Twill, a classic of the House ; striped satin, which plays with transparency and opacity; chiffon, its lightness enhancing its delicate patterns; crepe georgette ; and a refined wool and silk fabric, the patterns, like paintings, are creative compositions, floral, figurative or abstract. The colours match the women' s ready to wear collection, illustrious and anonymous at the same time, they are the true servants of the beauty who take the creative idea and transform it into something tangible on various fabrics.

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Next, a prototype is prepared and presented to the designer for his approval, once that has been given, the prototype is ready for the finishing touches and its ultimate production. Of the thousands of prototypes created by Leonard each year, only about a hundred will ever actually reach the manufacturing stage, like the precious assets that they are, the remainder are filed away in the House archives.

At this stage, water colours are used to choose the shades and to determin the chromatic variations which will be finally selected, colours and dyes are combined, tested, referenced, and applied in order to recreate the subtlety and fineness of the tiniest detail. Our printers carry out the work on the selected fabrics, materials such as silk, wool, cashmere, mohair, cotton or even vinyl and sequins are ennobled, the colorist selects and interprets the formula for each fiber. In the mixing room, trained specialists prepare the dyes, from the drawing on paper to the printed fabric there are many stages.

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First, a photoengraver analyzes and separates the different colours, each colour will be the object of a frame which will be used for printing. The interpretation of a design on textile remains a precise art and the photoengraving is a fundamental stage, despite the unavoidable problems inherent in the duplication of a print, the masters of reproduction are capable of recreating even the most intricate design.