FREE DOWNLOAD! Fashion Palettes Poster

Want a free poster? Email me at sophia.n.ahmad@gmail.com. I’ll send a pdf directly to you.

Poster and image by Sophia Naureen Ahmad

I designed this original poster to celebrate my new book, Fashion Palettes. The book features 32 chapters for 32 colors. Here we see each color represented by a different fashion swatch. For many of the swatches, I selected materials that align with how I’ve characterized each color in the book.

Poster and image by Sophia Naureen Ahmad

Recommended Size and Paper: 11x17” / Glossy Cardstock

If you hang it up on your wall, I’d love to see a photo!

BANANA REPUBLIC — Meet Their In-House Color Guru, Jenn Costantino


 
Banana Republic Color Guru In-House Jenn Costantino
 

Color is a small world. With social media, it’s become even smaller. I met Jenn Costantino in a professional context years ago, but it wasn’t until later, when we followed each other on Instagram, that I noticed a rare quality for colorists in the fashion industry. Jenn appeared to have a true passion for color, something that went beyond her job. Her point of view struck me as optimistic, vibrant and happy (also rare in the fashion industry!).

At Banana Republic, Jenn is known as the “Color Guru”. She has managed the brand’s color process for over five years. I wanted to talk to her about what a fashion colorist actually does, since it remains mysterious for many people. I’ve worked in this area of fashion myself, and I still struggle to explain it sometimes. Note: it has nothing to do with colored pencils.

Before moving to Milan earlier this year, I visited her in the color room at Banana Republic’s design office. We talked about her personal connection with color, as well as some essential aspects of her job, like using the right color language, building a solid palette and picking the perfect color name.

“It was probably the biggest compliment I got at Parsons. I was told, “You have a really good eye for color that takes years to develop, and you need to use it”.

“Colorist” is a job title in a few different industries. It usually makes people think of film or painting or hair color. What does it mean at Banana Republic?

Being the Design Manager of Color for Banana Republic means that I get to work with the design team and brand leaders on creating a beautiful vision that the customer is going to hopefully love, buy and create amazing memories with.

I'm not the fashion industry's typical colorist. I deal a lot more with concept. I’m very lucky to be able to have so much creativity in my job where I get to research trends and have a say in where I feel the brand needs to go trend-wise. I'm creating a road map or a blueprint of color for designers to follow. For womenswear, we have nine color palettes a season, so the designers need to know the specific direction for each part of the store.

Banana Republic has established itself as a classic American brand for decades now. How would you describe the color aesthetic of the brand?

The one color I would always associate with Banana Republic is olive because that is the heritage and culture of our brand. We will never not have a great olive in our store. It’s also important to keep the store looking elevated with other neutrals and positive pop colors.

 
The “color wall” is a point of reference for recently trending colors.

The “color wall” is a point of reference for recently trending colors.

 

What is the color selection process like?

Color is the beginning step for the design process every season. It starts with color. Each season, I work with two VPs on the color palettes. They put up tear sheets, they tell me what they like. Right now I'm doing trend research for Men's. I'm putting together images of what I feel are the important colors for the season. I’ll show that to the VP, she'll think of the concept, and whatever her concept is, I'll start the color palette based on that. It's a month long process. The designers get involved. I'm steering the color ship, but the design team and I work together to make sure we have the best colors in the store to represent their product.

 
Banana Republic Color Guru In-House Jenn Costantino
Jenn’s color palette exploration.

Jenn’s color palette exploration.

 

How does your job fulfill you creatively?

Creating color palettes for both the Men’s and Women’s design teams really lets me play with different colors. I get to work with such a creative team of designers. I’ve been here for 5 years and have yet to be bored. You have to be able to work with a lot of people in my job, especially because color is so emotional. Working with designers, they're emotional about what they do. You want to make sure the VP's vision is executed in the right way. Color plays a huge role in that.

Why is color an important skill for designers to have?

Color is very emotional, and it’s the first thing the customer sees. You want the color to entice the customer to the point that they want to keep on coming back to the store because we know exactly what they want.

What’s your philosophy for creating the perfect palette?

Neutrals first! Is your palette based in navys, greys or olives? Maybe it’s just a few different levels of creams. You need to create a strong base for the pop colors, then you slowly build in levels and add accent colors.

Banana Republic Color Guru In-House Jenn Costantino
Banana Republic Color Guru In-House Jenn Costantino
Fabrics, yarns, threads, swatches - color reference tools come in many forms.

