I’ve always viewed colour holistically across product categories rather than in silos, putting myself in the consumer mindset. I think at times this is forgotten. Designers and trend forecasters often focus on a product category rather than zooming out to look at the environment it will be situated in. As Highsnobiety put it recently in its ‘Status Economy’ report ‘No product sits in a category silo anymore. Everything lives on a single feed, competing for attention & relevance’. That’s also reflected in stores too and colour is being utilised to make this happen.

Back in December I wrote a piece about the importance of aspirational bright colours and why despite being cautious with colour, consumers are drawn to bolder hues. Graphic design and packaging is one key area which has utilised this desire for brightness. During the Pandemic brands and retailers leaned into the power of vibrant packaging to grab the consumers attention, making products jump off the shelves or stand out on our feeds.

Many products continue to tap into the power of bold colour, most noticeable stationery, gifts, beauty packaging, books, food and beverages. Brands recognise that consumers are ‘treating themselves’ to these smaller products and they are using bright colour to enhance desirability and visibility.

As mentioned by Highsnobiety many of these products are used to signal taste and cultural knowledge so the products appearance matters. Food and beverage brands in particular are leveraging the benefits of eye-catching colour. A quick walk around the food department of Selfridges gives you an instant insight into this. But it’s not just about appearance it’s also about substance. As McKinsey highlighted in the ‘State of Food & Beverage Report’ consumers expect better benefits. As a result independent brands are using high contrast colour combinations to highlight active ‘gut-friendly’ ingredients, ‘naturally flavouring’ or ‘verified child-free labour’.

I think it’s important to look more broadly at colour applications across multiple categories to appreciate how consumers are expressing themselves. This analysis helps in the long term, as consumers’ behaviours shift so do the colours they invest in. Continually tuning into these fluctuations helps colour experts to better understand the evolution of hue and colour saturation.

You might enjoy the following colourful brand and retail inspiration:

• Pencil Me In is a wonderful stationery store in Elgin, Morayshire which I always visit when in Scotland. It’s beautifully merchandised with a strong focus on uplifting colour combinations. I recently bought a fluoro risograph printed Petra Boase notebook from here.

• The Folde is a new creative destination in Amersham Old Town, Buckinghamshire. Situated in a beautiful old building and mixes stationery, books, skincare and homeware together with a colorful flair.

• Independent design brand Wrap works with contemporary illustrators and designers to bring a colourful range of stationery and homeware. It most recently launched new serving tray designs by artists Séverin Millet and Alejandra García y Gutiérrez.

• Edinburgh based Up-Up chocolate is a small Scottish brand which produces 100% verified child-free labour cocoa sourced from a single farm. Its brand position is to produce ‘Great Chocolate, No Downside’ which is reflected in the striking bold packaging designed by Freytag Anderson.

• Gut friendly drinks brand Agua de Madra is a water kafir fermented in London. Rebranded by Chris Chapman the packaging design uses vibrant colour and a nostalgic design to communicate the taste and female essence of the brand.

Colour Compass Inspiration this Month:

• The RISO CLUB 100 exhibition at the Glue Factory Galleries in Glasgow. This exhibition brought together 400 postcard designs produced by artists and designers from cities across the globe. It was curated by Glasgow-based designer Gabriella Marcella, founder of Risotto who is known for her colourful graphics and riso print designs.

• This month, all attention was focused on Milan for the annual design week. While I couldn’t attend, I’d like to have seen these installations. One was ‘Chasing the Sun,’ a vibrant piece by Yinka Ilori for Veuve Clicquot that beautifully captured the joyful feeling of sunshine. Another highlight was ‘Soft Cubism,’ a compelling colour installation curated by Swedish designer Teklan for the Italian acoustics brand Slalom. Finally, I would have loved to see Issey Miyake’s ‘The Paper Log:Shell and Core,’ which cleverly showcased furniture prototypes created from compressed rolls of paper, a byproduct of its pleated garment production.

