By now it is clear that the process of color forecasting is a complex one, involving a knowledge base in color theory and cycles; vigilant observation of social, cultural, political, and economic trends; and the intangible contributions of inspiration and intuition. It is not enough for the student of color forecasting to “love fashion” or “enjoy playing with color.” Building a seasonal color palette requires the right tools, an open mind, a disciplined approach to research, and the practice of one’s craft.
Most people who work in color forecasting are trained in art and design and usually possess a natural creativity that is utilized in their jobs. However, color forecasting is a business and, as we have seen, a critical component of the fashion and design industry. The color practitioner has to strike a balance between being inspirational in order to attract the consumer, being
objective in observing the general climate, and being methodical in assessing how color concepts can be applied.
There are no hard and fast rules governing methodologies, and each forecaster will approach the season in a slightly different
Yoshioka puts it, “It’s a highly individualized business with creativity and innovation being so personal and emotional—no two people will view, analyze, interpret, and create a color palette in the same way.”
Most professional color forecasters view the development of a seasonal palette as an ongoing process, grounded in the palette of the previous season, but moving forward to fi t the cultural zeitgeist of current and upcoming times. The idea of jumping into this swiftly fl owing and often turbulent stream can be intimidating to the student or new graduate who wishes to practice trend development, which by its very nature is fl uid rather than static.
Where does the process begin?
Tim Brown, CEO of IDEO design and innovation consultancy and author of Change by Design: How Design Thinking Transforms Organizations and Inspires Innovations, tells us, “The myth of innovation is that brilliant ideas leap fully formed from the minds of geniuses. The reality is that most innovations come from a process of rigorous examination through which great ideas are identifi ed and developed before being realized as new offerings and capabilities.” In similar fashion, an inspiring and spot-on color palette does not spring fully developed from the mind of the color forecaster, even one who is thoroughly practiced and immersed in the world of fashion.
The development of a seasonal palette is an ongoing process, grounded in the palette of the previous season.
BEGINNING THE COLOR FORECASTING PROCESS 109 A color palette does not spring fully
developed from the mind of the color forecaster, but begins with one or more inspirations.
Beautiful images from nature, research in local markets, or trips overseas can inspire new ways with color.
A creative store window such as Selfridge’s Alice in Wonderland display may trigger an idea.
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Armed with an understanding of the target customer and the success or failure of the previous season’s trends, the color forecaster begins the season with one or more inspirations. Pat Tunsky of The Doneger Group describes taking the fi rst step this way: “I sometimes start with an image of a garden, a room that is decorated in an interesting way, or a painting or a photograph that inspires me to think of a color story that I have not done recently.
Sometimes I am inspired by a creative store window background.
My European research trips always prove to be an inspirational
‘jump start.’”
It is also important that these inspirations, no matter how beautiful, relate somehow to the spirit of the times. “Very different things can feel new and right—an exhibition or whatever, but it does need to fi t the zeitgeist,” insists UK design consultant Joanna Bowring. However, it is diffi cult to say whether the forecaster must consciously make an effort to choose inspiration that fi ts the current zeitgeist, or whether the experienced forecaster gravitates to timely inspiration through intuition based on practice.
Building a beautiful palette requires creativity backed up with research, analysis, and experience.
In addition to inspiration, Lindsey Riley of UK color consultancy Insight maintains, “very important also is to research and analyze what is actually happening at the shows and retail, and client feedback in order to project forward. I see it as an iceberg. The creativity and inspiration are the tip that shows, supported on fact, experience, and tons of research that makes up the bulk below.”
East Central Studio’s principal Sandy McLennan believes inspiration and zeitgeist are intrinsically linked. “It is always worth balancing ‘future gazing’ with current realities—although we are always talking about two years out so you have to imagine a different landscape and build on ideas that make you ‘look’, that attract you naturally. Over the years you tune your taste and feel for newness and totally rely on that for the key parts of a new color proposal.”
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