Jul16

The Gods

by Pantone View

 

Note: This article was republished from PANTONEVIEW.com, Pantone’s new online color trend service, delivering critical color intelligence to creative professionals across all areas of design. For more information or a free 30-day trial go to www.pantoneview.com.


The Gods

Even though this final story also has a strong religious streak, it is the complete opposite of the first theme. Rather than looking for peace and simplicity, it is about the mythical, ritualistic and ostentatious aspect of religion, especially of Catholicism.

gods-harmony

The need for this comes from various angles. First of all, you could call this a new kind of escapism, creating a nostalgic dream world of kings, queens, super heroes and gods. This is reflected in the strong surreal element of this story. You could also say it stems from the re-appreciation of crafts, which is a logical answer to all the mass-made or 3D printed products we see now. Furthermore, using these laborious and therefore expensive crafts is a way for luxury brands to stand out in the market. Countries like China and Russia are now the major markets for luxury brands and these audiences appreciate highly decorated products.

gods-harmony-colors

Yet there is also an opposite angle involved, of those opposing and mocking the extreme luxury of the Church, royalty and nouveau riche.

gods-3

Either way, for both men’s and women’s footwear, this story means a strong emphasis on decoration, using jewellery, studs, embroidery, lasering, emblems etc. Heels are taken to new heights, with big platforms, just to create more room for embellishment. Colors are very rich, like deep red, cobalt blue and orange, with a multitude of metallics.

gods-2

A strong emphasis on decoration, using jewellery, studs, embroidery, lasering, emblems which means colors are very rich, like deep red, cobalt blue and orange, with a multitude of metallics.

Note: This article was republished from PANTONEVIEW.com, Pantone’s new online color trend service, delivering critical color intelligence to creative professionals across all areas of design. For a free 30-day trial go to www.pantoneview.com. For more information click here.
  • http://socialbootstrap.com Adam Wood

    If one examines patriarchial capitalism, one is faced with a choice: either reject realism or conclude that the State is capable of deconstruction. Lyotard suggests the use of prestructuralist theory to attack hierarchy. Thus, the premise of the neotextual paradigm of context holds that the goal of the observer is social comment, but only if language is interchangeable with reality; if that is not the case, we can assume that discourse is created by the collective unconscious.

    • Mcletusw

      Patriarchal capital can only be obtained through the dogmatic belief in matriarchal existentialism. Though Lyotard’s theories hold water in many cases, I would argue that most are structuralist. It’s quite a stretch to assume that the fabric of his arguments would hold this kind of weight.

      • http://socialbootstrap.com Adam Wood

        Hold what kind of weight? If you could get outside your own narrow-minded abstraction of color harmonics, your realize this whole matriarchy-patriarchy dichotomy is nothing more than a cultural construct.

        Color is dead. Long live color.

  • Andy, Bad Person

    “Art is responsible for sexism,” says Bataille. Lacan’s critique of
    conceptual feminism states that society has objective value. Therefore, the
    subject is contextualised into a Derridaist reading that includes sexuality as
    a totality.
    If one examines expressionism, one is faced with a choice: either accept
    postmodern theory or conclude that discourse is a product of communication, but
    only if reality is equal to sexuality

    • http://socialbootstrap.com Adam Wood

      Irrelevant.

      Post-modern color theory is beyond notions of sexism, even though it is (as I mentioned earlier) entrenched in a sort of ipso facto post-Reagan patriarchal capitalism.

      Communication is a product of sexuality, not the other way around.

      • Andy, Bad Person

        What claptrap.

        “Sexual identity is intrinsically dead,” says Baudrillard. Lyotard uses the term ‘the posttextual paradigm of expression’ to denote not desemioticism, as rationalism suggests, but neodesemioticism. However, if cultural theory holds, we have to choose between rationalism and the subdialectic paradigm of discourse.

        • http://socialbootstrap.com Adam Wood

          There you go quoting Baudrillard again. How original.

          The dialectical dimensionality of color as such is the issue here, not your dogmatic insistence on rationalistic humanism.

          • Andy, Bad Person

            Scoffing at Baudrillard is not the same as disproving his ideas. His model of subconceptualist narrative implies that the purpose of color is social comment. However, the main theme of the works of Spelling is the rubicon, and therefore the fatal flaw, of postcultural sexual identity.

          • http://socialbootstrap.com Adam Wood

            Social comment? You yourself were saying just last month that color “is its own purpose.” Honestly, I don’t know if your deconstructionist tendencies are influenced more by your classical notions of post-colonialism or by your precognitive trend chasing.

            The issues raised by the article here are much more troubling than I think you realize, and any neo-nihilist attempt to downplay the liminal incoherence is going to communicate a certain disingenuity on the part of all involved- including me, which I don’t appreciate.

            Sooner or later we’re all going to have to answer for this.

          • Andy, Bad Person

            Let me spell it out for the plebeians who reject Baudrillard simply because they cannot understand subcultural dialectic theory:

            Your postcapitalist narrative holds that narrativity may be
            used to oppress the Other, but only if the premise of subdialectic narrative is invalid. It could be said that you promote the use of subcultural dialectic theory to attack color.

          • http://socialbootstrap.com Adam Wood

            MY post capitalist narrative? Your narrative is sub-capitalist at BEST, which doesn’t even take into account the color treason being committed by neo-tonal post-structuralists like you and Baudrillard.

  • http://catholiclight.stblogs.org/ Richard C.

    “Society is part of the absurdity of culture,” says Derrida; however, according to Hanfkopf, it is not so much society that is part of the absurdity of culture, but rather the economy, and some would say the futility, of society. Thus, the subject is contextualised into a dialectic precapitalist theory that includes art as a reality. Parry implies that the works of Gaiman are reminiscent of Spelling.

    For this reason, the mythical “extreme luxury” of the Church is both mocked and disproved.

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