EYE ON DESIGN
Charlotte Cosby, head of creative at Farrow & Ball, shares the inspiration behind the brand’s new colours
What inspired the new colours?
We don’t think in terms of trends; we’re based in a bubble in Dorset, and for us colours are more about feelings. We speak to our global colour consultants, showrooms and customers to help us to identify colours people would like to see. Often we look to develop existing colour families with a lighter or darker tone. For example, our versatile new green, Treron, is a deeper version of Pigeon. The process starts with me and our colour curator, Joa Studholme, gathered around the table mixing up samples. One colour we knew we wanted was a muted warm pink, but we couldn’t get the right shade, so things then got a bit competitive. The result, Sulking Room Pink, is soft and powdery, but with a good dose of black to give it a moody, sophisticated edge.
Which comes first, the colour or name?
For this collection most of the names came after, but not all. We felt Sulking Room Pink was evocative of the colours often used in boudoirs, a room named after the French ‘bouder’ – to sulk. However, Rangwali was the opposite; years ago, when Joa was travelling in India, she visited the Rangwali Holi festival of colour, where she was covered in hot pink powder. She held on to this vivid memory, then the paint was born.
How can you use the new shades in a period home?
Preference Red is one of the more traditional colours – its wonderfully deep pigment works well with period features. If the room has lots of architectural interest, don’t be tempted to use too much colour, as this could detract. Try using more neutral tones such as School House White or Jitney to enhance the natural light and space, and make a busy room seem larger.