Much Ado About (Almost) Nothing

Colour Guide 
Muted

Colour Scheme  
Subdued, delicate, calm, peaceful, feminine

Key Textures 
Matt paint, silk, glass, raw linen, waxed cotton, limed wood

 

I don’t naturally gravitate towards these colours or this style of interior, but this week I feel it’s exactly what my mind and soul need. A sense of calm and peacefulness washes over me when I look at the dusky pink curtain in combination with the sphere shaped pendant light. What also makes it more acceptable to my eyes is that it’s not perfect, I’m referring to the wide floor boards that haven’t been painted in an even finish. With the boards being slightly worn, the room feels approachable and lived in. This interior isn’t committing to be being new or old, in colour, furnishings, or style, it’s simply saying ‘I love these pieces and colours and they can coexist.’

Overall the room is neutral in colour but the yellow and spearmint jumping out stops the muted palette being too…insipid. The scale of the woven headboard is fitting to the size of the room, and with the eclectic mix of furniture it clarifies what is the dominant piece of furniture, and in turn the function of the room.

A pale grey covers 30% of the room and is an inoffensive base for which the other colours can sit on. At a guess, I would think at different times of the day this wall colour will change it’s appearance from a grey tone to a pale taupe hue depending on the light.

An antique white appears across various materials; the blanket, chest of drawers, curtain, the floor and lighter sections of the rug. With each finish, it adds another layer of texture to the scheme and makes the design feel dynamic. This hue equals 25% overall.

The white ceiling at 18% is simple and unadorned with plaster detailing such as cornices. The clean lines and corners tell you ‘don’t bother looking at me, the floor is much more interesting’. A white valance also peeks out from under the blanket.

The 10% dusty pink shown in the drapes is subtle and elegant. Very much an olde worlde tone which pairs stylistically with the texture blanket and antique chest of drawers. The colour is a classic as is the style of hanging. The fullness of fabric together with the material used allows the light to play on its folds adding depth.

A pale, grey-based sage has been used on the woven headboard and rug. Again, like the antique white, this hue changes with each material. The headboard absorbs the light as does one portion of the circle on the rug, whilst the other half of the circle-the higher pile-reflects the light. It accounts for 5%.

5% parchment appears in the linen and the frame mounts. This colour sits calmly in the scheme without demanding attention.

Now, there’s several points I want to make about the spearmint upholstered stool. It’s an example of how any colour can settle within a scheme if it’s treated, or appears, correctly. The deep-buttoning adds a softness and gentleness, which is in keeping with the rooms personality, should it have been a flat square edged style of cushion it would be harsh and too contemporary. Equally this style of upholstery adds depth by playing with the light where as a flat surface would reflect all the light. This colour adds a further 3%.

The rug has an ever so subtle darker stone tone adding another 2%. This has been created simply by a change in pile-loop to cut pile-it’s not a darker colour from the rest of the rug it’s just that the pile is higher which catches the light and absorbs it.

Like all interiors, you need that touch of black so all the other colours can be quantified. A sliver at 1% appears like a border on the curtain rod and the picture frames along with the light cables and stool legs. There is also of course the actually black and white images themselves adding texture.

Also at 1% is the yellow velvet cushions. This colour is unexpected and with its hint of black allows it to pack a punch without radiating or screaming.

The glass pendant light, and what looks like candlestick on the chest, adds sparkle and makes the light dance around the room. The shapes of both are also worth mentioning, the sphere’s are the yin to the beds yang-friendly curves to square corners. Feminine and masculine you could say (I’m not trying to be provocative with that comment. It’s purely a Feng Shui reference!). You’ll notice everything else in the room is big or square, so the business of the candlestick is juxtaposed to all the other furnishings.

 

TIP: Taking the curtain rod up to the ceiling visually elongates the height of the room.

TIP: To harness all the available light from the window, ensure curtains when opened clear the window frame. The width of your window will determine the quantity of fabric this will determine the length of the rod.

TIP: For good Feng Shui in a master bedroom place pairs of items on either side of the bed, for example lamps, this with will assert unity and togetherness also avoid images of family. 

 

*The colour on screen is not a true representation of actual colour.