• The joint exhibitions at the Hayward Gallery - Yin Xuizhen: Heart to Heart and Chiharu Shiota: Threads of Life. Both artists used colour and materials to create an immersive experience, profoundly amplifying the emotional connection with the viewer. A particularly moving part of the visit was the time I spent reading the heartfelt messages in ‘Letters of Thanks’. I also loved the ceramics by Yin Xuizhen which integrated textile waste into the cracks of the porcelain.

• Artsy celebrated Earth Day with a curated collection of artworks which emulate the beauty and colours of the natural world. The collection included dreamy painted landscapes and photographs, my favourite was Georgia Michaelides Saad In a Dream | Spoke with the Cyprus Born.

Looking Ahead to May:

• This year’s London Craft Week runs from 11-17th of May. My recommendations are Edward Bulmer’s Grounding Colour Workshop on the 11th, the Cherry Blossom Project at the Garden Museum and Anna Starmer’s Colour Rituals Unearthed installation for De Le Cuona.

• Matisse 1941-1954 has recently opened at the Grand Palais in Paris and it’s a chance to view his later works which focus on cut-out forms and bold colour. It’s a must for colour lovers so book your ticket before it ends on the 26th of July.

• The Salad Days Market is coming back to Battersea Power Station for the three-day Bank Holiday weekend from May 2nd to 4th. This is the perfect event for lovers of unique handmade and vintage finds. It’s a fantastic opportunity to see what independent makers are creating and to chat with them directly.

• If you love colour based crafts why not try a marbling course run by Marmor Paperie at Cockpit Deptford Studios. Lucy McGrath will run workshops throughout May for beginners and intermediate level and it’s a great opportunity to gain hands-on experience of this traditional skill.

Trend Topics: ‘Slow Looking’

Have you ever considered how visiting an exhibition might actually be good for your health? According to a study by the Institute of Psychiatry, Psychology & Neuroscience (IoPPN) at King’s College London, looking at art can benefit your physical wellbeing. It found that stress hormones fell along with pro-inflammatory cytokines (IL-6 and TNF-α) which suggests that looking at art can have a calming effect on the body.

Positive News described the practice of art observation as ‘Slow Looking’ which coincides with David Hockney’s approach to his latest work at the Serpentine: A year in Normandie and some other thoughts about painting. According to the gallery the large, colourful piece ‘invites the viewer to slow down and notice the extraordinary in the everyday’. So next time you visit a gallery, think about the physical benefits in the art of looking.

That’s all for this month, I’ll be back in May with more colourful insights!

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Spring Awakening: Embracing Pastels

The arrival of spring has brought longer days, brighter sunshine, and the first blooms of blackthorn and daffodils. Like many, I feel a surge of energy and enthusiasm in March. I’ve also ditched the dark knitwear and fully embraced a spring palette of pastels.

Many of us are naturally drawn to pastels at this time of year, it’s instinctive to reach for gentle tones that ease us into springtime.

Marie Antoinette: The Original Pastel Muse

My inspiration this month came from the Marie Antoinette Style exhibition at the Victoria & Albert Museum, which closed on March 22nd. The exhibition offered a detailed look at her profound influence on fashion and design, from her time as Queen of France to the present day. It highlighted her exquisite taste and patronage during a defining period in French history.

As anticipated, Marie Antoinette’s strong preference for pastel tones and her love of nature were prominently featured. Seeing this first hand in the objects she owned and artifacts from that period rather than through a contemporary lens was the most impactful. Her world was showcased through objects like Toile de Jouy prints, gowns made of shot silk and satin, and ceramics and furniture, all celebrating delicate hues and floral motifs.

Pastel Blue: From Regency to Future Trends

One contemporary favourite stepping forward is pastel blue. A stunning example from the exhibition was the Manolo Blahnik Tourzel Habsburg shoes, famously featured in Sofia Coppola’s 2006 film, Marie Antoinette.

This light blue shade is also a staple in Bridgerton. The female characters frequently wear it, and the show’s interiors, particularly Bridgerton House, are inspired by Wedgewood’s jasperware. Even the family’s tea service is a blue Coalport Revelry set.

