February 5, 2025 • 40 mins
Discover the transformative power of color and how it shapes our personal spaces like never before. We're stepping away from the ubiquitous cool grays and venturing into the warmth of browns, beiges, and yellows, colors that not only redefine our palettes but also the very atmosphere of our interiors. Join us as we explore the resurgence of nostalgic hues like chocolate and espresso, bringing comfort and a sense of homeliness. We highlight the importance of harmonious undertones and how they can create those inviting, cohesive environments we all crave.
Reflect on the bold, charismatic colors of the past and their modern-day revival. We journey through the vibrant era of the 1970s, where colors like terracotta and chartreuse are making a bold comeback. Uncover how the transition from cooler to warmer whites has reshaped minimalist spaces into more inviting sanctuaries. We delve into the versatility of red as an accent color and its powerful interaction with warm woods and earthy tones, crafting an interior aesthetic that's both harmonious and strikingly vibrant.
Step into the evolving world of burgundy and pink, as these colors transcend their traditional roots to shape contemporary designs. From the luxurious warmth of burgundy to the cultural evolution of millennial pink, we examine how these colors bring a fresh edge to modern interiors. We discuss the shift from feature walls to immersive color experiences, encouraging vibrant, colorful environments that break away from the starkness of white spaces. Whether you're a seasoned designer or an enthusiast, this episode promises an exciting look at how color continues to revolutionize the world of interior design.
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If you're sitting at your desk about to send a fee proposal and you'd just like to run it by someone else first? Or have you ever had a client dilemma and it just doesn't feel right but no one you know understands (except for the dog)?
And do you wonder why you're not raking it in when you're practically living at your desk, busting your creative chops 'round the clock?
These are the things we're diving into with a small group of designers just like you. And so much more in THE CONVERSATION CIRCLE
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Episode Transcript
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Speaker 1 (00:01):
Welcome to Design Anatomy, the interior design
podcast hosted by friends andfellow designers me Bree
Banfield and me Lauren Li, withsome exciting guest appearances
along the way.
Today we are talking aboutcolor.
Color that we love, we livewith it.
The stuff we don't want to livewith how do you use it quite
(00:21):
successfully in a space and howit's evolved over the years.
So what we're kind of seeingnow, I think, when it comes to
colour, never say never whatonce looks totally dated and
horrible, like a brown, forinstance.
The next minute we just can'tget enough of it, and we also
can't think of anything worsethan a feature wall right now.
So how are we using colour inour interiors today?
(00:44):
So that's what we're kind oftalking about.
Yeah, spot on.
And before we dive into all ofthat fun stuff, if you take a
quick look at the show notes,you'll find links to the stuff
we do in our real jobs.
You'll find a link there tosubscribe to a newsletter from
me which will keep you updatedwith the things we've got coming
(01:05):
up this year, including somefun short courses and
pre-selected furniturecollections that we'll be
offering so that you can createa bespoke interior on a budget
so clever and I'd have to take aguess to say there's some
beautiful colourful pieces inthere.
You, betcha, and if you are aninterior designer wanting to
(01:31):
elevate your own practice and,you know, live a creative life
and be profitable, I have got acouple of groups that I am
running this year which arecalled the Conversation Circle.
There's a group for emergingdesigners and there's a group
for established designers andwe're kind of doing a group
coaching thing and it's yeah,it's going to be so fantastic.
(01:53):
So if you want any information,there's a link in the show
notes.
But let's just get startedtalking about colour Bree,
because I mean, literally we cantalk underwater about this
topic.
We sure can have you got a fewhours.
No, we won't go that long.
I guess, like the biggest shiftthat we've seen and I guess if
you're listening and you're adesigner like this is not news
(02:14):
to you but we've seen this hugebig shift from this cool gray
being the neutral color for ourspaces into a warmer palette of
browns, beiges and those yellowundertones.
So I would say that's probablythe biggest shift that we've
seen in interiors, like justgenerally for a while.
Yeah, for sure, other thanactual use of colour, we've gone
(02:38):
through that period of movingfrom very cool tones where you
know some of the most popularwall colors were lexicon and
lexicon quarter, into muchwarmer tones where now I think
you know I've had incidentswhere a client's come to me and
said, well, we pitched thisbecause we just thought, oh well
, it's a popular white, but nowwith the other things that are
(02:59):
coming into the interiors, thosewhites look way too cool.
So we've had to.
We should be shifting a littlebit on our base tones.
Even if you're not doing acolourful interior, it's still
very affected by what you put init.
So that warmth has been amassive shift.
Probably taken 10 years to kindof get there.
Really.
But it's affecting all the othercolour too, like the browns
(03:20):
coming back.
Actually, that came back prettyquickly, I think, because I
feel like brown.
The last time we really saw itquite strongly was in the early
2000s, I would say as a bit of afeature color.
I know I did it in a bedroomand I loved it at the time.
It was kind of very chocolateyand yum, that was the word,
wasn't it?
Chocolate, brown, yeah,chocolate, yeah, chocolate and
(03:44):
eggplant for a purple.
You know, chocolate, eggplantkind of came together a bit um,
and now that's, I guess,probably two years.
It's been kind of coming backin and there's resistance, as we
said before.
Sometimes we're like hang on, aminute, we've been here and
some people are still too overit to even go back.
But then it just catches on andmaybe it's a slightly different
(04:06):
inference.
I think what happens is oftenit's what it's used with too.
Like back then in the early2000s brown still had a white
trim and that was quite.
I think if you had painted yourwhole space brown you would
have probably been considered alittle bit crazy back then.
But you know what's weird,isn't it?
Because even back then, beforethe, the 70s, it was mission
(04:28):
brown and so you sort of it goesin these cycles and mission
brown that sends shivers downpeople's spine thinking of that
color.
But then I think there's stilla lot of PTSD around that right.
Totally rebranded to chocolate,and now I don't I've heard the
term like espresso.
I think yes, most people likethe idea of coffee.
(04:49):
I agree, the aroma and thewarmth and the homeliness that
provides.
Oh yeah, and we do talk aboutbrowns.
We often talk about cocooning,like that was a big buzzword
back when brown sort ofreemerged in those early 2000s.
It was all about cocooning andfeeling safe, so all of those
(05:13):
earthy tones are the ones thatmake us feel comforted and
grounding.
So I think espresso and coffeeand even tea have those
connotations, don't they?
Yeah?
And chocolate, well, you knowit's weird.
Cinnamon, oh yummy.
Lots of food ones yeah, I'm onboard with that.
I mean, there's some unpleasantthings that are brown too, but
we're just going to focus on thegood ones.
We'll let you think about that.
You can imagine, I wrote astory for the Design Files I
(05:34):
think it was back in 2018because I started to notice this
brown coming through and folkswere not ready.
They did not like that.
They were like, oh my gosh, Idon't think I'll like that.
But you know, you're just kindof observing on what you're
seeing and you know you'repicking up on a few things, and
I suppose, as you mentioned,we're not talking about paint
(05:55):
colors all the time.
When we're talking about color,you know it's not about a paint
color for brown.
I don't really think I see alot of successful brown rooms
painted with, yeah, yeah, thatcolor on the walls, but it's in.
So I could show you one that Idid and it looked freaking
amazing.
Uh, color forecast 2024 um dida brown room and had green and
(06:22):
orange in it, so I actually hada pretty big 70s influence, but
I think we rocked it.
I think that room worked reallywell.
No doubt you would do, but Ithink this is what happens.
You know how you're sayingpeople are still going in 2018,
you could see that happening,but people were pushing back
hard against it and I think whatchanges their mind is the use
(06:42):
of it.
And yes, outside of it doesn'thave to be paint.
Obviously that was just my bignoting myself on my reference.
But when they start to see itmore in spaces they love, that's
when the lens changes for them.
So they have a lens of the PGSD, of the Mission Brown and the
oh God, I can't go back to thatand then they start to see it in
(07:04):
these more modern spaces orspaces that they go oh, that's
actually a beautiful space.
So the lens changes slightlyand they become a little bit
more open to it.
But it can take some time rightDefinitely, and I think it was.
You know, I think in my mind abig turning point was when Sarah
Ellison did that collaborationwith Pantone.
(07:24):
So Sarah's been a guest on ourpodcast, if you wanted to go
back a few episodes.
She's so inspiring and she's socreative and clever.
But, yeah, I think when was it?
It must have been 2021, 2022 orsomething I was going to say
four years ago off the top of myhead.
I'm just looking online here.
It was on Yellow trace inseptember 2022.
(07:46):
She, um, yes, ellison studios,yeah, teamed up with pantone and
it's called piccolo.
So again back to that espressocoffee sort of reference there.
But it's a beautiful, rich,dark brown, but in a velvet.
You know, it does have thosedifferent dimensions of colour
that you see, and it's abeautiful sofa too.
So that helps With a definite70s nod.
(08:10):
I think for a long time now Idon't know that we're going to
escape the fact that brown andorange are the kind of hero
colours of the 70s and we can'tkind of we've got orange and
wearing orange, you can't kindof separate them.
Yet Brown doesn't have a newhome yet that's the era it sits
in, I think.
What with orange or not withorange?
Just, I think if you close youreyes and go think of colors
(08:33):
from the 70s, that's probablythe top too, do you reckon.
Oh, no doubt, yeah, definitely.
I mean like orange laminatebenchtops and brown sort of
cupboards, you know.
But I don't know if I'm seeinga lot of brown and orange this
time around, do you no, no, no,I don't think so.
