Colour Palettes of the Miu Miu RTW Collections

Throughout Miu Miu's collections there is a notiable pattern in methods of application of colour. Collections are divided into 2, adopting different colour groups, varying between hot and cold colours. This creates a strong contrast in each collection and reflects Miu Miu's brand philosphy, where there are many different ways to define a woman.


Spring/Summer 2007

In line with Spring, Miuccia Prada considers Russian constructivism, as well as the elegance of an elongated line. Duchesse satin shirts and tunics color blocked in shades of navy, black, and wine, worn with high-waisted tapering pants are common in this collection. Dresses with touches of Africa (tribal prints) and Japan (origami-like folds of shiny fabric decorating the shoulder or hip) are a dominant look.


The entire collection

Navy is the most dominant colour used, occupying approximately 60% of the collection. There is a variation of the navy, as Prada uses differnt shades and tones of blue. The navy is often teamed with black to create subtle contrast, or paired with a high value, high chroma, blood red which gives a dramatic effect.

Tints, tones and shades of red are used throughout the collection, with approximately 20% of the outfits having red incorporated into its design.

20% of the collection includes white as a block colour. This creates a contrast against the rich high chroma hues. Using a lighter tint reflects the bright feeling of Spring/Summer.

30% of the collection uses BLACK and this is commonly paired with navy and other shades and tones of blue.

25% of the collection uses different tonal variations of the hue purple, which compliments the red.

Approximately 20% of the designs are patterned and 80% use block colours.

Pantone Colours:





The common principle applied in this collection is the Principle of Order, where there are lots of variations of the same hue. This creates a monochromatic effect. For example, the hue of red is used in the collection, however differnt shades and tints of red are also used, such as plum, wine and burgendy.

Autumn/Winter 2007

A sample of the collection

There are variety of tints, shades and tones of brown used in approximately 43% of thecollection

1/3 of the collection is made up from black, including tones of grey

15% of the garments are red. Tones of orange are also used, but it is hard to differentiate between the two, as the variation of orange in its secondary form is so subtle. Tints of pink are also prominent, however it is used more sparingly.

Blue is used to add contrast to the warm colours in the range, making up only 6% of the garments. In this case, it is used as an accent to the collection and creates variation and interest.

Autumn/Winter 08



A sample of the collection

Just over 90% of the collection features black as well as tints and tonal variations such as grey. Black is used as a base colour and as a block. It is used to accentuate the collection and add depth. It also creates stark contrast with the high value, high chroma hues of green and orange.

25% of the collection incorporates different shades, tints and tones of the hue green into the designs. Different shades of green are paired together in a lot of the outfits to give a monochromatic effect, creating fluidity and harmony. However, green is often teamed with black for dramatic contrast, which adds emphasis on the high value of the colours.

Orange: 18% The orange used in this collection has a very high value and high chroma. This creates a strong and vibrant contrast between the black. Teaming contrasting high and low values like this gives a dramatic effect and falls in line with the exciting sports/futuristic feel of the collection.

Red accounts for 15% of the collection. Here, Prada applies the Complimentary Colour method, where red and green, two colours opposite on the wheel are paired together. The red used is a high value and low chroma, creating a rich wine tone. This adds to the aggressive and receeding feel of the collection.

Spring/Summer 09



Black dominates this collection, being featured in 56% of the designs. It is used mainly as a block colour, but is also applied to the designs as a small feature, such as on accessories to accentuate other colours.

Brown is dominant colour used in this collection with variations of lighter tints such as beige and cream. This makes up for approximately 1/3 of the collection.

Red is used as an accent in this collection, being featured on only 8% of the designs. It is used as a point of contrast, being paired with black to add an aggressive and warm feel.

Prints are featured heavily in this collection using pink, yellow, red, black, blue and orange. This adds a light, Spring feel to the collection and contrasts greatly with the dramatic use of high value blood red and black. Prints make up 38% of the collection and adds an African theme. The collection appears to be split into two: plain and patterned. Bright patterns and colours used in the prints and bold blocks of red and back are used in the plain.

Summary

Overall, the key colour combinations used throughout the Miu Miu Collections are:

Red + Black

Brown + Beige + Cream

Accenting Colours = Green + Orange + Blue

Miu Miu: The Brand

In order to truly understand and identify Miu Miu as a brand, intial research was carried out, looking at the history of Miu Miu, previous advertising campaigns, the Miu Miu store and previous RTW Collections.

