TRANSLATION | Eugenia Yang
顏色總能夠直擊觀眾的內心，每種顏色都賦予著不同的能量，隨著2022秋冬巴黎時裝周走向尾聲，Valentino 以一場粉色視覺衝擊，秀場四面覆蓋著刺眼、高飽和的粉色。而此款粉紅色有著名字，它叫做「Valentino Pink PP 」，是攜手色彩權威 Pantone 開發的專屬色彩，在連續45套粉紅色漫天卷地呼蕭來過，接著以全黑再次襲擊眾人雙眼，粉色與黑色對比穿梭於秀場當中，沒有人在看完這場秀後，能夠平息雙眼留下來的色彩殘影。
過去Valentino 以高飽和度的黃、綠、紫、紅、粉傳達多樣化的創作理念色彩，而粉色從來不是主角，創意總監 Pierpaolo Piccioli 已試圖淡化義大利老牌時裝屋 Valentino 烙印人心的紅與白，而此次的做法，無疑不是在證明著粉色唯我，色彩如同時尚詩人 Pierpaolo Piccioli 初衷理想所想傳達的真實且純粹的美，純粹的美學，所謂純粹的時尚本質。實際層面則是間接說明顏色資產對於品牌的重要性。
品牌與顏色之間的連結，品牌與擅長的材質、織紋、紋理、裝飾連結，Bottega Veneta或許就是最好的例子。Bottega Veneta 前創意總監 Daniel Lee 以綠色作為主軸，去年翻新 BV 於百貨一級戰區的旗艦店，以綠色作為主視覺，綠色包款配件、服裝、包裝與廣告大片都將「BV綠」推向大眾眼裡並躍升成為社群平台上最火紅的色彩，似乎與BV綠搭上邊，你就是時尚尖端。另外，Daniel Lee 也以自己的獨到美學刻劃出大編織、三角標誌等等建立起一套極具辨識度的獨特語系。這些元素都是透過符號化在構成品牌資產，也是建立新身份形象烙印於眾人心中。前陣子 Bottega Veneta 大量使用BV綠與橘色作為恭賀中國新年新色彩，在漫山遍野的紅中，橘與綠的結合跳脫另一個符號化的慶祝語序。甚至在新上任創意總監Matthieu Blazy 發布最新的2022秋冬時裝秀中捨棄了許多之前的符號，而綠色卻得以沿用。
顏色能夠更快速的傳遞識別、創造品牌氛圍與品牌精神，而這些色彩不見得為所有人喜愛，在看似極端值的接受度外，綠色與粉色都是既獨特又傳染力強烈的色彩，且不容易被其他的「共感」所取代。此次 Valentino 與藝術家兼作家 Douglas Coupland 合作撰寫文稿，以一系列文字詮釋此次既瘋狂又大膽的粉紅風暴，如同文字中提及的「The color of freedom, individuality, curiosity and invention. The color pink. 」
或許品牌以顏色建立深度品牌形象已形成常態，透過 Saint Laurent 2022 秋冬時裝大秀可以感受到創意總監 Anthony Vaccarello 翻閱品牌歷史， 擷取 Saint Laurent 悠久的文化底蘊，除了保持低調內斂的奢華，更是以「黑」貫穿主軸，抹去多餘的顏色，以廓形與材質變化來映襯基底的黑，運用極致純粹創造出 Saint Laurent 筆下那性感率性的女人。若說顏色的聯想延伸，那愛馬仕的橘與Tiffany&Co的藍更是經典中的經典。參考過去，不僅僅只是色彩符號化，去年五月Chanel 就曾因為Saint Laurent於2021秋冬系列大量採用相似經典 Chanel 款式的斜紋粗花呢而指控抄襲 ; PRADA 於2019年註冊三角形商標於2020由歐盟知識產權局授權通過。以上事件來看，斜紋粗花呢似乎成為了Chanel的符號代碼，而三角形的品牌聯想也與PRADA、Bottega Veneta 相連，使用材質、織紋、形狀、裝飾傳遞品牌識別也是一種「共感」方式。
Colors have always been the most direct way to the audience’s heart, with each shade charged with a different kind of energy. As the 2022 Fall/Winter Paris Fashion Week arrives at its end, Valentino decides to go for a visually impactful venue with the use of bright, high-saturated pink. The shade, developed in collaboration with Pantone, is named “Valentino Pink PP” and seen on 45 different looks on stage, which was then followed by a selection of all black outfits. After the strong contrast between pitch black and hot pink, no one was able to calm down from the visually vigorous bombardment of colors.
In the past, Valentino often used highly saturated yellow, green, purple, red and pink to convey a variety of creative concepts, without focusing solely on one singular color. Creative director Pierpaolo Picciolo has been trying to downplay the strong impression of the colors red and white associated with the Italian fashion house. His new collection proves that pink is the answer to finding the most authentic and pure aesthetic, a beauty that touches upon the core values of fashion. From reality’s perspective, it is also an indirect illustration of the importance of making exclusive colors for companies as a brand identity.
Speaking of establishing a connection between brands and colors through the use of different materials, patterns and accessories, Bottega Veneta is probably the best example. Former creative director of the Italian brand Daniel Lee chose green as his main theme and redesigned flagship stores with the iconic Bottega Green. From handbags, clothing, packaging to advertising videos, it seems like as long as you’ve got the green on you, you could become a fashion icon. Meanwhile, Lee also created his own “language” through the use of big weaves, triangular logos and other distinctive elements. Symbolic and easy to recognize, these elements had successfully become assets of the brand and this new identity that resides in the public’s mind. A while ago, Bottega Veneta incorporated its Bottega Green and bright orange into its Lunar New Year campaign. The unprecedented combination of colors quickly stood out from other brands and even made its way to the latest AW22 ready-to-wear collection by the newly appointed creative director Matthieu Blazy.
Although colors seem to be the fastest way to achieving recognition and establishing brand spirit, these chosen shades may not be widely accepted, since they might seem hard to tackle at first glance. However, both Bottega Green and Valentino Pink are hues that are unique, highly “contagious” and hard to be replaced by synesthesia. In the collectible booklet “Pink PP Seen by Douglas Coupland,” Canadian author Douglas Coupland expresses the craze for the bold color. “The color freedom, individuality, curiosity and invention. The color pink.”
Perhaps it has been a norm for brands to establish exclusive colors for their image. Through Saint Laurent’s AW22 fashion show we see creative director Anthony Vaccarello diving deep into brand archives and picking out certain elements to capture the brand’s rich cultural heritage. Not only does he maintain the low-key luxurious aesthetic, but he also chooses the color black as his main theme. Through the use of different silhouettes and materials to echo with the monochrome designs, Vaccarello successfully brings the seductive but free-spirited woman created by Saint Laurent back to life. As we look back, colors have become more than just a symbol, but a form of identification. Remember when Chanel accused Saint Laurent of plagiarism for the use of tweed suits in its fall 2021 collection? Or when PRADA filed an application to register its triangular logo with the European Union Intellectual Property Office in 2019 and was awarded with a registration the following year? These incidents prove how the use of materials, patterns, shapes and designs to deliver the identity of the brand has become a common method—Chanel’s iconic tweed, PRADA’s triangular logo, Bottega Veneta’s colors and designs—and a manifestation of the effect of synesthesia.
In order to protect brand assets, these tangible and intangible methods only prove that the concept of cultural heritage and creativity cannot be erased. Like the connection between brand assets and color synesthesia, colors become the most direct way to the hearts of people. So let us take a seat at the front row, as it is exciting to see if there will be a new direction or discovery awaiting in the future of branding businesses.