Looking ahead, Pinterest has forecast ‘Cool Blue’—associated with ‘glacier aesthetics’ and ‘subzero sophistication’—as a key colour for 2026, though I suspect the influence of Bridgerton mood boards remains a strong driver.

Trend agencies are also focusing on variations of quiet blue pastels. Future Snoops predicted ‘Moody Blue’ as a calming and clarifying colour for quiet comfort in SS26, while WGSN selected ‘Blue Aura’ as a soothing yet modern key colour for SS26. Both agencies link these quiet, tinted tones to core drivers such as resilience, pause, and healing.

Ultimately, our instinctive draw to tinted tones at this time of year extends beyond spring. Pastels offer year-round grounding and healing, forging a strong connection between the past and present, and reminding us of the subtle, delicate qualities of the natural world.

If you have a passion for pastels and historical references I’d recommend:

• Erdem’s exquisite AW26 collection, shown in London celebrated 20 years in the fashion industry with a modern take on femininity. It was a collection of richly embellished garments in a gentle palette of pastels which brought together historical elements with contemporary styling.

• Fashion in the 18th Century, a new exhibition at the Palais Galliera focuses on women’s fashion in the 18th century. It brings together over 70 silhouettes including historical and contemporary pieces.

• Responsible paint brand Edward Bulmer has recently launched The Chatsworth Collection, a palette of 24 new interior paint colours. Created in collaboration with Laura Burlington the palette takes direct inspiration from the impressive English country house. Colours include Crace and Queen of Scots which directly link to the history of the iconic property.

• Fiona Fleur is a London based floral designer who creates beautifully refined displays in a delicate palette of tinted tones.

• For Diesel’s FW26 collection, Glenn Martens successfully revamped sugar-coated pastels. The key takeaway was the continuing importance of pastels for menswear, which Martens emphasised by clashing them with vivid brights.

Colour Compass Inspiration this Month:

• WGSN announced its Colour of the Year 2028, Radiant Earth. The forecaster describes it as a foundational anchor which evokes a feeling of sacred belonging and tactile security. It clearly marks a shift from cooler hue to rich and warming tones.

• How well do you remember a colour you see? I tested myself with this clever colour tool from Lightspark Design, see how well you do.

• I came across the work of Elisabeth Seidel, a German lighting designer who works with salt crystals. Each piece is dyed by hand and gives off a soft glow when illuminated.

Looking Ahead to April:

• In Bloom is a new exhibition at the Ashmolean Museum in Oxford which opened on the 19th of March. It uncovers the hidden stories and histories behind the flowers featured in over 100 artworks and historic objects.

• I’m looking forward to the opening of Queen Elizabeth II: Her Life in Style on April 10th at The King’s Gallery, Buckingham Palace. This exhibition is a celebration of the late Queen’s unique fashion legacy, featuring garments and accessories from across ten decades of her life which showcase her distinctive style.

• I’ve admired the work on Hella Jongerius for many years, especially her research into colour theory which I experienced first hand at the Design Museum back in 2017. A new retrospective exhibition ‘Hella Jongerius: Whispering Things’ has just opened at the Vitra Design Museum. It covers a broad range of the Dutch designers work and explores the archives bringing together early experimental pieces with iconic manufactured designs.

That is all for this month, I’ll be back in April with more of my favourite colour insights and inspiration.

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Like every industry, artificial intelligence is changing the way we work. I have been experimenting with AI tools to understand how they can empower my creative process and enhance the articulation of my ideas. For this new series of forecasts I’ve returned to the human-led design principles I learnt at college. I wanted to step back and draw from the real world around me rather than simulating a concept in the studio.

This year I will be publishing four distinct seasonal narratives. Each one provides a focused colour palette and material direction. Moving beyond a single colour prediction, these 2028 narratives are an example of a broader, hands on approach.

The Winter 27/28 forecast is rooted in the world around us. It draws inspiration from real-life experiences, historical narratives, and the natural world to deliver a distinctive and unique perspective. This concept is designed to inspire and inform choices across colour, material, and finish (CMF) for a diverse array of products, from apparel, accessories and footwear to personal technology and automotive interiors.