Fabrics, yarns, threads, swatches - color reference tools come in many forms.

 

What are some of the more specialized skills required in your job?

Once the palettes are done, if we're using clothing samples, it’s part of my job to go to the color library and match them to our standards. If it's not in our standards, I get it developed through a color service provider.

I evaluate color. A designer just came in because this white denim was coming out too yellow. She needed to know what to tell the mill, how to use the right color language. Designers come to me and say "We need a red that’s darker than this swatch", and I’ll explain that what they really want is a red that’s bluer, because that’s what the mill is going to add to make it darker. Having that technical knowledge is important because it helps you back up your creative vision.

 
Jenn shows Banana Republic’s Spring 2018 palette in a light box, a machine used to evaluate how color appears in various forms of light.

Jenn shows Banana Republic’s Spring 2018 palette in a light box, a machine used to evaluate how color appears in various forms of light.

Jenn evaluates a green swatch with a spectrophotometer, a machine that measures color in fabric, more specifically the amount of light intensity in each part of the color spectrum. This is how colorists determine if a fabric has the right amount of …

Jenn evaluates a green swatch with a spectrophotometer, a machine that measures color in fabric, more specifically the amount of light intensity in each part of the color spectrum. This is how colorists determine if a fabric has the right amount of red, green, yellow, or blue and what adjustments need to be made for the color to be production-ready.

 

Why are standardized colors used in fashion?

At a big company like Banana Republic, we have several mills that are producing the sweaters and the knits and the pants, etcetera. Everything has to fit in the store together. All the clothes are being dyed in different fabrics, and they're all being dyed by different people in different places. They need the color standard to measure against.

 
One of many greens found in Banana Republic’s color library. As tastes and trends evolve, fashion brands keep references of all colors, including those that are tried-and-true and ones that could be used in the future.

One of many greens found in Banana Republic’s color library. As tastes and trends evolve, fashion brands keep references of all colors, including those that are tried-and-true and ones that could be used in the future.

 

Why is it useful for Banana Republic to have a library of its own colors?

We're such a large company and we've been around for so long. Usually the bigger companies have color libraries. New colors go into the library every season, it keeps growing and growing. It's an amazing thing to have because every season, we can go back to them. It's like having a Pantone book on a really big scale. If we need a specific blue, we have over a hundred blues to choose from.

And each of those blues has its own unique name. Why is that important?

Imagine you have one little piece of fabric, and it's not labeled and it goes from here to a mill in India, and all the merchants have to reference that same color. It would be impossible without a name.

My recipe for naming a color is that you should be able to close your eyes and picture the color, like Rockaway Grey or Egg Yolk Yellow. You want the name to be as descriptive as possible. And it has to be an exciting name because eventually, it could be featured on the website. It could go all the way to the product level. You don't want to call a sweater Dirt Brown. Cappuccino would be a more elevated, sophisticated name for that brown.

Do you find that color names can also affect a creative team’s decision making?

Yes! Designers come in to the color library and they'll see a color like "Tickle Me Pink", and say “Oh, that's cute!” So it can affect the way the color is perceived.

 

Jenn quoted in Banana Republic’s email promotions for Summer 2018.

 

So, when did you first realize you had a strong eye for color?

It was a teacher at Parsons that pointed it out. I studied fashion design there. I had a critique, all the students had their illustrations out. I was bad at draping, I was bad at patternmaking. Those were not my strong suits. I went to Parsons because I love to draw and paint. My drawings were good. It was probably the biggest compliment I got at Parsons. I was told, “You have a really good eye for color that takes years to develop, and you need to use it”.

Office moodboard.

 

You’re a native New Yorker, but your taste in color is very California - sunwashed oranges and yellows, ocean blues. Your Instagram feed is filled with palm trees and surfboards. Where does that love of California come from?

My mother introduced me to the music of the Beach Boys at a very early age.  I also started watching surf movies like Endless Summer and some Elvis Presley beach flicks. From then on, I was always drawn to surf culture and the beach. Palm trees, surfing, and the colors that are associated with beach life, I equate with peace and happiness. It was where I always escaped to in my dreams growing up. I try to surround myself with as much beach culture as possible since it brings me so much joy.

Posts from Jenn’s Instagram feed. Follow her @jennsmusic.

 

Could you describe a time when you had a strong emotional reaction to color?

I think it honestly was when I traveled to the Caribbean for the first time when I was in college. I didn’t know water that blue and bright existed anywhere! It filled my soul with so much peace. How can anyone be unhappy looking at that?

