and Metronome .

Pere Ortega: “Currently this virtual reality exists on social networks or in videogames but little by little, it will become as tangible as what we now call reality”

1.- On

The first inspiration appeals to dynamism, to the creation of a dialogue with new realities that are virtual. It is a dynamic and versatile range that creates products connected to the human being in a digital environment. The shades chosen to conceptualize it are the cold ones in their most attractive version: metallic greys, iridescents, smoky blues, bright blacks and touches of yellow that play in contrast. The range of industrial and futuristic themes plays with plastic, oily materials, straight and curved architectural lines and artificial shapes. Fantasy under control.

2. Inside

The second range is more dense and theatrical than the first. It works with the realities that look back at the past, in a kind of retrospective. The shades that are used to give it shape are the browns, purples, deep blues and the metallic range that always appears in each of the four inspirations as a common link.  Floral prints, organic shapes, sinuous lines, elements of nature, upholstery … all these elements influence this intimate range that takes as its model the baroque of Versailles in its most contemporary version.

3. Balanced

The third inspiration is based on the concept of balance and chromatic harmonies. It is a modest range that is inspired by the shapes and textures of nature and works with craftsmanship in a very folky way. The predominant colours refer to autumn: the beiges, earth-coloured , whites, metallics and forest greens mixed with vibrant blues.  Rough surfaces,skins, the most basic geometric elements and tribal influence are also treated in this folk range.

4. Metronome

Finally, the fourth inspiration is based on the metronome’s rhythm, with elements in movement that follow its beat: it is a work of colours that come and go and in turn play on the contrasts. This range belongs to the world of the city: it is urban, cosmopolitan and youthful. It is inspired by all the multiplicity of people, tribes and individuals that coexist within the same community. There are plenty of grey shades, silver and metallic details on smooth surfaces that contrast with graphic elements and arty patterns. Denim and overlays of garments, understood as a show of expression, configure the different identities that make up the same city.

Are you ready to play? To play the game in its broadest sense. The game as fun, where there is space for experimentation mixed with hints of entertainment and large doses of curiosity. In this new season that we are premiering we pay homage to leisure, to recreation, to freedom in a collection that is inspired, as could not be otherwise, by the concept of ‘ Play ‘. It is a presentation which is both sophisticated and casual, which focuses on colour, movement with light fabrics and craftsmanship for the warmer months of the year. This Spring-Summer 2019 collection has a large dose of creativity and ingenuity on the part of our design team, who make Gratacós a luxury fabric company with a defined style and personality. So let’s enjoy the latest creation we have prepared with the intention once again to surprise and excite. Let’s play together: Let’s play!

“Play is a sophisticated and casual presentation which at the same time goes for colour, movement and craftsmanship”

General concept

‘Play’ is a sympathetic collection that seeks at first glance to combine apparent simplicity with products that are attractive and appealing. It is an aesthetic presentation based on timeless articles far away from extravagance and artificiality, but these have to provide a distinctive feature, a certain personality. We are not seeking the versatile and basic, which is somewhat insipid, but rather to give it a creative turn. In parallel we are bringing back the characteristic features of folk culture and opting for craftsmanship to present traditional fabrics with rustic aspects and manual details.

“We are seeking to combine apparent simplicity with attractive and seductive products at first glance”

Fabrics

The objective of this collection is to revitalize the luxury of textures and materials. To achieve the new basics we use impeccable fabrics with clean and serene appearances. We also go for colourful Jacquards with tactile reliefs, fluid fabrics of silk or polyester of delicate appearance, gauzes with transparencies, dense satins, iridescent materials that captive the light or floral prints of watercolors. At the same time, within the folk trend, we are bringing back granular textures, fibrous and light aspects that show the relief through the thread-work, the hand-made reliefs and the embroidery with motifs inspired by nature.

“We are revitalizing the luxury of textures and materials”

Colours

The range of colours evolves from the natural to the artificial. Thus pastel shades and soft,sweet shades give way to the most vivid colours in a smooth transition and in a key feminine way . The most vibrant tones are used for details. ‘Play’ is also a collection dedicated to light, that’s why it also opts for the iridescent, transparent and nacreous with a nod and a wink to things nautical.

Discover some inspirations in our new lookbook Spring – Summer 2019! click here.

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Fashion and illustration have always maintained a very close bond. In fact this alliance is not a new phenomenon. In the last century drawing was used as a vehicle for transmitting trends, shaping the most creative designs in the sector. The illustration creates a visual language that connects with art and provides added values ​​such as originality, authenticity, identity. This discipline is also capable of appealing to consumers, especially young people, who see in the illustration a channel of genuine expression to show a product or a brand.