Miu Miu: Background

Miu Miu is positioned as a fashion-forward yet more affordable line from Prada, named after Miuciana Prada’s nickname as a child. Set up in 1992 Miu Miu reflects a younger demographic including artistic designs, often simplistically conveyed by means of vintage-inspired styling. Considering the so-called ‘Ten Year Cycle’ of fashion - by incorporating pieces and looks from historical periods, rejuvenating, reworking and contemporising the styling just prior to the ideas being taken on by other major brands - Miu Miu remains as a dictator within its market.
Within the collections, childhood inspired elements blend with unnatural colour combinations in a fantastical but somehow sensual world. The philosophy behind Miu Miu reflects the multi-faceted nature of the brand, how “Miuciana Prada’s vision of the Miu Miu woman is continually redefined”, utilising each seasons’ collection to make commentary on current social or political issues of importance to her and establishing a “complicated feminine ideal”.
The brand philosophy continues to classify the typical Miu Miu styling:“Where ingrained elegance meets immediacy and lightness. Where independence, improbably, meets sensuality. Where sophistication meets nonchalance.”
These contrasts in terms illustrate the somewhat eclectic nature of Miu Miu collections, how any expectations of the brand can be disregarded apart from the knowledge there will be a visual feast in store!

Considering the Miu Miu brand philosophy, the Spring 2009 Ready-To-Wear collection did not disappoint in artistic flair. "An investigation of our history, of our European past" is how Miuciana Prada described the newest show in Paris, with prints on dresses and blouses reflecting Roman printed tiles in terracottas, camels, midnight blues, corals, greys and yellows. Normally employing colour theories including principles of novelty and alternations and contrasts of colour, this collection veered more towards the principle of resemblance, some colours harmonizing well with accents in exaggerated tones to highlight accordingly. However eccentric abstract floral prints were combined with pleats, graffiti style spray paint embellishments and apron style adornments in an eclectic palette of colours. Neutrals included a mushroom beige and black combination throughout with bright pinks and lilac grafitti, reds to highlight and yellow and terracottas within the Roman-style prints. Linking the current collection with European history of Rome and Italy, Miu Mui collections are also reminiscent of the artist Salvador Dali in their quirky surrealism, schizophrenic changes in colour and fantasy shapes and contexts.

However all collections share qualities of artistic origin; most significantly the Spring/Summer 2007 collection with sexy harlequin and circus inspired styling. Dresses were adorned with caricature faces, were reminiscent of pop artists such as Lichtenstein and Warhol in the combination of highly chromatic and exaggerated colours, maximizing the principle of novelty throughout.

Also in terms of culture Miuciana Prada is known to incorporate current social issues into her collections, one past range commenting on the artificial nature of women aspiring to unreachable levels of perfection; another on the theatrical nature of life as a show. Within the latest Spring 2009 RTW collection, hemlines are low, falling below the knee which reflects the current social economic climate (it is said that in times of wealth skirts will be short, and in times of recession hemlines will be lower). This economic climate is also reflected in the lack of so many ‘avant-garde’ pieces; most were sexily simple and more classic in design, rendering their life-in-service longer and more appealing in times of an uncertain future.
Considering Miu Miu’s brand philosophy that the Miu Miu woman is continually reinventing herself the design process will be relatively free and open to interpretation, designing a collection for Autumn/Winter 2009 will be based on the following main principles:

1. reliance on cultural symbolism

2. conceptually artistic inspirations
3. childlike metaphors

4. feminine styling

5. fantastical imagery

6. vivid colour palette, with unnatural tones

7. commentary on social issues

Miu Miu: Advertising Campaigns

Advertising campaigns are also an interesting way to interpret the designer’s direction for the season. Miu Miu’s advertising campaign for spring 2008 uses a balance of colour and a variety of hue. Both light and dark values, bright and dull intensities have been used which all balance the colour scheme. The red floor has a high value due to its dark colour and shade which contrasts heavily with the high chroma purple curtain. The matt and shiny textures of the colour mix well and give the image a feeling of seduction and playfulness. I really love how the image can convey a feeling about the collection without seeing the more than garment. It gives emphasis on the importance of colour within fashion design and how an advertisement can portray the inspirations and aspirations behind one season’s collection.

The colours used throughout the Miu Miu autumn winter campaigns are reflected as unnatural. For example the blue used for the sky and the grey used for the tarmac are not ‘lifelike’ but unnatural and accentuated colours of nature and the natural world as we know it. As a result there is a strong emphasis placed on colour and the contrast between the pale skin on the model and the acidic red of her lips. The colour palette used creates intensity and highlights the relationship and interaction between the light source, background, colour and object colour. It almost gives a cartoon, surreal feeling to the advert. There is a more childish and vivid element which links in heavily with the brand and its ‘atmospheric’ former collections which represent a more fun youthful side of fashion.Looking closely at the advertisements there is also a strong link with the mid 1950’s pop art movement. Pop art was all about popular culture and challenging and distancing the mass market for a dramatic effect. There is an everyday element to Miu Miu’s advertisement above yet it has been challenged by the use of colour and therefore become more aggressive. This can be related to many pop artists one of the most influential being Roy Lichtenstein, and example of his work can be seen below; 1963, ‘In the Car.’

