As the Fall /Winter 2014 RTW Fashion presentations came to a close earlier this month we did some coverage on the trends that were emerging. Our initial approach was to present key colors, patterns, and statements that crossed all design categories from Menswear, to Women’s, through accessories including Home Furnishings. These themes were the connecting links from all design areas, and represented the dominant trends that we saw – in other words the “must have’s”. Moving forward we wanted to add another more in-depth installment to our series representing the colors, and color stories that we felt were important to the Fall /Winter 2014 Season.

This was one of the most interesting and diverse seasons in a long time, especially when it comes to color, as there were many ranges that emerged, and far more than are normal to one season. While each palette was distinctly different, they all seemed to live comfortably together on whatever runway or in a showroom. So there is allot too choose from going forward, and Fall/Winter 2014 stands to be one of the most exciting and diverse seasons for both consumers and designers. We identified eleven color stories that we felt were valid singular statements (all though there are areas of cross-over), and provide you with photographs that illustrate them. This visual tale not only shows the colors as they were presented from a broad range of designers, it provides a feeling for the textures that were important, and how the colors work together. The only story omitted was the powerful combination of black and white as we had already featured this prominently in an earlier post.


From ice-like crystalline whites, to purest snow white, winter white, milk white, rich cream, egg shell, and ivory. This fall white is worn alone or mixed with other shades of white, or accented with the sharp contrast of black. Winter whites were softly dominant everywhere.


The color of pale flesh, nude, all shades of natural skin, pale tones of platinum and blonde, pink and peach toned neutrals, are worn alone or together and are often shown in natural leather, shearling, or a broad range of fur.


Pastel shades appear washed giving them a clear translucent feel, sometimes with a grayed undertone. The colors remind us of the grayed tones of Wedgewood China, and the soft shades of painted porcelain showing up in Delft Blue moving to rose pink, soft leaf green, buttercup yellow, gray, and sand.


The sweet tart bite of berry colors was a central theme for fall beginning with the palest blush of pink that shades the cheek of a peach, to strawberry, bright raspberry, pink-berry, cherry, cranberry, red currant, mulberry, juneberry, plumb, boysenberry, blackberry, and elderberry. This run of fresh bright colors was often shown in head to toe totality.


The colors of the 1970′s nightclubs. Deep. rich, jewel like shades reminiscent of the colors of the lights on a dance floor, or in a cocktail lounge. They showed up in shiny silks, satin’s, and brocades, but also looked electric in dyed shearling, and long haired furs, or in plush soft velvet’s, and feather-weight chiffon’s for evening. Bright lit yellows, purples, teal, cobalt blue, and fire engine red are mixed together to make the most of the bright, and light the night.


Green grew a bit on every runway this season and was somewhat of a surprise showing up in softer shades often with gray undertones, as well as natural colors like lettuce, moss green, olive, spruce, spinach and black-greened kale. These colors looked great when teamed with a jolt of bright blue, yellow, or red, or when worn with gray, or pared with an animal print.


The presence of metal in bright or soft silver, brushed or shiny gold, provided the perfect pivot to add gleam and galm to any look. Often appearing in leather or vinyl, tech-fabrics, beaded, or woven into delicate lace or embroidery the mark of metal gave sheen to day or evening.


Gray is a perennial color for fall but it is usually seen in menswear bankers suits, military styles, or traditional English plaids, tweeds, or flannels. This season brought out the luxurious side of gray, and often pared and presented it with a rough or raw element. Wool or cashmere suiting had fox, badger, or raccoon collars. Suede, leather or shearling had long haired curly lamb trim. Flannel and velvet were paired with satin and Persian Lamb and mixed together in a range of grays. Sheared beaver coats were hand painted in shades of gray with rough uneven edges. For evening, chiffon floated like a gray cloud, while silk charmeuse fell like liquid mercury, and tulle, and delicate lace was edged or embroidered with silver beads. Every shade of gray appeared from sterling to pewter, from soft gray to storm cloud colors, and all the shades in between were like shadows come to life.


The color of rouge is actually quite distinct even though it comes in many shades. It’s effect is unmistakable when smeared on a cheek, brightening , but marking the woman that wears it with a distinct assertive edge. This season red looked best when it had a pinkish tint, or a blue undertone, and blazed boldly in satin, jersey, chiffon, cashmere, and velvet as though it had caught on fire. Brilliantly dyed feathers floated flamboyantly as did long haired furs,and curly lamb. Red never looked bolder, brighter, or better.


Black is fashions signature, and its foundation. It creates a style and a meaning all it’s own. When done well it can be shocking, chic, and stunning. Even when done badly it makes a statement. For years in the 1980′s it was featured as THE SINGULAR COLOR of the fashion cognoscente. Season after season every collection was made up of it and everyone wore it – tirelessly. It has been awhile since that has happened, This season it was black with a vengeance and it appeared from every angle. It was rough and raw in leather, shearling, and suede. It had ethnic attitude when printed, stamped, beaded or embroidered. It showed its street side in nylon, its wild side in feathers and fur, it’s night side in chiffon and lace. and showed its best side when all of these sides were mixed together. But then there was the singular statement of a column of black jersey or cashmere, and all bets were off – as that was black at it’s best – chic without light – a solitary shape in the night.