Maybe there's a hint of orangethere, but particularly in
(08:53):
Australia too, we've neverreally been hugely embracive God
, that's definitely not a word.
We haven't really embracedorange very much.
I think it's our light here.
So little bits of orange aregood for us.
But orange as a bigger trend,it doesn't normally take off,
even if you see it happeningelsewhere.
(09:14):
It's just not our vibe.
I just cannot picture orangewithout it looking 70s.
It must have been such a huge,big colour in the 70s that it's
still stuck there.
Yeah, that's right.
I can't see it in a fresh wayunless it's like a peach.
I think the closest yes, well,the closest we'll get is the
variants of terracotta thatwe've seen, which I think we
(09:35):
still quite love.
Right, when we can kind ofbring the terracotta stays and
works with the browns and workswith the yellow undertones, yes,
but it never quite becomesorange.
It sort of stays in that softer, pinker, earthier colour base,
totally.
So big shift from grey to thebrowns is what we've seen and
(09:56):
actually, just before we move on, even the paint colours.
I remember when I first wasstudying and everything.
The colours were Berkshirewhite, which is a very yellow.
Is that a very yellow white?
It is, yeah, chalk USA, chalkUSA, which is a warm white,
which I think is a great white.
Still, I think that wasprobably the most popular when I
(10:18):
was starting, all day long.
That was the go-to.
It was the go-to.
Now I think this, maybe naturalwhite would be.
Natural white is definitely mygo-to and I think you can safely
use that when you have otherwarm colours.
And it doesn't feel too.
It's not a yellow white.
It's got warmth, but it's not.
It's still a white.
It kind of works witheverything.
Yeah, it's still definitely awhite, and there was hogsbristle
(10:40):
back then Hogs, hogs bristleback then, and that hog bristle,
hog bristle thinks it's hogsbristle.
Yeah, okay, funny, I was gonnasay hogs breath.
But that's the cafe, that'swhere you go for your.
That's where I am.
Yeah, pork all the time, bacon,and I don't even know what, I
don't even know where it is.
We should definitely go there.
(11:01):
Sounds like it would have porkand bacon, I don't know.
So, yeah, all of those colors,I guess they do.
They're coming around again,aren't they?
So enough of those coollexicons which I cannot stand
that color, to be frank with you, it's too cold, yeah, yeah, I'm
(11:23):
not a big fan either, but Iknow.
I mean I guess it definitely hadits moment in that minimalism
era where people really wantedthat very clean look and they
wanted no inference in the white, even though that is a cool
white, it's not really a neutralwhite, but oh gee, it's just
conjures up not very niceinteriors for me.
Well, it just feels verybuilder's play.
(11:44):
It's how the liquid is Like.
It seems like.
You know, it's going to soundbad, but this is a rental.
We sprayed everything thiscolour.
Yes, ceiling walls, everything.
Yeah, it's just very pedestrian.
Okay, what about this featurecolour so red?
(12:04):
I would never, ever dream Iwould say that I like red in
interiors because it has justbeen again.
It popped up, was it in the2000s?
It was like a red splashback ora red cushion on the sofa, but
it was with those cool whites,yeah.
So it was really grating and Inever liked it then, even when
(12:25):
it was popular.
I just those spaces.
They were like black white witha bit of red, and then, like my
heart would feel crushed when Isaw them, like I just it's very
aggressive, whereas I think nowwhat we're seeing is it's very
aggressive.
Yeah, it's like a stop sign,but now we are matching it with,
or toning it in with, warmwoods and those I don't know
(12:49):
what else are we mixing with it?
I think it's just wood's thekey.
Yeah, yep, definitely, becausethere's more materiality in the
space, so it can be quite earthycolour-wise and you can still
bring a red in as quite a cleanpop of colour.
And you can still bring a redin as quite a clean pop of
colour.
But also, even against those, Iguess, less immersive spaces
(13:10):
that have the terracotta or thewarm pinks, the red works
beautifully there too, in thoselittle amounts.
I think it works reallybeautifully with some of the
cooler colours too, like greens,like I've got a beautiful
colour in my room now in thebackground.
I love that colour.
You'll have to get online tosee that it is.
(13:32):
I'm having a mental blank aboutit, which is why I didn't say
the colour.
It's a deep turquoise colour,is it?
Yeah, it's way more muted thana turquoise it's called.
I'm going to have to come backto you because it'll pop up in
my head in about five minutes.
But red against those colors,like that background color,
really is a very energizingcombination.
(13:55):
Yes, so just a bit of it.
Just a bit of red is quite nice, like a lamp or a side table.
Yes, yes, even just a book Idon't know A performative red
book.
Yes, so it's this term calledthe unexpected red theory, and I
mean, obviously, that justspeaks for itself and it is
(14:15):
quite unexpected because we justhave not seen red in interiors
for years.
But yes, it's about that.
Oh, that's cool.
Stepping into a space and seeingsomething, your eye is drawn to
red because it's a color thatit comes forward.
That's why it's dropped signsof red, because they come
forward.
But I've also seen them, andit's a colour with a lot of
(14:35):
energy too.
So you can have quite a simpleroom that maybe didn't have a
lot going on, and when you addthat one red thing and you make
that a feature, it actuallychanges the energy in the room
too.
Oh, it does.
And I feel like, yeah, you justexplained that so well.
It's sort of a bit daring,because to add something so bold
in a room.
It sort of shows you've got theconfidence to go.
(14:56):
Oh, I see this.
You know this deep turquoiseroom.
That is quite a.
It's more of a receding colorthat goes in the background, but
then you put red in front of itand you're like, oh, wow,
that's so unexpected and it's socool and you know what you're
doing and it's really likethat's quite cool.
Um, have you been to thestandard x hotel?
Yes, yeah.
(15:17):
And how cool is the use of red?
Yeah, that whole, that, thatsort of um.
When you walk through the eatingarea and sit in the lounge
space like the, that's just sobeautiful and they also have
quite a bit of chrome orstainless steel in there, but in
a way that I don't know, sortof just breaks through all the
warmth in like the right kind ofway, so it doesn't feel cold at
(15:41):
all.
And then they've got somebeautiful materiality going on
in there, even, just like thelittle ottomans and the
different shapes and thedifferent materials that they've
got in that space.
Yeah, it's very easy to sitthere and probably spend a day
reading, drinking some wine.
Amazing, yeah, it's got this.
Um.
So Heka Guthrie did the fit out.
(16:03):
It's got a revolving door thatyou walk through which is all
bathed in red.
It's just like this red in,like stepping through this kind
of portal.
It's really beautifully done,and yet, as you say that kind of
portal, it's really beautifullydone.
And yet, as you say that kindof, is it like a library?
There's like an open fire placethere.
Yeah, I think they call it sortof the cocktail lounge and it's
literally a lounge.
So it's all just like low seats, um, like a really big long
(16:25):
sofa.
There's a fireplace, there's aum, yeah, there's like a couple
of bookshelves on the wall whichare are beautifully done.
The joinery is actually quitedelicious and the details are
really beautiful.
And then when you're sittingthere, you're looking out onto
where the eating space is, wherethey probably you know they do
their dinners and breakfast andthings.
But that space is also quitecasual.
(16:46):
It's definitely got a veryhomely feel to it, I would say,
but in an elevated way way, andI think that the color has a lot
to do with that.
People wish they hadn't lookedthat cool, yes, please.
But I think the thing is with ahotel foyer, when you walk in,
you can feel like, oh gosh,where do I go?
You feel like you're walkinginto this space that you don't
(17:08):
know.
Are people kind of looking atme?
You know, some of them can bevery open and you're sort of on
display, whereas this there'slots of little nooks to sit.
But, um, I think the colorstory is so beautifully done.
And did you go to the rooftop?
No, because they weren'tletting people up.
I think that you have to bestaying there, or a guest of
someone staying there, and Ijust dropped in so I couldn't.
(17:30):
I guess, for interstates, wedid like a little design tour
and we we got to go up there.
But yeah, if you're interested,stay at the standard x.
It looks, yeah, it looks reallycool.
Um, and I suppose, like, leadingon from red is burgundy.
So I feel like it's a littleeasier to use in a space, would
(17:52):
you say in bigger amounts, forsure, but I think it's still.
It like it's a little easier touse in a space, would you say
In bigger amounts, for sure, butI think it's still.
It's probably easier to use,but it's still a colour maybe
people aren't super confidentwith yet, because it does feel
quite new and if it's used thewrong way, I think it can also
kind of throw a bit of atraditional vibe and I don't
know that that's the rightfeeling.
(18:13):
People would be going forbringing it into a space in 2025
.
So it's about, I guess, thecolour combinations you use it
with all the materials or whereit's used.
That makes it right, because itcan kind of vary.
You know, that colour group, Iwould say, moves from, like you
know, merlot and sort of winetones into sort of a more kind
(18:33):
of traditional burgundy, whichstill works quite well.
Yeah, so even burgundy with alittle unexpected red would
probably help too.
Yeah, you're right, and I thinkyou're so right Like it could
look very traditional, veryroyal velvety, like you know,
again back in the early 2000s IsI remember, you know, one of my
(18:55):
first assignments was how wouldyou decorate your bedroom?
I still think they do thatassignment as well, and it was
burgundy and I had gold tasselson things and oh yes, burgundy
and gold is kind of not.