Currently the illustration is undergoing a golden new era with a batch of artists who translate into advertisements, campaigns, collections, lookbooks, fashion magazines … their unique approaches to the rhythm of the business they represent, increasingly innovative supports that manage to create that desired surprise effect. These neo-illustrators become known through social networks (especially on Instagram) as a platform for global dissemination of their work. The well-known digital revolution of individual work where each like makes the work of the artist more universal.

This boom has also led to the fact that, in recent years the line between art and fashion illustration has faded and these creators no longer become described with the adjective “commercial”. Today, many contemporary art collectors are desperately searching for original works by these illustrators, while at the same time specialized art galleries are emerging. It is the moment for claiming fashion illustration as an art form in itself.

Aware of this new boom and power, the ABC Museum has promoted an exhibition that covers the phenomenon closely. Thus, under the title ‘Fine stamp. Illustration and fashion ‘, the exhibition includes a total of twenty-two artists (national and international, emerging and established) who work with illustration and the catwalk, with more than 150 original works on display. “It is the moment for claiming fashion illustration as an art form in itself, and what better than coinciding with its Second Golden Age and bringing together those creators who have revolutionized the sector in recent decades” said Jesús Cano, curator of the exhibition.

“It’s the moment for claiming fashion illustration as an art form in itself”

The story begins with the companies of maestros such as Mats Gustafson, David Downton, Aurore de la Morinerie, François Berthoud, Jean-Philippe Delhomme, Unskilled Worker, Gill Button, Hiroshi Tanabe, Jason Brooks, Tanya Ling or Jordi Labanda, and which continues with voices like Ricardo Fumanal, Richard Haines, Jowy Maasdamme or Richard Kilroy. More than half of the selected artists are women who are leading the way. Among them we find names such as Blair Breitenstein, Laura Gulshani, Inés Maestre, Hellen Bullock, Amelie Hegardt, Cecilia Carlstedt or Rosie McGuinness.

The exhibition #FINAESTAMPA_ aims to synthesize this precise moment through works, aesthetics and techniques that are used in the second decade of the 21st century. It is an X-ray of a subjective and abstract discipline that creates emotions and proximity, where the product stops being something physical to turn into an abstract, appetizing and inspirational entity. The exhibition is also a tribute to the personal story of each illustrator featuring in the exhibition.

#FINAESTAMPA_ can be seen from January 15th to May 19th at the museum’s headquarters and is part of the official programme of the second edition of the Madrid Design Festival.

Sorry, this entry is only available in European Spanish.

These are good times for metallic shades, which acquire their own identity within fashion, beyond their traditional connection with parties, luxury and excess. Thus in the past seasons we have seen how metallic fabrics have gradually taken over the catwalk in garments, accessories and complements that embrace a more casual style, exploring the urban and the sporty in an aesthetic festival that interweaves contrasting forms and volumes.

Yet the proximity of the Christmas season almost “forces us” to recover the conventional facet of metallic tones because it is precisely at this time of year when they have more presence within the festivities. From among all the fabrics that radiate their own light we are focusing on the two brilliant colours par excellence that are sometimes opposed: gold and silver.

Gold Rush

Gold has always been associated with opulence, classic style, baroque ornamentation and luxury at its best. It is the colour of wealth and majesty, of the taste for excess, a warm and ultra-luminous shade that empowers, shines and overwhelms in turn because it does not accept half measures. The favourite of King Midas moves between the classic and the modern with fabrics that capture the attention of all eyes. It is impossible to go unnoticed!

Gold takes over, for example, in fabrics with rhinestones, in pleats and Iamé, creating golden patinas that create fascinating optical games. It is also present in fabrics with sequins, together with other more discreet shades such as old gold or in rich floral embroidery combined with other colours such as red or black.

Futuristic silver

Far from being “the younger brother” of gold, the colour silver has in recent seasons acquired  its own identity by exploring its most rebellious facet. In fashion it is also a luxurious hue that is associated with modernity, movement, technology and innovation. In this sense the colour silver is seen as the symbol of progress, of the functional, dynamic and technical, showing a great power of attraction linked to future advances such as in the field of space engineering. Hence the colour silver is sometimes linked with futuristic utopias.

This cool shade moves away from smooth fabrics and appropriates original textures such as the wrinkles associated with aluminum foil. On the catwalks of the current season there are Calvin Klein dresses 205W39NYC, iridescent nuances from Emporio Armani or fabrics with Balmain hologram effect. Finally mesh fabrics and large shiny sequins are also abundant, creating a seductive mirror effect, two classics that form the essence of Paco Rabanne.

