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From wet asphalt to quartz: grey is the hot colour this season

Published below is a passionate panegyric of the colour grey, written by the journalist Luisa Espanet. Our Grey Trachyte, along with Granite, is pleased and delighted to accept the opportunity to enhance those urban spaces "in which the colour non-colour is the strong point in the scene." Thanks to kind permission from the daily Libero of January 17th 2007, from which the article was taken.

Luisa EspanetPerhaps grey can still apply to a day of rain or thick fog at 75% humidity in some gloomy metropolitan periphery or the rawest and most dismal Atlantic coasts. But not even the most dingy and impersonal of furnishings can be called grey anymore. Above all, we can no longer use this colour to describe a sad, dull, conformist type with a tendency to blend in with the pack.

In its negative meaning, grey belongs to an out-dated, obsolete, and dusty old dictionary. Perhaps because of the new metallic variations, or its abundant use in the most refined and cutting-edge technology, grey is going through a splendid time. Even in fashion.
For Armani, it's the colour of the season, in every shade "from wet asphalt to quartz", and undoubtedly including "greige", that blend of grey and beige that the designer invented in the '80s. For his women, Yves Saint Laurent choose grey both for linen tunics, with something of the Suffragette to them, paired with cigarette pants, and for those soft silk voile pieces to wear with capris for seductive evenings. For men, grey is in pole position.

There's plenty from Ermenegildo Zegna and Loro Piana in silk and cashmere. Grey shirts are the trend, destined to replace black, which is a bit overused. Brooks Brothers launched the Fitzgerald suit in a light anthracite grey. Fitzgerald has no connection to the writer; it refers to John Kennedy's middle name, thanks to his propensity to wear grey, just like Cary Grant, and later, Sean Connery, would do in the world of cinema. Grey proliferates on the catwalks of men's fashion this next winter. It's there in every conceivable shade at Rocco Barocco. In jackets and unlined overcoats, and in cardigans trimmed with otter fur collars. "Industrial" greys crop up in Missioni's "modernist" collection. And when speaking of the "supremacy of grey", you can't help but think of the paintings of Tamara De Lempicka, whose show at Milan's Palazzo Reale has been so successful that it has been held over for an additional month. Her women, and her rare men, are often dressed in grey. Grey shadows abound in her paintings. A passion for grey, which explodes in that representation of her study in which the colour non-colour delivers the power in the scene.

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