They actually are so beautifultogether like brass, brass,
burgundy, and I think you canstill pull it off, but it does
have that connotation ofpotentially pulling a bit of a
(19:17):
dated look if you don't quiteget it right, doesn't it Too?
Yeah, burgundy and gold is notwhat we're looking for this time
around.
Don't you think what we've seenis that richness that you get
in a gloss cabinet tree, thatreflective and that richness,
that depth that you get in agloss cabinet tree, that
reflective and that richness,that depth that you get.
There's a velvet upholstery, butI haven't really seen a lot of
(19:38):
velvet in just like a paint or amatte finish.
But maybe I haven't got it onmy radar.
I don't know it needs to.
I think if you just did theburgundy just on a velvet
element probably is not quiteright.
It's got to work, I think, onother things, because on a
velvet maybe feels thattraditional aspect it doesn't
(20:00):
really pull through into a moremodern one.
But I think what you hit onbefore is also what works so
well is seeing it in a fullgloss, because I don't think
that's very traditional.
I think that kind of brings areally edgy element to burgundy.
Don't you think, yeah, that'skey, isn't it?
Yeah, in a new way, in a freshway.
You know it's so weird how thesecycles go around, because when
(20:21):
we first moved out, well, secondtime, when we moved into this
little apartment in South Yarrayou know you're trying to
decorate it on a shoestring andI worked in a bed linen store.
They saw they sold tab curtainsthere and I bought burgundy tab
curtains and so we lived withthem for years and that was, you
know, I don't even know if itwas really trending so much then
2005 or something like that,but I've always obviously liked
(20:44):
that color.
Yeah, yeah, burgundy girl, Idon't know, maybe.
And I had this um artwork aswell Edward Hopper, is that the
artist?
Anyway, it had burgundy andstuff in it and, um, it was just
a print.
But yeah, it's funny, and yousee it again and you're like, oh
, okay, I actually still likethat color.
Um, yeah, I think it's.
I think it's a quite.
It does have nostalgia attachedto it, but it's such a warm,
(21:07):
cozy, immersive tone.
That is it, and it's somethingI think you can live really
comfortably with too.
If you choose to even do it onall the walls, I think the key
with that is making sure youdon't have white trims and a
white ceiling with burgundywalls.
You're right, it would have tobe timber or just the whole
(21:28):
thing.
Yep, yeah, you know likesomething tonal, or yeah, with
you know, some beautiful drapesor something.
I'm looking at my whiteshutters.
I know I'm just thinking Iwould love a burgundy rug.
I think that would be so nice.
To inject that depth in theroom would be so nice.
Yeah, maybe really shaggyshaggy.
Yes, I think also what makes itmodern is the use of black and
(21:52):
white, maybe material so like,imagine a black and white
pattern with burgundy, like on afabric, on a beautiful textured
fabric.
I think that also kind of worksquite well.
Yeah, yeah, it feelscontemporary with it.
Yes, yeah, what I love withburgundy is light blue, and I
think that, again, it's a bit ofan unexpected pairing.
(22:14):
Definitely, um, and also, lightblue is a color we're seeing a
lot in spaces because it pairsso well with timber, and I I
have my old color wheel here,which is hilarious, and I was
looking at it the other day andI was like, well, that's
actually complementary on thecolor wheel.
Blue and orange are oppositeeach other on the color wheel
and, um, you know, I feel liketimbers come into that orange
(22:39):
category which is obviouslyadding the gray, which gives it
the brown, and I just think it's, it's such a no-brainer, it's
such a successful pairing.
You, just when you, when younotice it, you see it everywhere
.
Yeah, yeah, and that blue sortof emerged that almost feels
like it's being used as a bit ofa neutral.
So it's not too green, it's nottoo strong, it's lovely and
(23:01):
soft in a space.
So that's kind of where we'reseeing the cool tones come in,
but definitely balanced backwith things like timber, which
is bringing the warmth backagain.
So it's not just like white andblue, and although white and
white and blue and silver at themoment, I'm quite digging but,
um, yes, yeah, I think thewarmth still needs to be there
in some way.
(23:22):
Yeah, I agree, it's.
Yeah, it is uh kind of nice tosee that.
And I've seen, you know, lightblue used on a kitchen stool,
like a painted wooden stool.
It's like, oh, that looksreally fresh and cool, um, but
again, you know, it could beentire sofas.
Well, what about tiles?
I mean light blue tiles in abathroom.
It's not the most original ideafor the kitchen, I guess, but
(23:46):
yeah, but if you had the, theblue tiles with beautiful timber
cabinet, um, then you're sortof like creating that beautiful
contrast.
I've got a blue dining table.
I just did that last year.
So in that light blue, that'scool, love it.
Well, it also reminds me ofJono.
Remember we had Jono as ourfirst guest.
Jono Fleming, yeah, and he dida beautiful bathroom with light
(24:09):
blue tile, with this cherry orburgundy trim yes, with the
burgundy.
There you go.
So cool.
So what other colours are weseeing?
So I think the other one I'mseeing is chartreuse, so like
that stronger olive green.
If you don't know whatchartreuse is, it's actually a
(24:31):
drink, it's actually analcoholic drink, so it has a bit
of luminance to it.
Yeah, don't drink it.
It has a real yellow undertoneand a bit of sort of luminance
and I think that also worksreally beautifully with burgundy
and those red tones and earthytones.
So that sort of it has.
It is a bit 70s, if you reallythink about it, like that sort
(24:53):
of greeny kind of.
I think it was probably a bitmore lurid in the 70s and a bit
cleaner and now it's just a bitmurkier and that's kind of
what's making it more modern.
Um, but even that with like agloss on it, I think is kind of
a cool way to introduce thatcolor.
Um, and it actually works.
Like you know, when you go, oh,that colour's crazy, but then
(25:14):
you start putting it with othercolours and it works so well
with different things.
Like you could have it withlots of timber and make it very
earthy, but with an edge,because it's got that kind of I
don't know, I think it'sluminance that I'm trying to say
.
I think you just described itperfectly.
It cuts through a little bit.
You've described it perfectly.
And also the fact that when youshow, if you were to show a
(25:35):
client, we're going to use thiscolour in your space, I would go
no way.
That is revolting Right on itsown.
Yeah, on its own.
But when you inject somethingchartreuse in a room like I
think about our other guest,nicole from ND Atelier ND.
She's so dear with colour.
(25:56):
Her office space is a bit likethat, isn't it?
Yeah, or is it in an artwork?
I can't remember.
It's a bit.
I think I was just repainting myoffice, even though I only did
it last year, because I did itin the blue, in the light blue,
(26:17):
but something about it isn'tworking for me and I think it's
because I've had to keep thewhite trims and I've got a bit
of white in there and it doesn't.
It's not, I don't know.
It's not hitting the way Iwanted it to.
So I was, um, looking at sortof not quite a chartreuse.
It's probably a lot more yellowthan that.
What I'm looking at, um, but itsort of falls into that
category and I think her officeis a similar kind of tone, that
sort of yellow-green orgreen-yellow.
It's sitting right in thein-between and then she has,
(26:38):
like so many great colors withit Magic, it's just yeah.
Whereas I feel like, yes, youpull that color out and just go,
we're going to do this andeveryone would go.
What?
No, I don't think so, but in ascheme with the right things
around it.
I guess that's the same withmost things.
But yeah, there are somecolours you would just
immediately go.
I don't know about that one.
Oh, I think with chartreuse,most people would be a hard no
(27:00):
on that, but you know it couldbe.
Yeah, I love that wall colourand it's layering all those
things on top of it, but even ifit was something like a side
table, it's just somethingthat's really.
It is unexpected and I thinkthat's why some of these colors,
you know they feel so jarring.
You know the red chartreuse, itfeels so jarring.
You need to have like a bit ofguts, like gumption, to kind of
(27:23):
pull it off and be like no, thisis the choice I've made and it
really electrifies the space.
It's got something dynamic init and it can just lift and
elevate just a nice space tosomething that actually feels
quite amazing.
So that's exciting, chitrus, Iwould love to see that in some
beautiful upholstery as well,even an ottoman or something
(27:43):
like that, or some cushions.
Yeah, for sure, I definitelythink that's something that I'm
leaning into at the moment.
Yeah, I'll probably bring someinto even this space.
I think it could work well.
Oh, that's exciting.
Um, yeah, so what?
I guess those are the thingsthat we think we're seeing more
of.
What do we think we're notseeing anything of now or less
(28:05):
than I don't think we're seeingthat many pastel colors actually
, agree, agree, yeah, I thinkany of those lighter tones are
much more earthy or they I don'tknow they have a bit more
character to them.
We're not saying that's thewishy-washy, pale, fun pastel.
No way, I don't think that'shair.
We're in our serious mode, Iknow.
(28:27):
I think it's about richness andwarmth and in this point in time
, and even history a little bit.
You know, there's a bit ofhistory through vintage and
antiques we sort of talked aboutthat before, and pastels just
does not gel in that way.
They do feel very new, don'tthey?
Isn't that interesting?
Because I think, you know, ifwe delved right back we'd
obviously find them,particularly in, you know,
(28:48):
paintwork and things like that,in really traditional spaces,
yeah, but they were quite, youknow, they were used more
extensively with lots of othercolours and not extensively on
their own.
And I guess the last time wewould have really seen that was
in the sort of Scandi era whenwe had the pink tones and even
sort of those pale aquas andstuff coming through against
(29:11):
that Scandinavian look whichreally didn't have a lot of
colour in it, and then that'skind of became like the modern
Scandi look, right, definitely.