It also ties in with Miuccia Prada’s vision of the brand and her strive for a alternative style, characterised by the brands strong identity and unique hand writing. However the style still remains classic, it is simply just reinterpreted and updated, 'Miu Miu is always more about fashion than Prada, more about atmosphere, more sensual. It's light and free. Not serious. Age is not really fundamental; the spirit is more important than age. It's more the idea and the spirit that counts.' (Miuccia Prada)Each past and present collection tells its own story and the vision of the brand is constantly being redefined. The brand is designed for women who cannot be defined, it isn’t ‘safe’ in terms of use of colour. Miuccia Prada was an early feminist and this is reflected in her designs from season to season, as well as strongly reflected in each seasonal advertisement. Nothing is reserved about her designs; it is all about shape, lines and bold use of colour. The brand plays on the fact that there is no feminine ideal. Spirit strongly overrides age, with age no longer becoming a fundamental element; the brand is based on ‘Child Women.’ Miu Miu store in Hong KongThe Miu Miu store in Hong Kong uses a bright feminine hue with high chroma which gives the feeling of a light, bright and spacious building consequently drawing consumers into the store. The colour yellow is also associated with summer and happiness therefore the familiarity and associations with this colour are pleasing and readily accepted, as a result the mood reflected is one of radiance and pleasure. Customers will be more likely to enter the store and purchase feeling satisfied, the perception is positive. This also relates to the youthfulness of the brand and its image.

Looking at Different Cultures

By observing and analysing people's clothes and their belongings, it is possible to draw clear differentiations between a variety of cultures, class and genders and be able to view fashion in terms of different macro and micro environments.


INDIAN FASHION

Indian fashion varies from one village to another village, from one city to another city. India's fashion heritage is rich in tradition, vibrant in colors and prepossessing. India is based on diversity and this is reflected in the colours used, with strong, RICH hues such as red, green, yellow and blue. Women’s clothing in particular is vibrant and dazzling.



Here is an example of all the vibrant colours used in traditional Indian dress. The women are wearing a mixture of high value, high chroma hues, and low value tints such as pastel yellow and peach. The style of clothing in India varies from village to village and city to city. Therefore the style of dress that the women are wearing in this example identifies them to the village they live in.




The image above depicts a brother and sister, brought up in England but visiting family in India. The Indian suit worn in this photo is a typical example of a colour combination used in Indian fashion. This colour scheme uses the Diad formula, pairing a high value hue of pink with a constant chroma, high value tint of orange. Embroidery in similar colours is used as a decorative addition to the outfit, which adds detail and interest to the design.
In contrast, the boy standing in the photo is wearing a darker colour scheme, consisting of blue and black. This are colours with weight, therefore have high value. This shows a distinct contrast between male and female fashions and Indian and English fashion. Boys prefer darker, muted colours, which don’t draw any attention to themselves, whereas girls more commonly wear brighter colours to create impact and catch the observers eye.



The above images are classic examples of traditional Indian dress. Both outfits use the Principle of Novelty, where overtly bright and eccentric colours are used. The image on the left applies the Diad theory, where two colours are apart on the wheel, in this case green and orange. The image on the right uses 2 colours next to each other on the wheel. This follows the Principle of Order, where colours are similar as they are very close to one another on the wheel. A combination of Purple and Pink also relates to the Principle of Resemblance because the 2 colours harmonize with one another as the difference is little. The stark contrast of Gold in the fabric is a true example of Indian dress, as it creates impact and emphasis on the vivid nature of the other colours.







Indian style is so distinct and original that now designers are studying them and incorporating them into their designs. Key features of traditional Indian garments other than the bold colours are intricate embroidery and use of beads and sequins.




Below are images from Matthew Williamson’s Spring Summer 07 Collection. Williamson’s signature style takes inspiration from traditional ethnic fashions such as India and Eastern styles. Williamson adopts the same colour schemes as those in the previous examples. Using the Principle of Novelty, he blends high value high chroma hues across the whole colour wheel. In the examples below he applies the Mono-chromatic Colour formula with an emphasis of one colour: Several different shades and tints of one hue is used. In this case, he blends high and low values of pink/peach. This colour arrangement can be referred to as Sequence of Colour – as the eye is led in a sequence of succession.