How did that moment influence your taste and approach to color now?

I don’t ever want to put dull or drab colors in a palette. You want something that makes you feel beautiful and happy when you look at it. At Banana, we want to make our customers, both men and women, feel beautiful and confident. You always want to evoke a positive feeling with color in retail.

Banana Republic Color Guru In-House Jenn Costantino Swatches MLab
 

“Color is very emotional, and it’s the first thing the customer sees … You always want to evoke a positive feeling with color in retail”.

 
Banana Republic Color Guru In-House Jenn Costantino Swatches MLab
 

You’re also a singer/songwriter. Have you ever experienced synesthesia? Is there any connection between your love of color and music?

I have written songs about color, but I don’t see color when I sing or hear music. I can imagine it, but I keep both senses very separate. When I sing I focus very much on the sounds and creating a beautiful melody, and it’s very personal. When I create color palettes, I of course use what feels good to me, but because I work for a brand with such a strong customer, I focus more on what’s going to make the customer feel great.

Lastly, where else do in your life do your color skills come into play?

I never stop being inspired by colors I see. I see color palettes or make note of new exciting colors I see in everyday life, as I’m sure you do as well! My job also comes in handy when friends or family need help choosing paint colors for their house!

P.S. Check out Jenn’s favorite Instagram accounts for color inspiration:

@kimkeever.art, @_jujujust_, @neohumanity, @voguerunway, @chromayoga

 

FRAGMENTARIO — Studio Visit with Natural Dyer Maria Elena Pombo


 
Dyeing with natural materials requires more time and involvement than what is required by synthetic dyes. Though, in response to that effort, there is a an undeniably greater connection to be found between process and product.
— Dyeing With Plants, Fragmentario Zine
Fragmentario-Maria-Elena-Pombo

Fragmentario is a Brooklyn-based natural dyeing studio that offers custom dyeing services, an online store, and workshops on dyeing with mostly plant-based materials. Behind this operation is Maria Elena Pombo, who goes by Mari. Her boyfriend Griffin Moore (creator of tote bag line Native Outpost) is a frequent collaborator. "It's like we're each other's intern", Mari says. What was once a personal project is now an impressive, homegrown studio.

Mari recently invited me to the studio to attend a workshop called Garden of Delights: Dyeing with Avocado Pits, Onion Skins, and Flowers. After the workshop, I sat down with her to learn more about how it all began. 

A t-shirt dyed with madder root. The spots come from iron remnants left in the dye vat.

A t-shirt dyed with madder root. The spots come from iron remnants left in the dye vat.

Silk socks for sale in the studio.

Silk socks for sale in the studio.

 

When did you officially open the studio?

I would say 2016, since that is when I got the domain and was able to understand all the layers of the project. But I have been learning about natural dyes since 2014. I took my time to learn the skill and to understand how I wanted to use it.

Where does the name Fragmentario come from, and what does it mean to you?

When I started thinking about this project, my main concern was where it would fit in a larger context, beyond textiles and fashion. The slow food movement is very inspiring to me, as it has been successful in framing slowness under a positive light. I wanted to convey this idea of taking your time to do things right, as in, with natural dyes you cannot rush the process. There is a Spanish expression, "por partes" that roughly translates to English as “one step at a time”. I used an online translator to translate it into Galician, which is the native language of my paternal grandparents, and it interpreted it as fragmentario.

In Spanish, fragmentario means a collection of fragments or ideas. From the start, I had different sub-projects in mind so it was a fitting word in both languages, as well as easily understandable in English. I also liked the idea of using my grandparents’ language. They migrated from rural Spain to Venezuela in their twenties and would speak in Galician between each other, keeping it as their own secret language. It brings back good memories.

I love that!

Me too. It's funny, they would also do it so the grandchildren didn't understand them when they were talking about giving us chocolate ... but we all understand it to a point because it's very similar to Spanish.

Fragmentario-Maria-Elena-Pombo
Students preparing t-shirts for tie-dye. The jars contain commonly used materials--cochineal, annatto, and cutch.

Students preparing t-shirts for tie-dye. The jars contain commonly used materials--cochineal, annatto, and cutch.

Some of Mari's early dye samples.

Some of Mari's early dye samples.

Fragmentario-Maria-Elena-Pombo
Fragmentario-Maria-Elena-Pombo
Fragmentario-Maria-Elena-Pombo

After graduating from Parsons, you worked for various fashion companies. What made you want to transition away from that and start your own studio? 