And I guess before that, youknow, if I think about pastel
colours, I think of the 1950sand you know like jukebox or
something like you know pastel,yeah, something cute like that.
And then you see those smegappliances all in those pastel
colours.
(29:32):
Yeah, that very 50s yeah, yeah,the kind of very lolly candy
Exactly.
And I feel like that'ssomething that we're just not in
this moment.
We're not seeing that in thismoment so much.
And even you know millennialpink, I mean, that was the
colour to add to your Scandispace.
You know, I had the grey sofa,had a black and white sort of uh
(29:56):
.
Well, I had the black and whiteStockholm rug from Ikea, which
is, I think is actually prettyclassical.
That is a staple.
I would hold on to that andnever let go.
It's actually one of myfavorite rugs.
Well, I was actually sayingthat too.
I was actually talking tosomeone about that, saying
should I sell it or should Ikeep it?
And it's so.
I don't need it right in thismode, but I've kept it.
(30:16):
It's ginormous as well.
But yeah, we had that.
Or we had a rug that was almostlike a bit of a not a chevron,
but a bit of a zigzag.
Remember that whole chevron.
It was a grey sofa, it was apink cushion.
I forgot about chevron.
Yeah, it was a pink cushion.
(30:37):
So that millennial pinker wasquite a cooler sort of pink.
I'm sitting in my pink taskchair at the moment, which I
still love, but that's gotwarmth to it, I can see.
Yeah, I wouldn't say it's not acool pink, is it?
Or is it just the lighting?
It's a fleshy pink.
It's softer.
You know that sounds gross.
Yeah, fleshy, fleshy, fleshy.
Yeah, that's such a bad word,isn't it?
Yeah, it's, and that's whereit's moved to, I think.
(30:58):
I think we're still seeing pinkquite a bit.
I don't think it's gone, butit's not millennial pink, right,
it's not that cooler tone it'smoved in to almost towards
terracotta is probably a goodway to describe it and towards
those, um, you know whattraditionally were called that
sort of, I guess, fleshier,fleshier colour?
I know Well, I just wanted toremember the Pantone colour,
(31:23):
mocca Moose, because I mean thatdoes have a little pinky
undertone to it.
Am I right A tiny bit?
Yeah, it does.
Yeah, yeah, it does go towardsthose those.
It's a reddish brown.
So I suppose, yeah, the pink,it's not a pastel pink like what
we've seen, it's more goinginto the browns.
Okay, yeah, so I think let's do.
(31:44):
I think you're still safe.
If you're I mean not safe, it'sa terrible word um, I think you
, you can still use pink in yourinteriors, in particular if you
already have it.
I think it still has a place.
I think it's just not from.
You know, millennial 10, 20years ago, was that 20 years ago
?
No, that's frightening.
Um, I'm just thinking ofmillennial would be 2000, but
(32:06):
that's not when it really was,but anyway, um, yes, um, don't
frighten me, I know um, thatcouldn't be that long ago
Because, you know, I alwaysthink about millennial pink in
terms of this is probably notthe best reference, but Kanye
West wore like a pink polocolour.
Yeah, oh yeah, in fashion.
You're right, that's reallywhere it started.
(32:26):
Yeah, and menswear I actuallyremember someone buying a pink
top for my ex and him looking atme going, what the hell, why
would someone buy me this?
And it became one of hisfavourite tops, like in a short
period of time.
Yeah, because he realised hangon a minute, other people are
doing that this looks cool andit looks really great on men.
I love pink on men, it does.
(32:47):
And I mean that was from 20years ago, that graduation album
era, which I love that album,graduation album era, which I
love that album.
I think it actually took a bitlonger for it to come into
interiors because, you're right,when I think about that
particular moment in fashion,that was literally the beginning
of the 2000s when that startedto happen, but I think it sort
of was a slow burn into into theScandinavian looks and
(33:10):
definitely, yeah, I could havebeen like more, like the I don't
know, 2008, yeah, 2010.
I mean, it was such a big, itlasted a long time.
Yeah, it was, and people werejust were so, um, disbelieving
that it would.
They thought it was going to bemore like a fad, how others
will be in and out, and it hungaround.
(33:32):
And it hung around and itevolved and I still got pink,
yeah, yeah, oh, that's sointeresting.
So I guess, when we think abouthow are we using these colors?
And you know, we can talk aboutback at, you know, 20 years ago
, where it was a feature wall,it was a eggplant colored
(33:53):
feature wall, maybe in straighteffect oh yes, pretty wall.
It was a eggplant coloredfeature wall, maybe in straight
effect, oh yes, pretty.
But now it's really not aboutthat, and I think that is
because a feature wall doesn'tgive you that immersive yes,
it's not as rich sort of feeling, yes and also because we've
moved away from white.
I think feature walls were thebeginning of us embracing colour
(34:15):
.
So when that started to happen,we'd been living with a lot of
very white interiors for sometime and the introduction of the
feature wall was like dippingthe toe into the water and going
, oh, come on, look, I've got afeature wall.
How cool I am to do this, youknow, like, how brave am I.
And now it's well, actually wedon't.
We're not really living withwhite as much, so there's no
(34:37):
reason to just have one wall anda whole heap of white.
We can kind of like dive rightin into the immersive world of
color drenching.
Now is the word right.
Yeah, I know, it's you.
Just it is actually.
We can shower in color.
Oh, it's wild to think that.
You know, we really have seenthat really flip from white
(34:57):
walls everywhere to coloredwalls everywhere.
Walls, trims, doors, ceiling,it's all this one color.
Yeah, and it's actually likeyou see it a lot, you really do.
I mean even talking aboutstandard X.
I mean, a hotel is a bitdifferent to a home, but it is
drenched in that red, it'sreally surrounding and it's like
(35:18):
you're covering yourself inthis blanket of color over the
whole space.
And the great thing about it,unlike the feature wall, because
the feature wall here I gostraight to that.
But it's this stop start effect.
You know, you've got a featurewall which is the main wall,
which probably doesn't havedoors or windows on it.
That was usually chosen as thefeature wall.
Yeah, you've got another wallwhich has the doors and windows
(35:42):
on it, then that's white.
Yeah, exactly Behind the TV.
Yeah, it's not.
It doesn't feel good, it feelsvery jarring.
So you know, if you'rewallpapering which is, I guess,
pattern drenching or materialdrenching, it's about all of the
walls and, to be honest withyou, I can't stand anything.
You've got to do it right.
You've got to go all in Justhaving one wall.
(36:03):
Unless it's like a mural of awallpaper, maybe that's okay,
but otherwise go in.
I think the only other way to doit without putting the same
colour everywhere is topotentially do tonal colour.
So maybe you've got a deepercolour on one area and then it
moves to a more tonal, softertone in other spaces, which can
(36:24):
work really well.
And the other issue we have,particularly in Australia, is
you know the amount of open planhomes.
So sometimes it's hard to workout where to stop and start
colour if you're not doing onecolour everywhere.
So you've got to work out howto make that sort of soften.
So you might want to call out aparticular space or an alcove
or something that's part of anopen plan.
So having that against whitedoesn't work so well.
(36:47):
But bringing in maybe a tonalversion of whatever you're doing
or, if it's wallpaper, bringingout colour from that and then
adding that to the wall to kindof transition from that area to
another area.
Yeah, I think that's really animportant note with Definitely,
yeah, you don't have to chooseone color and do it everywhere
in an open plan.
That can be tricky, yeah, and Imean, you know this is just
(37:09):
like not one rule applies to allbecause every space is
different.
So, true, absolutely,absolutely, yeah.
And I guess the other thing is,you know we've talked a lot
about walls but, as we saidbefore, really we're seeing
colour come through ininvestment pieces now, like I
just said about my dining table,not everyone's going to do that
potentially, but sofas aren'tjust grey or beige.
(37:33):
We've got an array of coloursto choose from now in standard.
Sofas aren't just grey or beige.
We've got an array of coloursto choose from now in standard
sofas, and I think people areleaning into that a lot more too
and seeing how that can make orbreak a room by having a little
bit more character in your sofaand your furniture.
I agree and I think that ifyou've had, if 10 or 20 years
ago you bought a grey sofa.
(37:54):
Now you're just like I am soover that I really need color,
and you're like I'm going to buya colored sofa.
It could be like a deepterracotta color, like I love
your sofa beautiful.
Yeah, it's a great coloractually, that terracotta,
because it works so well.
I could imagine that working ina lot of different spaces quite
well, definitely, and it has alittle something to say.
(38:15):
You know, it's just easy tolive with but has something to
say.
Um, and I think if you are goingto do more neutral or or beige
tones, make it like patternedand textured or give it some
life in some other way.
Don't just go like I'm justgoing to do like beige linen or
you know something really.
Or beige, what is it?
Macro suede oh yeah, linen, oryou know something really.
(38:36):
Or beige, what is it?
Macro suede?
Never say never.
You know, give it some life.
I know actually I can swear bymacro suede in terms of it was
probably the most durable fabricever to have on a sofa when you
have children.
My mum had an eggplant colouredone, oh nice, so of the moment,
okay, well, I think we'vecovered, like the colors that
(38:57):
we're loving, that we're seeing,and also some ways on how to
use them.
So fun, yeah.
I mean, as you said before, wecould keep going on and on and
on.
Alrighty, well, until next timewe'll, yeah, see you later.
Thanks, lauren.
Thanks for the chat, bree.
See you.
See you soon.
So thank you guys for listeningin.