AFRICAN FASHION




African tribal dress is inspired by the wild trees, exotic flowers and lush vegetation of African surroundings. Common looks include flamboyant accessories and elaborate decorations, using earthy colours such as red, brown, yellow, orange and green.



Tribal themes are often adopted into western fashions, applying the analogous colour theory to designs.

The images above demonstrate the use of earthy colours such as brown and orange. This applies the Analogous Theory as colours next to each other on the colour wheel are used. The Complimentary Colour Theory has also been used in the designs, combining orange/beige with blue. This combination has been used to contrast, enhance and intesify the vivid colours.

The above images demonstrate the use of bold geometric prints. This adds detail and interest. Using a combination of plain and patterned also brings about balance and harmony.

The Prinicple of Familiarity can be compared in these designs, as most of the colo. Colours are based on nature or use neutral tones such as grey and beige. These colours have been adopted by African trends because it reflects the surroundings that the inhabitents live in.





The colours used are warm, firey and aggresive, with high value hues and high chromas. The colours compliment the natural, foliage setting around.

Above right is another example of the geometric prints used, this gives a camouflage effect.

FRENCH

French fashion can be describes as subtle, elegant and sophisticated.

Carla Bruni is an Italian born, naturalised French, songwriter, singer and former model. She is currently married to the French President Nicolas Sarkozy. She is a good example of someone with a typically French style. Her outfits are modest, wearing tailored outfits in tones of grey and shades of black.

Chanel, epitomises true French Fashion with its classis clean cuts, casual elegance and simple suits. Chanel is also famous for inventing the little black dress, which is one of its key signiture looks.

ASIAN

Vivienne Tam is a good example of Asian fashion, in terms of the designs melding the aesthetic and feminine mystique of Asia with the spirit of the modern world . Vivienne Tam’s bi-cultural upbringing in the then British colony, Hong Kong, was the first stage in the development of her signature East-meets-West style.

Colours used are of high value and low chroma. An Analogous Colour Formula has been applied, maintaining the fluidity of a monochrome scheme but with more variety. This also relates to the Sequence of Colour arrangement, which brings about order and balance.

Traditional Chinese dress represents an important part of the Chinese culture. These are evident, either directly or indirectly, as political changes, economic developments, and changes in folkways evolve over time. China's traditional costumes mirror, from a cultural perspective, the Chinese society and the mental outlook of the Chinese people in different periods of history. It is evdient that Tam has taken inspiration from traditional chinese dress in terms of colour scheme, styling and patterns and motifs used. Below left is an example of traditional chinese dress and below right shows an adaptation of such a design, re-creating it with a more modern and western feel. Similiarities remain the same between colour schemes and the patterns used.

Looking at Colour Schemes in Every Day Life

To further investigate the application of colour theories, I have observed colour schemes of objects in things on my day-to-day travels, for example looking at what people are wearing and colour themes in stores and shop windows.

The Body Shop - shop front uses a high value, high chroma shade of green with white. This is very simple and natural. It applies the principle of familiarity as it is pleasing to most and readily accepted. This colour principle is based on nature, therefore the connotations of the store is a reflection of the brand values, being based on natural and organic products. Customers and passersby therefore create an association.

This beauty store is predominantly white, giving a clean and clinical appeal. Using white as the dominant colour gives the illusion of space. . Adding a rich, high value tone of red gives the customer a feeling of luxury and expense and creates a chic effect. The employees are all wearing black which contrasts strongly with the white. Overall, there is a achromatic colour scheme but with the addition of one bold, high value, high chroma primary hue of red.

The model in this display wearing different tints and shades of blue. This is a monochromatic colour scheme which creates a subtle effect due to the lack of contrast. The arrangement of colour give emphasis as only one hue is used but with differing values and intensities, overall this emphasizes the hue of blue. As this model is at the entrance of the store, it indicates that the collection is subtle and muted and will not have overtly bold fashion pieces.

This display demonstrates the application of the principle of novelty. Bold, high value hues have been contrasted with one another to create a young, lively, fun look. Having such a variety of hues with high and low values and bright and dull intensities creates a balanced scheme. A triad colour scheme is applied on one of the models, using green, pink and purple. The model on the right has 2 different colour schemes combined, using red and purple and then green and purple. Blending primary and secondary colours together is called a split compliment colour scheme.

This display uses warm, aggressive and intense hues of brown and orange and applies the principle of familiarity, where the colour scheme is based on nature. The colours resemble those of the autumn season. The colour scheme is classified as an analogous combination, where colours adjacent on the wheel are used. Soft, low value tints of brown/beige are added to the scheme to create balance with the high chroma, high value hues of orange and brown.