I would always work on projects over the weekends, while having a day job, focusing first and foremost on honing my skills. After becoming more comfortable, I gave the project a name and started showing my work. Opportunities started to arise, and people were approaching me for more commissions and workshops than I had time for. At the same time, the company I worked for was undergoing a restructuring process, and my heart was not set on their new projects. These two things combined made it seem like a good time to focus my energies on Fragmentario.

Before fashion design, you studied engineering. How has that training shaped the way that you work now?

Working with natural dyes is like working in a lab. There are many variables that can affect the result. Some are obvious: the dyestuff and the concentration used. But others are less evident: the composition of the fabric, the acidity of the water, or the material of the container used, just to name a few. Having a background in engineering is helpful because I can understand things within a scientific context.

I also have friends from my engineering school days who are chemists. I go to them for advice on process and safety. I was very scared of using mordants, because there is a lot of conflicting information on how dangerous they are. Having people I trust help me determine safety procedures was a big relief.

Fragmentario-Maria-Elena-Pombo
Fragmentario-Maria-Elena-Pombo
One of the items for sale in the online shop.

One of the items for sale in the online shop.

Avocado pits, softened from heat. The dye derived from them is a pale, pretty pink.

Avocado pits, softened from heat. The dye derived from them is a pale, pretty pink.

How would you describe Fragmentario's color aesthetic?

I favor design that focuses on the process and the materials. I try to develop rich colors that are not what is  expected when thinking of 'natural dyes'. When people see my color book they are always shocked that these are all made with natural sources. I like keeping this element of surprise and helping others visualize natural dyes in a modern context, not as a thing of the past. 

The idea of working with natural color came from your boyfriend Griffin. During the workshop, you mentioned that you were initially resistant to the idea. Why do you think that is?

I expected the colors to be very subtle because most literature says you need to use mordants, which to me made the whole process less magical. [Note: A mordant is a substance used to set dyes on to fabrics, intensifying the color]. Luckily, that same week we had a trip planned to Griffin’s parents' home in Western New York, so we didn’t have time to order any mordants. We brought some fabric and got onion skins from the supermarket, and we just tried it without mordanting the fabric first.

The colors were so beautiful just with the onion skins that I was instantly hooked. After obtaining the brown tones we were looking for for Native Outpost, I started trying to achieve other colors with avocado pits, turmeric, and cinnamon and found the same result: mordants were not necessary. I still work largely without mordants and all the workshops are conducted with only plants. I feel the easier you make it seem, the more people will want to try it at home.

Arranging dried marigold, rose buds, safflower, chamomile, and hibiscus for a flower bundle. These give off a lovely scent while stewing in the dye vat.

Arranging dried marigold, rose buds, safflower, chamomile, and hibiscus for a flower bundle. These give off a lovely scent while stewing in the dye vat.

Fragmentario-Maria-Elena-Pombo
Fragmentario-Maria-Elena-Pombo
Natural dyeing takes time, so we took a break to eat together and talk.

Natural dyeing takes time, so we took a break to eat together and talk.

Fragmentario-Maria-Elena-Pombo
Fragmentario-Maria-Elena-Pombo
Fragmentario-Maria-Elena-Pombo
Fragmentario-Maria-Elena-Pombo
Fragmentario-Maria-Elena-Pombo

What are some of the pitfalls of natural dyeing? Any dyeing disasters you want to share? 

One of the pitfalls of natural dyeing is that it can be hard to replicate an exact color. I have come to appreciate this as it makes each process unique, but for commissions it can be hard. Sometimes people approach me with a specific Pantone color in mind, and I have to explain how the process works and that I can aim to get a similar color, but cannot guarantee making it exactly the same.

I have ruined fabrics from using too much heat. Silk is very sensitive and should not be boiled to a high temperature, as this will make the hand “peachy.” Before learning this, I once used a lot of heat for dyeing around 5 yards of silk, thinking this would help get a deeper color, but ended up with a very dull finishing instead.

On a more positive note, any happy accidents?

I have had many happy accidents, but my favorite came one time I was trying different dyeing materials on jars with no heat. I had a powdered extract from a tree and it did not dissolve in the water. Some particles adhered to the fabric and a pattern was created by accident. I loved the result (see Mari's photo below).

Fragmentario-Maria-Elena-Pombo
 
Mari's color book, where she documents the results of dyeing with various fabrics, temperatures, and lengths of time.