(39:20):
And just a quick reminder if youwould like some help with the
interiors for your own home, Ican help you in a course called
the Style Studies Essentials, orfor designers out there, come
into the Design Society forbusiness and marketing and all
of the things.
Come into the Design Societyfor business and marketing and
all of the things.
Yeah, and in the same shownotes you'll find a link to sign
(39:42):
up for my soon-to-be-releasedfurniture collections,
pre-selected furniturecollections and cool trend
information, and then, in thefuture, some short courses on
styling and trends as well.
So good, bree, we've got theutmost respect for the
Wurundjeri people of the KulinNation.
They're the OG custodians ofthis unceded land and its waters
, where we set up shop, createand call home and come to you.
(40:06):
From this podcast today, a bigshout out to all of the amazing
elders who have walked before us, those leading the way in the
present and the emerging leaderswho will carry the torch into
the future.
We're just lucky to be on thisjourney together.
Welcome to Design Anatomy, the interior design
podcast hosted by friends andfellow designers me Bree
Banfield and me Lauren Li, withsome exciting guest appearances
along the way.
Today we are talking aboutcolor.
Color that we love, we livewith it.
The stuff we don't want to livewith how do you use it quite
(00:21):
successfully in a space and howit's evolved over the years.
So what we're kind of seeingnow, I think, when it comes to
colour, never say never whatonce looks totally dated and
horrible, like a brown, forinstance.
The next minute we just can'tget enough of it, and we also
can't think of anything worsethan a feature wall right now.
So how are we using colour inour interiors today?
(00:44):
So that's what we're kind oftalking about.
Yeah, spot on.
And before we dive into all ofthat fun stuff, if you take a
quick look at the show notes,you'll find links to the stuff
we do in our real jobs.
You'll find a link there tosubscribe to a newsletter from
me which will keep you updatedwith the things we've got coming
(01:05):
up this year, including somefun short courses and
pre-selected furniturecollections that we'll be
offering so that you can createa bespoke interior on a budget
so clever and I'd have to take aguess to say there's some
beautiful colourful pieces inthere.
You, betcha, and if you are aninterior designer wanting to
(01:31):
elevate your own practice and,you know, live a creative life
and be profitable, I have got acouple of groups that I am
running this year which arecalled the Conversation Circle.
There's a group for emergingdesigners and there's a group
for established designers andwe're kind of doing a group
coaching thing and it's yeah,it's going to be so fantastic.
(01:53):
So if you want any information,there's a link in the show
notes.
But let's just get startedtalking about colour Bree,
because I mean, literally we cantalk underwater about this
topic.
We sure can have you got a fewhours.
No, we won't go that long.
I guess, like the biggest shiftthat we've seen and I guess if
you're listening and you're adesigner like this is not news
(02:14):
to you but we've seen this hugebig shift from this cool gray
being the neutral color for ourspaces into a warmer palette of
browns, beiges and those yellowundertones.
So I would say that's probablythe biggest shift that we've
seen in interiors, like justgenerally for a while.
Yeah, for sure, other thanactual use of colour, we've gone
(02:38):
through that period of movingfrom very cool tones where you
know some of the most popularwall colors were lexicon and
lexicon quarter, into muchwarmer tones where now I think
you know I've had incidentswhere a client's come to me and
said, well, we pitched thisbecause we just thought, oh well
, it's a popular white, but nowwith the other things that are
(02:59):
coming into the interiors, thosewhites look way too cool.
So we've had to.
We should be shifting a littlebit on our base tones.
Even if you're not doing acolourful interior, it's still
very affected by what you put init.
So that warmth has been amassive shift.
Probably taken 10 years to kindof get there.
Really.
But it's affecting all the othercolour too, like the browns
(03:20):
coming back.
Actually, that came back prettyquickly, I think, because I
feel like brown.
The last time we really saw itquite strongly was in the early
2000s, I would say as a bit of afeature color.
I know I did it in a bedroomand I loved it at the time.
It was kind of very chocolateyand yum, that was the word,
wasn't it?
Chocolate, brown, yeah,chocolate, yeah, chocolate and
(03:44):
eggplant for a purple.
You know, chocolate, eggplantkind of came together a bit um,
and now that's, I guess,probably two years.
It's been kind of coming backin and there's resistance, as we
said before.
Sometimes we're like hang on, aminute, we've been here and
some people are still too overit to even go back.
But then it just catches on andmaybe it's a slightly different
(04:06):
inference.
I think what happens is oftenit's what it's used with too.
Like back then in the early2000s brown still had a white
trim and that was quite.
I think if you had painted yourwhole space brown you would
have probably been considered alittle bit crazy back then.
But you know what's weird,isn't it?
Because even back then, beforethe, the 70s, it was mission
(04:28):
brown and so you sort of it goesin these cycles and mission
brown that sends shivers downpeople's spine thinking of that
color.
But then I think there's stilla lot of PTSD around that right.
Totally rebranded to chocolate,and now I don't I've heard the
term like espresso.
I think yes, most people likethe idea of coffee.
(04:49):
I agree, the aroma and thewarmth and the homeliness that
provides.
Oh yeah, and we do talk aboutbrowns.
We often talk about cocooning,like that was a big buzzword
back when brown sort ofreemerged in those early 2000s.
It was all about cocooning andfeeling safe, so all of those
(05:13):
earthy tones are the ones thatmake us feel comforted and
grounding.
So I think espresso and coffeeand even tea have those
connotations, don't they?
Yeah?
And chocolate, well, you knowit's weird.
Cinnamon, oh yummy.
Lots of food ones yeah, I'm onboard with that.
I mean, there's some unpleasantthings that are brown too, but
we're just going to focus on thegood ones.
We'll let you think about that.
You can imagine, I wrote astory for the Design Files I
(05:34):
think it was back in 2018because I started to notice this
brown coming through and folkswere not ready.
They did not like that.
They were like, oh my gosh, Idon't think I'll like that.
But you know, you're just kindof observing on what you're
seeing and you know you'repicking up on a few things, and
I suppose, as you mentioned,we're not talking about paint
(05:55):
colors all the time.
When we're talking about color,you know it's not about a paint
color for brown.
I don't really think I see alot of successful brown rooms
painted with, yeah, yeah, thatcolor on the walls, but it's in.
So I could show you one that Idid and it looked freaking
amazing.
Uh, color forecast 2024 um dida brown room and had green and
(06:22):
orange in it, so I actually hada pretty big 70s influence, but
I think we rocked it.
I think that room worked reallywell.
No doubt you would do, but Ithink this is what happens.
You know how you're sayingpeople are still going in 2018,
you could see that happening,but people were pushing back
hard against it and I think whatchanges their mind is the use
(06:42):
of it.
And yes, outside of it doesn'thave to be paint.
Obviously that was just my bignoting myself on my reference.
But when they start to see itmore in spaces they love, that's
when the lens changes for them.
So they have a lens of the PGSD, of the Mission Brown and the
oh God, I can't go back to thatand then they start to see it in
(07:04):
these more modern spaces orspaces that they go oh, that's
actually a beautiful space.
So the lens changes slightlyand they become a little bit
more open to it.
But it can take some time rightDefinitely, and I think it was.
You know, I think in my mind abig turning point was when Sarah
Ellison did that collaborationwith Pantone.
(07:24):
So Sarah's been a guest on ourpodcast, if you wanted to go
back a few episodes.
She's so inspiring and she's socreative and clever.
But, yeah, I think when was it?
It must have been 2021, 2022 orsomething I was going to say
four years ago off the top of myhead.
I'm just looking online here.
It was on Yellow trace inseptember 2022.
(07:46):
She, um, yes, ellison studios,yeah, teamed up with pantone and
it's called piccolo.
So again back to that espressocoffee sort of reference there.
But it's a beautiful, rich,dark brown, but in a velvet.
You know, it does have thosedifferent dimensions of colour
that you see, and it's abeautiful sofa too.
So that helps With a definite70s nod.
(08:10):
I think for a long time now Idon't know that we're going to
escape the fact that brown andorange are the kind of hero
colours of the 70s and we can'tkind of we've got orange and
wearing orange, you can't kindof separate them.
Yet Brown doesn't have a newhome yet that's the era it sits
in, I think.
What with orange or not withorange?
Just, I think if you close youreyes and go think of colors
(08:33):
from the 70s, that's probablythe top too, do you reckon.
Oh, no doubt, yeah, definitely.
I mean like orange laminatebenchtops and brown sort of
cupboards, you know.
But I don't know if I'm seeinga lot of brown and orange this
time around, do you no, no, no,I don't think so.
Maybe there's a hint of orangethere, but particularly in
(08:53):
Australia too, we've neverreally been hugely embracive God
, that's definitely not a word.
We haven't really embracedorange very much.
I think it's our light here.
So little bits of orange aregood for us.
But orange as a bigger trend,it doesn't normally take off,
even if you see it happeningelsewhere.
(09:14):
It's just not our vibe.
I just cannot picture orangewithout it looking 70s.
It must have been such a huge,big colour in the 70s that it's
still stuck there.
Yeah, that's right.
I can't see it in a fresh wayunless it's like a peach.
I think the closest yes, well,the closest we'll get is the
variants of terracotta thatwe've seen, which I think we
(09:35):
still quite love.
Right, when we can kind ofbring the terracotta stays and
works with the browns and workswith the yellow undertones, yes,
but it never quite becomesorange.
It sort of stays in that softer, pinker, earthier colour base,
totally.