Shoreline: Winter 27/28

The colour inspiration is drawn from the rugged coastline of the St David’s peninsula in West Wales. This area is renowned for its distinctive purple and green sandstone, a locally sourced material formed over 500 million years ago during the Cambrian Age, which is deeply embedded in the region’s cultural heritage.

The beautiful hues of this famous sandstone are particularly visible at Whitesands, a popular Pembrokeshire beach, which I visited this winter. These unique purple and green tones hold a strong connection to the rich Celtic history of the area, including landmarks such as St David’s Cathedral and the nearby Bishop’s Palace.

The erosion of the sandstone cliffs provides a rich source of colour and texture inspiration. The palette features cold winter tones—including sandy neutrals, tinted greys, and seaweed greens—which are amplified by the sea wash and the stone’s textured surface. These colours are designed to be showcased on brushed surfaces, marled knits, stone-washed wovens, and split leathers.

What’s driving this colour and material direction?

Travellers and home owners are seeking out quiet, peaceful destinations to power down and rest. A lovely example of this is the RIBA House of the Year 2025, ‘Caochan na Creige’, a remote dwelling built on the Isle of Harris, Scotland. It was designed to blend into the landscape and was clad in locally sourced Lewisian Gneiss stone. Retreats like this provide a space to observe, relax and blend into the natural landscape.

Tuning into the body’s natural rhythms and cycles is a growing wellness trend, enhanced by the use of health trackers. The demand for personalised health care and the expanding features of these wearables is allowing people to track hormone shifts, metabolism and sleep patterns. More of us are listening to our bodies and making considered choices about when we eat, sleep and exercise.

Being attuned to our environment and our bodies will drive us to seek out tactile surfaces that connect us to the present. Colours will have a subtle character which evokes nature and soothes the senses.

If you’d like to learn more about the Colour Compass 2028 colour and materials forecast, get in touch via our website at colourcompass.co.uk

Look out for the Spring 28 Colour Narrative which I will publish in the next couple of months.

Thank you for reading.

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In the UK, January is the month we scrutinise what we eat and this year is no exception. I’ve been watching Professor Tim Spector’s show “What Not to Eat” on Channel 4 which examines ultra processed foods and their effects on our bodies. It’s certainly an eye-opener and it has encouraged me to relook at what’s on my plate.

Coinciding with this, WGSN has also highlighted food with its trend ‘Tiny Things Massive Joy’, focusing on all things miniature, from small indulgences to tiny food portions.

I personally experienced this at London’s Café Royal Grill, which has created a special David Bowie Afternoon Tea to mark the 10th anniversary of the legendary singer’s death. The tea captures his persona and character in a collection of decorated cakes, scones, and sandwiches. The menu pays tribute to Bowie’s many identities through the design, colour, and names of the delicacies. My favourites were the incredibly light red velvet cake called ‘Velvet Goldmine’ and ‘The Berlin Year’s’, a beef pastrami, gherkin, and mustard sandwich. It was an ultimate sensory treat, bursting with colour, texture, and sweetness.

David Bowie themed cakes at the Café Royal Grill

Mintel recently pointed out in its 2026 Global Food and Drink Predictions that ‘by 2030, consumers will crave small, but meaningful ways to feel grounded, comforted and emotionally supported through food and drink’. As people tune into how food makes them feel, looking beyond taste to the colour, texture, aroma and sound will become a bigger part of the sensory experience.

Food culture has infiltrated the fashion space through collaborations like Crocs x Krispy Kreme and coveted pop-ups such as the Prada Caffè at Harrods. This has signalled a deeper integration of food and beverage experiences into brand strategies. Ultimately fashion brands are tapping into the inherent appeal of food, injecting a sense of “yumminess” into their brand to further enhance their desirability.

The sensory appeal of food needs to be factored into the product too. There is a huge opportunity to integrate the colours and textures of food into fashion and beauty products to evoke a sensory connection. As we crave analogue experiences and covert the tactility of real things why not look to food for inspiration? Consider the appeal of a dress in a succulent shade of ‘Lemon Delizia’ or a sneaker in ‘Tiramisù’ with a surface as buttery soft as whipped ganache. It would make your mouth water.