Mari's color book, where she documents the results of dyeing with various fabrics, temperatures, and lengths of time.

Indigo on wood.

Indigo on wood.

Fragmentario-Maria-Elena-Pombo

What is the most satisfying part of the dyeing process for you?

I love sharing knowledge, especially with people who have no clue about natural dyes. You can see their bewilderment when shown the colors that are possible with plants, particularly onion skins and avocado pits because they are easily identifiable and usually regarded as waste. 

Who are some of the interesting people you've come across in your teaching workshops?

The workshops attract a very diverse crowd, from textile artists looking to further incorporate natural dyes to their work to human rights activists who are interested in the intersection of creativity and sustainability. The people who come to the workshops are seemingly very different, but they all have similar interests and worries.

What have you learned from them?

My take-away from the attendees is that there is a rising group of diverse people who care about where their objects come from and how they are made, which is very inspiring.

Fragmentario-Maria-Elena-Pombo

If you could give one piece of advice to those who want to start their own creative business, what would it be?

Starting a creative business or project is an endurance race, not a sprint. You have to be consistent and manage your energy from the beginning, as to not over-exhaust yourself to a point where you cannot keep going. It is hard to draw boundaries when you are your own boss, but it is important, as rest and downtime help you become more efficient. I have a very hard time with this myself, but I try to make time to reassess my goals and understand my project in a larger context.

One step at a time. Thank you, Mari!


 

Inside Indigo — After Workshop at NYC's Textile Arts Center


 
Textile Arts Center Indigo Dyeing After Workshop NYC

My indigo samples.

My blog turned 1 this month!  My first post went up in October 2015.  To mark the occasion, I treated myself to a workshop on indigo dyeing at Manhattan's Textile Arts Center. I had no prior experience with dyeing in any form, so I really enjoyed this process.

Ingredients Used in the Indigo Dye Recipe

  • one part organic indigo powder

  • two parts fructose crystals

  • three parts pickling lime

To make indigo soluble in water, it requires antioxidation and alkalinity. The fructose removes the oxygen, and the pickling lime serves as the alkaline agent.

This is known as Michel Garcia's 1-2-3 method. You can learn more about it here

Dye ingredients.

A peek into the dye vat.

We were each given strips of silk and cotton muslin (both bleached and unbleached). Once the dye was ready, we dipped each strip in water, then into the dye vat. Inside the vat, we gently rubbed the fabric, which helps it absorb the dye.

We observed the effect of the dye on each fabric strip, as well as the impact of each dip.

Then we waited for a while for our fabric strips to dry.

Textile Arts Center Indigo Dyeing After Workshop NYC
Textile Arts Center Indigo Dyeing After Workshop NYC

Indigo appears lighter after drying. Below are my swatches, a mix of cotton and silk. I took this photo at home after fully drying and ironing them.

The lighter ones were dipped once or twice. The darker ones I dipped up to five or six times. 

Textile Arts Center Indigo Dyeing After Workshop NYC

After trying solid dyeing, we moved to shibori, an ancient Japanese dyeing technique.

Here are a few shibori samples our instructor shared with us. Each sample notes the type of dye used and the number of dips. These are much more precise than the notes I took in class. I think for any dye project, having this info on hand would be super helpful.

In shibori, various blocks, plates and clamps are used to manipulate the fabric and create patterns. The indigo leaves a bluish patina on all the dyeing tools, which is so pretty to me.

Textile Arts Center Indigo Dyeing After Workshop NYC

Drying our shibori samples.

Textile Arts Center Indigo Dyeing After Workshop NYC
Textile Arts Center Indigo Dyeing After Workshop NYC
Textile Arts Center Indigo Dyeing After Workshop NYC

Here are my shibori samples, both silk. For the left piece, I placed a few marbles and buttons on to the fabric, tying each one tightly with a rubber band.

On the right, I first folded the silk a few times into a rectangle. Then I sandwiched it between two plastic square discs and secured everything with two metal clamps. 

I didn't overthink my shibori techniques— I was more curious to see what would happen. Even with amateur execution, shibori yields beautiful results.

Textile Arts Center Indigo Dyeing After Workshop NYC
Textile Arts Center Indigo Dyeing After Workshop NYC

Thanks to Textile Arts Center and our instructor, Clare Frost, who really knows her stuff. TAC offers classes that honor handmade techniques, like weaving, block printing and fabric marbling. 

Go here to learn more — textileartscenter.com