So big shift from grey to thebrowns is what we've seen and
(09:56):
actually, just before we move on, even the paint colours.
I remember when I first wasstudying and everything.
The colours were Berkshirewhite, which is a very yellow.
Is that a very yellow white?
It is, yeah, chalk USA, chalkUSA, which is a warm white,
which I think is a great white.
Still, I think that wasprobably the most popular when I
(10:18):
was starting, all day long.
That was the go-to.
It was the go-to.
Now I think this, maybe naturalwhite would be.
Natural white is definitely mygo-to and I think you can safely
use that when you have otherwarm colours.
And it doesn't feel too.
It's not a yellow white.
It's got warmth, but it's not.
It's still a white.
It kind of works witheverything.
Yeah, it's still definitely awhite, and there was hogsbristle
(10:40):
back then Hogs, hogs bristleback then, and that hog bristle,
hog bristle thinks it's hogsbristle.
Yeah, okay, funny, I was gonnasay hogs breath.
But that's the cafe, that'swhere you go for your.
That's where I am.
Yeah, pork all the time, bacon,and I don't even know what, I
don't even know where it is.
We should definitely go there.
(11:01):
Sounds like it would have porkand bacon, I don't know.
So, yeah, all of those colors,I guess they do.
They're coming around again,aren't they?
So enough of those coollexicons which I cannot stand
that color, to be frank with you, it's too cold, yeah, yeah, I'm
(11:23):
not a big fan either, but Iknow.
I mean I guess it definitely hadits moment in that minimalism
era where people really wantedthat very clean look and they
wanted no inference in the white, even though that is a cool
white, it's not really a neutralwhite, but oh gee, it's just
conjures up not very niceinteriors for me.
Well, it just feels verybuilder's play.
(11:44):
It's how the liquid is Like.
It seems like.
You know, it's going to soundbad, but this is a rental.
We sprayed everything thiscolour.
Yes, ceiling walls, everything.
Yeah, it's just very pedestrian.
Okay, what about this featurecolour so red?
(12:04):
I would never, ever dream Iwould say that I like red in
interiors because it has justbeen again.
It popped up, was it in the2000s?
It was like a red splashback ora red cushion on the sofa, but
it was with those cool whites,yeah.
So it was really grating and Inever liked it then, even when
(12:25):
it was popular.
I just those spaces.
They were like black white witha bit of red, and then, like my
heart would feel crushed when Isaw them, like I just it's very
aggressive, whereas I think nowwhat we're seeing is it's very
aggressive.
Yeah, it's like a stop sign,but now we are matching it with,
or toning it in with, warmwoods and those I don't know
(12:49):
what else are we mixing with it?
I think it's just wood's thekey.
Yeah, yep, definitely, becausethere's more materiality in the
space, so it can be quite earthycolour-wise and you can still
bring a red in as quite a cleanpop of colour.
And you can still bring a redin as quite a clean pop of
colour.
But also, even against those, Iguess, less immersive spaces
(13:10):
that have the terracotta or thewarm pinks, the red works
beautifully there too, in thoselittle amounts.
I think it works reallybeautifully with some of the
cooler colours too, like greens,like I've got a beautiful
colour in my room now in thebackground.
I love that colour.
You'll have to get online tosee that it is.
(13:32):
I'm having a mental blank aboutit, which is why I didn't say
the colour.
It's a deep turquoise colour,is it?
Yeah, it's way more muted thana turquoise it's called.
I'm going to have to come backto you because it'll pop up in
my head in about five minutes.
But red against those colors,like that background color,
really is a very energizingcombination.
(13:55):
Yes, so just a bit of it.
Just a bit of red is quite nice, like a lamp or a side table.
Yes, yes, even just a book Idon't know A performative red
book.
Yes, so it's this term calledthe unexpected red theory, and I
mean, obviously, that justspeaks for itself and it is
(14:15):
quite unexpected because we justhave not seen red in interiors
for years.
But yes, it's about that.
Oh, that's cool.
Stepping into a space and seeingsomething, your eye is drawn to
red because it's a color thatit comes forward.
That's why it's dropped signsof red, because they come
forward.
But I've also seen them, andit's a colour with a lot of
(14:35):
energy too.
So you can have quite a simpleroom that maybe didn't have a
lot going on, and when you addthat one red thing and you make
that a feature, it actuallychanges the energy in the room
too.
Oh, it does.
And I feel like, yeah, you justexplained that so well.
It's sort of a bit daring,because to add something so bold
in a room.
It sort of shows you've got theconfidence to go.
(14:56):
Oh, I see this.
You know this deep turquoiseroom.
That is quite a.
It's more of a receding colorthat goes in the background, but
then you put red in front of itand you're like, oh, wow,
that's so unexpected and it's socool and you know what you're
doing and it's really likethat's quite cool.
Um, have you been to thestandard x hotel?
Yes, yeah.
(15:17):
And how cool is the use of red?
Yeah, that whole, that, thatsort of um.
When you walk through the eatingarea and sit in the lounge
space like the, that's just sobeautiful and they also have
quite a bit of chrome orstainless steel in there, but in
a way that I don't know, sortof just breaks through all the
warmth in like the right kind ofway, so it doesn't feel cold at
(15:41):
all.
And then they've got somebeautiful materiality going on
in there, even, just like thelittle ottomans and the
different shapes and thedifferent materials that they've
got in that space.
Yeah, it's very easy to sitthere and probably spend a day
reading, drinking some wine.
Amazing, yeah, it's got this.
Um.
So Heka Guthrie did the fit out.
(16:03):
It's got a revolving door thatyou walk through which is all
bathed in red.
It's just like this red in,like stepping through this kind
of portal.
It's really beautifully done,and yet, as you say that kind of
portal, it's really beautifullydone.
And yet, as you say that kindof, is it like a library?
There's like an open fire placethere.
Yeah, I think they call it sortof the cocktail lounge and it's
literally a lounge.
So it's all just like low seats, um, like a really big long
(16:25):
sofa.
There's a fireplace, there's aum, yeah, there's like a couple
of bookshelves on the wall whichare are beautifully done.
The joinery is actually quitedelicious and the details are
really beautiful.
And then when you're sittingthere, you're looking out onto
where the eating space is, wherethey probably you know they do
their dinners and breakfast andthings.
But that space is also quitecasual.
(16:46):
It's definitely got a veryhomely feel to it, I would say,
but in an elevated way way, andI think that the color has a lot
to do with that.
People wish they hadn't lookedthat cool, yes, please.
But I think the thing is with ahotel foyer, when you walk in,
you can feel like, oh gosh,where do I go?
You feel like you're walkinginto this space that you don't
(17:08):
know.
Are people kind of looking atme?
You know, some of them can bevery open and you're sort of on
display, whereas this there'slots of little nooks to sit.
But, um, I think the colorstory is so beautifully done.
And did you go to the rooftop?
No, because they weren'tletting people up.
I think that you have to bestaying there, or a guest of
someone staying there, and Ijust dropped in so I couldn't.
(17:30):
I guess, for interstates, wedid like a little design tour
and we we got to go up there.
But yeah, if you're interested,stay at the standard x.
It looks, yeah, it looks reallycool.
Um, and I suppose, like, leadingon from red is burgundy.
So I feel like it's a littleeasier to use in a space, would
(17:52):
you say in bigger amounts, forsure, but I think it's still.
It like it's a little easier touse in a space, would you say
In bigger amounts, for sure, butI think it's still.
It's probably easier to use,but it's still a colour maybe
people aren't super confidentwith yet, because it does feel
quite new and if it's used thewrong way, I think it can also
kind of throw a bit of atraditional vibe and I don't
know that that's the rightfeeling.
(18:13):
People would be going forbringing it into a space in 2025
.
So it's about, I guess, thecolour combinations you use it
with all the materials or whereit's used.
That makes it right, because itcan kind of vary.
You know, that colour group, Iwould say, moves from, like you
know, merlot and sort of winetones into sort of a more kind
(18:33):
of traditional burgundy, whichstill works quite well.
Yeah, so even burgundy with alittle unexpected red would
probably help too.
Yeah, you're right, and I thinkyou're so right Like it could
look very traditional, veryroyal velvety, like you know,
again back in the early 2000s IsI remember, you know, one of my
(18:55):
first assignments was how wouldyou decorate your bedroom?
I still think they do thatassignment as well, and it was
burgundy and I had gold tasselson things and oh yes, burgundy
and gold is kind of not.
They actually are so beautifultogether like brass, brass,
burgundy, and I think you canstill pull it off, but it does
have that connotation ofpotentially pulling a bit of a
(19:17):
dated look if you don't quiteget it right, doesn't it Too?
Yeah, burgundy and gold is notwhat we're looking for this time
around.
Don't you think what we've seenis that richness that you get
in a gloss cabinet tree, thatreflective and that richness,
that depth that you get in agloss cabinet tree, that
reflective and that richness,that depth that you get.
There's a velvet upholstery, butI haven't really seen a lot of
(19:38):
velvet in just like a paint or amatte finish.
But maybe I haven't got it onmy radar.
I don't know it needs to.
I think if you just did theburgundy just on a velvet
element probably is not quiteright.
It's got to work, I think, onother things, because on a
velvet maybe feels thattraditional aspect it doesn't
(20:00):
really pull through into a moremodern one.
But I think what you hit onbefore is also what works so
well is seeing it in a fullgloss, because I don't think
that's very traditional.
I think that kind of brings areally edgy element to burgundy.