Inspired by delicious treats? Why not explore these references:

Faux Food Design:

• MoMA Mart: Discover playful, brightly coloured faux-food design at MoMA’s Design Stores in Soho and Midtown.

• Eléonore Joulin: This Brussels-based ceramicist experiments with Trompe l’Oeil giving everyday foods a new context through a playful approach.

Experiences & Dining:

• Claridge’s Bakery: The newly opened bakery celebrates classic British baking with treats like Jammy Dodger Tarts and Iced Fingers.

• The Town House Kensington: A lavish afternoon tea, specially created to complement the Marie Antoinette Style exhibition at the V&A.

Food Photography:

• Ellis Parrinder: One of the UK’s top food photographers, known for his unique ability to capture the colourful and playful side of food.

• @spolsky.studio: Pastry artist Majka’s approach is curated and minimalist. I particularly love the touches of pistachio green and cherry red.

Colour Compass Inspiration This Month:

• Men’s A/W 26 Colour Highlights: the Portuguese brand Miguel Vieira showcased a lighter, warmer palette featuring pastel pinks and copper tones whilst Amiri presented 1970s-inspired silhouettes paired with a deep, earthy palette of merlot reds, and various shades of sage and mint green.

• Patricia Urquiola at Heimtextil: ‘Among-all’ was a new, experimental textile installation for the Frankfurt fair which focused on elevating waste and integrating AI. I loved the abstract forms, textural contrasts and the dreamy palette which merged pastels with jewel tones.

• Alteronce Gumby at the Deitch Los Angeles: I first encountered this New York artist’s glass and acrylic paintings back in 2020. This most recent exhibition ‘Walk on the Moon’ showcased Gumby’s interest in energetic properties and includes tonal artworks made from gemstones, acrylics, glass and metals which channel colour and light energies.

Looking ahead to February:

• Chiharu Shiota: Thread of Life: This emotionally charged installation will connect the power of gratitude with the colour red. Members of the public have been invited to write letters expressing their thanks for something or someone. It opens on 17 February at the Haywood Gallery in London.

• Blue Focus: Glenn Ligon: This new exhibition at Hauser & Wirth’s New York gallery is a must-see if you are tracking the colour blue. This collection explores the emotional, historical, and cultural interpretations of the hue. As the gallery notes, “In these new works, blue operates as more than a color; it conveys mood, time and emotion. It evokes the twilight hour between visibility and darkness; it conjures the emotional register of Blues music.” The exhibition runs until 4 April.

• Rebecca Manson: Time, You Must Be Laughing: This exhibition at Jessica Silverman San Francisco showcases ceramic works by artist Rececca Manson. The new works are magnified insect wings created from thousands of small hand crafted pieces coloured with lustrous iridescent glazes. It’s open until 28 February.

Trending Topics:

Are Gen Z Turning its Back on Black. What Does it Mean for Fashion? That’s the question Vogue Business posed in a recent article. It calls out signs that young consumers under 30 are shifting away from black. Data included in the article from EDITED confirmed high street retailers are reducing the amount of black on the shop floor in favour of “polished” colors such as brown. It also points to designer brands such as Prada, Miu Miu and Valentino using brighter colours in S/S 26 collections. But why? Independence and creative freedom is suggested as a key driver for this rejection of black.

I can see there is an appetite for bright and bolder colours after a prolonged dependency on staple tones like black and grey. However I am curious to see if it is driven by a self-expression ‘movement’ or humour as WGSN highlights in its trend ‘Unserious Everything’. I will be watching these predictions closely to see how they play out in 2026.

I hope you’ve enjoy this month’s colourful insights, I’ll be back with more in February.

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The newsletter is back for December, slightly earlier giving you time to read it before the Christmas festivities begin. This month I wanted to share my thoughts on the importance of aspirational brights and explain why brands are overlooking this big opportunity.