“Thank you Delpozo for these six wonderful years. I have felt as if we were one family, and I am very proud of all the things we did together. ” This is the farewell phrase that Josep Font left last Tuesday on his Instagram, after six years leading the artistic direction of the company. At the same time Delpozo, for his part, thanked people for their excellent work over the years. It was an exchange of thanks which terminates a fruitful and successful collaboration.

Josep Font was responsible for the “rejuvenation and continuation of the legacy of Jesus del Pozo ” according to Pedro Trolez, president of Perfumes and Design Group and owner of the company, making the Spanish brand one of the most coveted at an international level. “He has an extraordinary ability to mix colours, textures and volumes, turning them into delicate and feminine collections. I am grateful for his loyalty and for having been a part of this first stage for Delpozo, “added Trolez .

An architect by training, Josep Font joined the Delopozo project a year after the death of Jesús del Pozo, who founded the company in 1974. In these six years, Font was responsible for renewing the identity of the Delpozo woman and giving her global projection via a parade first in New York and then in London, the two latest two parades . Apart from the reformulation of the name for commercial purposes(Jesús del Pozo became renamed DelPozo ), the Catalan designer devised his own language inspired by the forms of nature to create voluminous, ethereal and delicate designs in a very colourful palette characterized by its magnificent contrasts: it dances between the most dream-like pastel shades and fully saturated shades.

Apart from nature the designer has also fed from art, music and architecture to create each new collection,each of which was more surprising and more applauded. Passionate about craftsmanship, Font also opted for quality embroidery by recruiting suitable staff for his workshop., a task which bears witness to that minuteness of detail and to finishes in garments closer to haute couture than prêt-à-porter , presenting an incomparable vision of the feminine wardrobe. For all this, Josep Font has shown the value of well-made pieces, slow-cooked fashion, architectural silhouettes, tulle, ethereal volumes and good taste without excesses. All this through Delpozo .

At the moment  Delpozo  has not given clues as to who will be the designer to relieve Josep Font as the head of artistic direction. It is also not known what the next step will be for this Catalan designer, who has managed to fulfil the dreams of privileged women able to be dressed by Delpozo in the Josep Font era.

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In fashion and speaking in general terms, what is the deal with us and orange? It is appealing to the naked eye, favours the skin tone and with its vitality lights up garments in neutral tones, brightening up any summer or winter look. Knowing all these goods traits, why are consumers so reluctant to bet on this colour? Hereunder, we position orange in the place it deserves.

It is true, orange is not an easy colour to carry off and the excess of stridency that the hottest tones sometimes entail, makes it difficult to mix with the majority. However, there are many celebrities and professionals in the industry who have opted for this tone so far this year in the street style of the main fashion catwalks. And if the sector has surrendered to radiant yellow, the hardest tone of all, why would the same thing not happen to orange?

Orange is a warm color that radiates enthusiasm, energy, joy and freshness. It is the tone that is linked to creativity, fun, triumph and spontaneity. A tone that can be vibrant and dull in turn, without losing all of its attributes.  This Spring- Summer 2018 season, the colour that has dominated the catwalk, according to Pantone is called Safety Orange. A striking and bright tone, which pulls towards neon and attracts everyones attention. A colour ironically translated into “security orange” that contrasts with the rest and rarely goes unnoticed, tos ay the least it is practically impossible. Firms such as Jeremy Scott, Tom Ford, Adam Selman, Marc Jacobs or Calvin Klein have not hesitated to take it on stage.

And how is it combined? The first and most daring option is to wear it in its total look version: from head to toe in the same tone or varying the hue to others more pale like peach: one bright garment mixed with a duller one. In this case it works with a long dress, jumpsuit or a two piece outfit. The most daring combination would be with fuchsia pink or Klein blue creating attractive colour blocks. The second option involves opting for an orange garment that is excessive and that highlights the whole look. The rest will therefore have to be combined with neutral tones such as nudes , earths, beige or rose so that they do not steal the garment’s protagonism. A good idea, for example, would be to opt for a jacket with soft textures or a printed blazer where orange is the main color.  Orange also works very well with jeans and denim garments, adding that elemento of joviality and ease to any outfit. Finally, a combination that also works is to delegate this energetic color in a modest background playing only with accessories such as bags or shoes. Any detail counts!

In Gratacós we like orange in any season. Whether it be in its most lit up version in silks, tulles or chiffons, or in pastel shades in subtle jacquards or fine texture embroidery. We also like prints where orange intermingles with other colours in the form of flowers, stripes or fantasy prints , to cite a couple of examples. We invite you to discover the whole selection!