Don't you think, yeah, that'skey, isn't it?
Yeah, in a new way, in a freshway.
You know it's so weird how thesecycles go around, because when
(20:21):
we first moved out, well, secondtime, when we moved into this
little apartment in South Yarrayou know you're trying to
decorate it on a shoestring andI worked in a bed linen store.
They saw they sold tab curtainsthere and I bought burgundy tab
curtains and so we lived withthem for years and that was, you
know, I don't even know if itwas really trending so much then
2005 or something like that,but I've always obviously liked
(20:44):
that color.
Yeah, yeah, burgundy girl, Idon't know, maybe.
And I had this um artwork aswell Edward Hopper, is that the
artist?
Anyway, it had burgundy andstuff in it and, um, it was just
a print.
But yeah, it's funny, and yousee it again and you're like, oh
, okay, I actually still likethat color.
Um, yeah, I think it's.
I think it's a quite.
It does have nostalgia attachedto it, but it's such a warm,
(21:07):
cozy, immersive tone.
That is it, and it's somethingI think you can live really
comfortably with too.
If you choose to even do it onall the walls, I think the key
with that is making sure youdon't have white trims and a
white ceiling with burgundywalls.
You're right, it would have tobe timber or just the whole
(21:28):
thing.
Yep, yeah, you know likesomething tonal, or yeah, with
you know, some beautiful drapesor something.
I'm looking at my whiteshutters.
I know I'm just thinking Iwould love a burgundy rug.
I think that would be so nice.
To inject that depth in theroom would be so nice.
Yeah, maybe really shaggyshaggy.
Yes, I think also what makes itmodern is the use of black and
(21:52):
white, maybe material so like,imagine a black and white
pattern with burgundy, like on afabric, on a beautiful textured
fabric.
I think that also kind of worksquite well.
Yeah, yeah, it feelscontemporary with it.
Yes, yeah, what I love withburgundy is light blue, and I
think that, again, it's a bit ofan unexpected pairing.
(22:14):
Definitely, um, and also, lightblue is a color we're seeing a
lot in spaces because it pairsso well with timber, and I I
have my old color wheel here,which is hilarious, and I was
looking at it the other day andI was like, well, that's
actually complementary on thecolor wheel.
Blue and orange are oppositeeach other on the color wheel
and, um, you know, I feel liketimbers come into that orange
(22:39):
category which is obviouslyadding the gray, which gives it
the brown, and I just think it's, it's such a no-brainer, it's
such a successful pairing.
You, just when you, when younotice it, you see it everywhere
.
Yeah, yeah, and that blue sortof emerged that almost feels
like it's being used as a bit ofa neutral.
So it's not too green, it's nottoo strong, it's lovely and
(23:01):
soft in a space.
So that's kind of where we'reseeing the cool tones come in,
but definitely balanced backwith things like timber, which
is bringing the warmth backagain.
So it's not just like white andblue, and although white and
white and blue and silver at themoment, I'm quite digging but,
um, yes, yeah, I think thewarmth still needs to be there
in some way.
(23:22):
Yeah, I agree, it's.
Yeah, it is uh kind of nice tosee that.
And I've seen, you know, lightblue used on a kitchen stool,
like a painted wooden stool.
It's like, oh, that looksreally fresh and cool, um, but
again, you know, it could beentire sofas.
Well, what about tiles?
I mean light blue tiles in abathroom.
It's not the most original ideafor the kitchen, I guess, but
(23:46):
yeah, but if you had the, theblue tiles with beautiful timber
cabinet, um, then you're sortof like creating that beautiful
contrast.
I've got a blue dining table.
I just did that last year.
So in that light blue, that'scool, love it.
Well, it also reminds me ofJono.
Remember we had Jono as ourfirst guest.
Jono Fleming, yeah, and he dida beautiful bathroom with light
(24:09):
blue tile, with this cherry orburgundy trim yes, with the
burgundy.
There you go.
So cool.
So what other colours are weseeing?
So I think the other one I'mseeing is chartreuse, so like
that stronger olive green.
If you don't know whatchartreuse is, it's actually a
(24:31):
drink, it's actually analcoholic drink, so it has a bit
of luminance to it.
Yeah, don't drink it.
It has a real yellow undertoneand a bit of sort of luminance
and I think that also worksreally beautifully with burgundy
and those red tones and earthytones.
So that sort of it has.
It is a bit 70s, if you reallythink about it, like that sort
(24:53):
of greeny kind of.
I think it was probably a bitmore lurid in the 70s and a bit
cleaner and now it's just a bitmurkier and that's kind of
what's making it more modern.
Um, but even that with like agloss on it, I think is kind of
a cool way to introduce thatcolor.
Um, and it actually works.
Like you know, when you go, oh,that colour's crazy, but then
(25:14):
you start putting it with othercolours and it works so well
with different things.
Like you could have it withlots of timber and make it very
earthy, but with an edge,because it's got that kind of I
don't know, I think it'sluminance that I'm trying to say
.
I think you just described itperfectly.
It cuts through a little bit.
You've described it perfectly.
And also the fact that when youshow, if you were to show a
(25:35):
client, we're going to use thiscolour in your space, I would go
no way.
That is revolting Right on itsown.
Yeah, on its own.
But when you inject somethingchartreuse in a room like I
think about our other guest,nicole from ND Atelier ND.
She's so dear with colour.
(25:56):
Her office space is a bit likethat, isn't it?
Yeah, or is it in an artwork?
I can't remember.
It's a bit.
I think I was just repainting myoffice, even though I only did
it last year, because I did itin the blue, in the light blue,
(26:17):
but something about it isn'tworking for me and I think it's
because I've had to keep thewhite trims and I've got a bit
of white in there and it doesn't.
It's not, I don't know.
It's not hitting the way Iwanted it to.
So I was, um, looking at sortof not quite a chartreuse.
It's probably a lot more yellowthan that.
What I'm looking at, um, but itsort of falls into that
category and I think her officeis a similar kind of tone, that
sort of yellow-green orgreen-yellow.
It's sitting right in thein-between and then she has,
(26:38):
like so many great colors withit Magic, it's just yeah.
Whereas I feel like, yes, youpull that color out and just go,
we're going to do this andeveryone would go.
What?
No, I don't think so, but in ascheme with the right things
around it.
I guess that's the same withmost things.
But yeah, there are somecolours you would just
immediately go.
I don't know about that one.
Oh, I think with chartreuse,most people would be a hard no
(27:00):
on that, but you know it couldbe.
Yeah, I love that wall colourand it's layering all those
things on top of it, but even ifit was something like a side
table, it's just somethingthat's really.
It is unexpected and I thinkthat's why some of these colors,
you know they feel so jarring.
You know the red chartreuse, itfeels so jarring.
You need to have like a bit ofguts, like gumption, to kind of
(27:23):
pull it off and be like no, thisis the choice I've made and it
really electrifies the space.
It's got something dynamic init and it can just lift and
elevate just a nice space tosomething that actually feels
quite amazing.
So that's exciting, chitrus, Iwould love to see that in some
beautiful upholstery as well,even an ottoman or something
(27:43):
like that, or some cushions.
Yeah, for sure, I definitelythink that's something that I'm
leaning into at the moment.
Yeah, I'll probably bring someinto even this space.
I think it could work well.
Oh, that's exciting.
Um, yeah, so what?
I guess those are the thingsthat we think we're seeing more
of.
What do we think we're notseeing anything of now or less
(28:05):
than I don't think we're seeingthat many pastel colors actually
, agree, agree, yeah, I thinkany of those lighter tones are
much more earthy or they I don'tknow they have a bit more
character to them.
We're not saying that's thewishy-washy, pale, fun pastel.
No way, I don't think that'shair.
We're in our serious mode, Iknow.
(28:27):
I think it's about richness andwarmth and in this point in time
, and even history a little bit.
You know, there's a bit ofhistory through vintage and
antiques we sort of talked aboutthat before, and pastels just
does not gel in that way.
They do feel very new, don'tthey?
Isn't that interesting?
Because I think, you know, ifwe delved right back we'd
obviously find them,particularly in, you know,
(28:48):
paintwork and things like that,in really traditional spaces,
yeah, but they were quite, youknow, they were used more
extensively with lots of othercolours and not extensively on
their own.
And I guess the last time wewould have really seen that was
in the sort of Scandi era whenwe had the pink tones and even
sort of those pale aquas andstuff coming through against
(29:11):
that Scandinavian look whichreally didn't have a lot of
colour in it, and then that'skind of became like the modern
Scandi look, right, definitely.
And I guess before that, youknow, if I think about pastel
colours, I think of the 1950sand you know like jukebox or
something like you know pastel,yeah, something cute like that.
And then you see those smegappliances all in those pastel
colours.
(29:32):
Yeah, that very 50s yeah, yeah,the kind of very lolly candy
Exactly.
And I feel like that'ssomething that we're just not in
this moment.
We're not seeing that in thismoment so much.
And even you know millennialpink, I mean, that was the
colour to add to your Scandispace.
You know, I had the grey sofa,had a black and white sort of uh
(29:56):
.
Well, I had the black and whiteStockholm rug from Ikea, which
is, I think is actually prettyclassical.
That is a staple.
I would hold on to that andnever let go.
It's actually one of myfavorite rugs.
Well, I was actually sayingthat too.
I was actually talking tosomeone about that, saying
should I sell it or should Ikeep it?
And it's so.
I don't need it right in thismode, but I've kept it.
