In addressing that question we observed that we needed to distinguish between genuine medieval vestments and modern gothic revival approaches; we also distinguished between the work of the early gothic revival pioneers (figures such as A.W,N, Pugin or G.F. Bodley for example) and the era of 'catalogue' vestments -- by which we mean of course, the era of mass produced works that were 'conservative' (in the sense of 'safe') in nature, meant for the widest potential consumer base. The end result, we observed, is that many of these vestments were relatively plain, all looking rather similar (similar styles, similar colours, similar designs), without anything too creative or too distinctive that might, in the eyes of the marketers, make its appeal more narrowly focused. As a business decision, this might well make some sense, but it is a bit like a restaurant only offering a very basic and plain 'meat and potatoes' menu; it works as far as basic sustenance goes, but that's about it. We concluded that what was needed was more genuine variety and distinctiveness in our contemporary gothic works to help set them apart, and we specifically highlighted the use of colour, pattern and ornament as means by which to accomplish this.
Here we are now some eight years later, and a set that was recently produced by the atelier Sacra Domus Aurea brought us right back to these early considerations, because it embodies exactly the kind of approach that we were advocating, though in this case it goes in a slightly different direction (and we couldn't be more pleased). This is Sacra Domus Aurea's "Gotico Pastello" series.
If you would be interested in learning more about this work or others, we'd invite you to visit Sacra Domus Aurea's website, or find them on social media.
