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It all started with a delivery of Marc Jacobs single bags. In glossy, high-shine patent they gleamed at us from their packing-bead filled crates. In reverence we lifted out each bag - forest green, milky beige, sultry burgundy, and then there it was. Rich, royal, immensely glamorous French Navy. Dark, but not the kind of one dimensional darkness of black. This colour had depth and movement and change and evolution. Every time we looked at it it seemed a different colour. Was it Navy? Was it midnight blue? Was it dark or light? It fascinated us for hours, and we couldn't resist but put it straight on the selling floor, in pride of place in the middle of the evening bag cabinet. Every shift we took it out and looked at it. When we sold the bag last week, the girl who bought it said the same thing. "Navy. It's just that much more interesting than black, isn't it?"
Then I read a wardrobe profile of Anne-marie Curtis, the creative director of Elle UK who said she only wears Navy, because it is a much more engaging basic than black. Navy and white and grey and sandy beige - the perfect colour palette. Then I saw a raft of Navy coats by Nicole Farhi in the winter collections coming onto the selling floor in all their cosy, comfy, snuggled-up cold weather magnificence. Then there was this sweater by Celine seen on the gloriously gallic-ly named Ludivine Poiblanc, worn also by Christine Centenera, with its dragging back hem and its side splits and its high, cowl neck and its oversize easiness. The first rule of fashion is apparently never wear navy with black. But Ludivine mixes them with mastery and aplomb, and shows you that out of the two, Navy is a colour with far more excitement, interest and beauty. Black is black - slimming, simple and works on everyone. But Navy requires something a little extra.
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