(30:16):
It's ginormous as well.
But yeah, we had that.
Or we had a rug that was almostlike a bit of a not a chevron,
but a bit of a zigzag.
Remember that whole chevron.
It was a grey sofa, it was apink cushion.
I forgot about chevron.
Yeah, it was a pink cushion.
(30:37):
So that millennial pinker wasquite a cooler sort of pink.
I'm sitting in my pink taskchair at the moment, which I
still love, but that's gotwarmth to it, I can see.
Yeah, I wouldn't say it's not acool pink, is it?
Or is it just the lighting?
It's a fleshy pink.
It's softer.
You know that sounds gross.
Yeah, fleshy, fleshy, fleshy.
Yeah, that's such a bad word,isn't it?
Yeah, it's, and that's whereit's moved to, I think.
(30:58):
I think we're still seeing pinkquite a bit.
I don't think it's gone, butit's not millennial pink, right,
it's not that cooler tone it'smoved in to almost towards
terracotta is probably a goodway to describe it and towards
those, um, you know whattraditionally were called that
sort of, I guess, fleshier,fleshier colour?
I know Well, I just wanted toremember the Pantone colour,
(31:23):
mocca Moose, because I mean thatdoes have a little pinky
undertone to it.
Am I right A tiny bit?
Yeah, it does.
Yeah, yeah, it does go towardsthose those.
It's a reddish brown.
So I suppose, yeah, the pink,it's not a pastel pink like what
we've seen, it's more goinginto the browns.
Okay, yeah, so I think let's do.
(31:44):
I think you're still safe.
If you're I mean not safe, it'sa terrible word um, I think you
, you can still use pink in yourinteriors, in particular if you
already have it.
I think it still has a place.
I think it's just not from.
You know, millennial 10, 20years ago, was that 20 years ago
?
No, that's frightening.
Um, I'm just thinking ofmillennial would be 2000, but
(32:06):
that's not when it really was,but anyway, um, yes, um, don't
frighten me, I know um, thatcouldn't be that long ago
Because, you know, I alwaysthink about millennial pink in
terms of this is probably notthe best reference, but Kanye
West wore like a pink polocolour.
Yeah, oh yeah, in fashion.
You're right, that's reallywhere it started.
(32:26):
Yeah, and menswear I actuallyremember someone buying a pink
top for my ex and him looking atme going, what the hell, why
would someone buy me this?
And it became one of hisfavourite tops, like in a short
period of time.
Yeah, because he realised hangon a minute, other people are
doing that this looks cool andit looks really great on men.
I love pink on men, it does.
(32:47):
And I mean that was from 20years ago, that graduation album
era, which I love that album,graduation album era, which I
love that album.
I think it actually took a bitlonger for it to come into
interiors because, you're right,when I think about that
particular moment in fashion,that was literally the beginning
of the 2000s when that startedto happen, but I think it sort
of was a slow burn into into theScandinavian looks and
(33:10):
definitely, yeah, I could havebeen like more, like the I don't
know, 2008, yeah, 2010.
I mean, it was such a big, itlasted a long time.
Yeah, it was, and people werejust were so, um, disbelieving
that it would.
They thought it was going to bemore like a fad, how others
will be in and out, and it hungaround.
(33:32):
And it hung around and itevolved and I still got pink,
yeah, yeah, oh, that's sointeresting.
So I guess, when we think abouthow are we using these colors?
And you know, we can talk aboutback at, you know, 20 years ago
, where it was a feature wall,it was a eggplant colored
(33:53):
feature wall, maybe in straighteffect oh yes, pretty wall.
It was a eggplant coloredfeature wall, maybe in straight
effect, oh yes, pretty.
But now it's really not aboutthat, and I think that is
because a feature wall doesn'tgive you that immersive yes,
it's not as rich sort of feeling, yes and also because we've
moved away from white.
I think feature walls were thebeginning of us embracing colour
(34:15):
.
So when that started to happen,we'd been living with a lot of
very white interiors for sometime and the introduction of the
feature wall was like dippingthe toe into the water and going
, oh, come on, look, I've got afeature wall.
How cool I am to do this, youknow, like, how brave am I.
And now it's well, actually wedon't.
We're not really living withwhite as much, so there's no
(34:37):
reason to just have one wall anda whole heap of white.
We can kind of like dive rightin into the immersive world of
color drenching.
Now is the word right.
Yeah, I know, it's you.
Just it is actually.
We can shower in color.
Oh, it's wild to think that.
You know, we really have seenthat really flip from white
(34:57):
walls everywhere to coloredwalls everywhere.
Walls, trims, doors, ceiling,it's all this one color.
Yeah, and it's actually likeyou see it a lot, you really do.
I mean even talking aboutstandard X.
I mean, a hotel is a bitdifferent to a home, but it is
drenched in that red, it'sreally surrounding and it's like
(35:18):
you're covering yourself inthis blanket of color over the
whole space.
And the great thing about it,unlike the feature wall, because
the feature wall here I gostraight to that.
But it's this stop start effect.
You know, you've got a featurewall which is the main wall,
which probably doesn't havedoors or windows on it.
That was usually chosen as thefeature wall.
Yeah, you've got another wallwhich has the doors and windows
(35:42):
on it, then that's white.
Yeah, exactly Behind the TV.
Yeah, it's not.
It doesn't feel good, it feelsvery jarring.
So you know, if you'rewallpapering which is, I guess,
pattern drenching or materialdrenching, it's about all of the
walls and, to be honest withyou, I can't stand anything.
You've got to do it right.
You've got to go all in Justhaving one wall.
(36:03):
Unless it's like a mural of awallpaper, maybe that's okay,
but otherwise go in.
I think the only other way to doit without putting the same
colour everywhere is topotentially do tonal colour.
So maybe you've got a deepercolour on one area and then it
moves to a more tonal, softertone in other spaces, which can
(36:24):
work really well.
And the other issue we have,particularly in Australia, is
you know the amount of open planhomes.
So sometimes it's hard to workout where to stop and start
colour if you're not doing onecolour everywhere.
So you've got to work out howto make that sort of soften.
So you might want to call out aparticular space or an alcove
or something that's part of anopen plan.
So having that against whitedoesn't work so well.
(36:47):
But bringing in maybe a tonalversion of whatever you're doing
or, if it's wallpaper, bringingout colour from that and then
adding that to the wall to kindof transition from that area to
another area.
Yeah, I think that's really animportant note with Definitely,
yeah, you don't have to chooseone color and do it everywhere
in an open plan.
That can be tricky, yeah, and Imean, you know this is just
(37:09):
like not one rule applies to allbecause every space is
different.
So, true, absolutely,absolutely, yeah.
And I guess the other thing is,you know we've talked a lot
about walls but, as we saidbefore, really we're seeing
colour come through ininvestment pieces now, like I
just said about my dining table,not everyone's going to do that
potentially, but sofas aren'tjust grey or beige.
(37:33):
We've got an array of coloursto choose from now in standard.
Sofas aren't just grey or beige.
We've got an array of coloursto choose from now in standard
sofas, and I think people areleaning into that a lot more too
and seeing how that can make orbreak a room by having a little
bit more character in your sofaand your furniture.
I agree and I think that ifyou've had, if 10 or 20 years
ago you bought a grey sofa.
(37:54):
Now you're just like I am soover that I really need color,
and you're like I'm going to buya colored sofa.
It could be like a deepterracotta color, like I love
your sofa beautiful.
Yeah, it's a great coloractually, that terracotta,
because it works so well.
I could imagine that working ina lot of different spaces quite
well, definitely, and it has alittle something to say.
(38:15):
You know, it's just easy tolive with but has something to
say.
Um, and I think if you are goingto do more neutral or or beige
tones, make it like patternedand textured or give it some
life in some other way.
Don't just go like I'm justgoing to do like beige linen or
you know something really.
Or beige, what is it?
Macro suede oh yeah, linen, oryou know something really.
(38:36):
Or beige, what is it?
Macro suede?
Never say never.
You know, give it some life.
I know actually I can swear bymacro suede in terms of it was
probably the most durable fabricever to have on a sofa when you
have children.
My mum had an eggplant colouredone, oh nice, so of the moment,
okay, well, I think we'vecovered, like the colors that
(38:57):
we're loving, that we're seeing,and also some ways on how to
use them.
So fun, yeah.
I mean, as you said before, wecould keep going on and on and
on.
Alrighty, well, until next timewe'll, yeah, see you later.
Thanks, lauren.
Thanks for the chat, bree.
See you.
See you soon.
So thank you guys for listeningin.
(39:20):
And just a quick reminder if youwould like some help with the
interiors for your own home, Ican help you in a course called
the Style Studies Essentials, orfor designers out there, come
into the Design Society forbusiness and marketing and all
of the things.
Come into the Design Societyfor business and marketing and
all of the things.
Yeah, and in the same shownotes you'll find a link to sign
(39:42):
up for my soon-to-be-releasedfurniture collections,
pre-selected furniturecollections and cool trend
information, and then, in thefuture, some short courses on
styling and trends as well.
So good, bree, we've got theutmost respect for the
Wurundjeri people of the KulinNation.
They're the OG custodians ofthis unceded land and its waters
, where we set up shop, createand call home and come to you.
(40:06):
From this podcast today, a bigshout out to all of the amazing
elders who have walked before us, those leading the way in the
present and the emerging leaderswho will carry the torch into
the future.
We're just lucky to be on thisjourney together.
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