Sugar could be described as the fuel of the Gassmann industry. There are always packets of liquorice, fruit gums and caramels tucked behind the punching–machine or leaning against the resin. Often these delicacies are no larger than the cufflinks themselves and are in general just as colourful. Luckily, up until the present day, nobody has suffered from a bout of severe indigestion, but confectionary is a true addiction in the workshop. Unsurprisingly, the old fashioned sweet shop that opened downstairs hasn’t helped the situation.
Colour perishes. Hair turns greys and dyes fade. Colour, in its earliest definition, is described as a transitory state. Colour comes from the Latin color, branching from the verb group celare, meaning to conceal and to withhold. Colour blocks and covers any given surface. Colour is a second skin. As with all matter, colour is subject to the toll of time.
We conceive colour as fractions of light measured in wavelengths, the sensation of a coloured effect transmitted from the eye to the brain.
Colour is also and above all cultural. For some, colour is defined using a colour chart with shades of red and blue that mark out the boundaries of our comprehension. In other cultures, colours are classified through their qualities: dry or humid, smooth or coarse, tender or limp.
So many factors affect and designate colour.
As well as sweets, these are the other treats found in the workshop. Their presence, however, presents a sizable problem: they can stain a shirt rendering it unwearable, which compromises wearing cufflinks.