As I’m sure many of you know, Cloud Dancer 11-4201 was announced as Pantone’s Color of the Year 2026. Sadly it’s not been well received and the forecasting brand has been called out by critics as ‘tone deaf’. Pantone describes it as: ‘lofty white that serves as a symbol of calming influence in a society rediscovering the value of quiet reflection’. Whilst I do understand and appreciate why the forecasting team selected this colour, it reflects a fundamental problem in the industry right now, which is playing it too safe.

At the moment consumers are being cautious and it’s impacting their colour choices. Black, grey, white and neutrals continue to be the ‘go to’ choice as many people avoid taking risks and stay in their comfort zone. Greyscale colours continue to dominate the car industry. Earlier this year BASF Coatings published its colour report for 2024, a review of global exterior car colour preferences. It included data showing grey had grown +10% in the Americas and +2% globally. The Society of Motor Manufacturers and Traders (SMMT) also confirmed that in 2024 grey accounted for 28.8% of all new registered cars in the UK which is its highest ever share.

Data also confirms a shift away from brights in the beauty and fashion sector. Consumers’ interest in eye make up is declining as minimalist looks are favoured. Spate’s 2025 Makeup Report called out ‘consumers are prioritising shape, definition, and finish over bold pigment, favouring products that elevate without masking.’ Whilst in the fashion industry brown is growing in popularity according to Heuritech. Its October data confirmed a rise in shades of Ebony Brown (+37%), Chocolate (+28%) and Tawny Brown (+11%).

Despite the continued attachment to the greyscale and neutrals, colour forecasters and brands need to remember that consumers aspire to uplifting, brighter colours even if they aren’t buying them at the moment. What was very clear from the comments on Pantone’s Instagram, people want aspirational colours, not white, grey, black or brown. That’s why Brat Green resonated with so many people last year, it was symbolic, culturally engaging and a powerful brand identifier.

I’m happy to say that there are some bright spots. WGSN’s Colour of the Year 2026 Transformative Teal is gaining traction, appearing across various categories: on colour cosmetics, suiting, sandals and sneakers, I’m observing a rise in brighter aqua tones on smart phones, sportscars and watches. Let’s hope in 2026 consumers take risks and buy into those aspirational colours rather than playing it safe with the greyscale. As a colour forecaster, I will continue to work with clients, emphasising how brights can be used strategically to connect with and engage their target audience.

Colourful stocking fillers, I recommend these Christmas reads:

• I’m reading ‘From Plant to Pigment: How to make your own vibrant inks, pastels and paints’ by artist Natalia Stopka. Launched last month the author invites us into her studio sharing recipes derived from botanicals. This detailed guide gives you a good introduction to foraging, sourcing, extracting and making lake pigments.

• Anthropologist and designer Charlotte Linton has written Dyeing with the Earth: Textiles, Tradition and Sustainability in Contemporary Japan. It focuses on the natural textile dyeing on the southern Japanese island of Amami Ōshima including the tradition of Dorozome (mud-dyeing) and Aizome (indigo-dyeing) and the role that traditional crafts play in sustaining rural social networks.

• The Black Book is an essential reference guide for all CMF specialists. It’s a detailed investigation into the application of black across a range of 100 materials including the ‘blackest black’ paint to charcoal, lava stone and vegan leather. I can’t wait to get my hands on a copy.

If you need inspiration during the festive season:

• If you’re in London this week and you like optical abstract art, go and see David Whitaker: Serious Play at the Rebecca Hossack Gallery, it closes on 20th December.

• Continuing the theme of op art, Bridget Riley: Learning to See is currently on at the Turner Contemporary in Margate until the 4th May 2025. It includes colourful works from the late 1960s and more recent wall paintings.

• If you’re in New York, I recommend visiting the Guggenheim to see the exhibition, Gabriele Münter: Contours of a World. Her bold approach to form and composition, along with her striking use of colour, makes this a show I would love to see in person.

• I would also recommend the work of Barcelona-based artist Lucía Vergara. She creates textile artworks with a deep narrative and symbolism, often inspired by her dreams, using naturally dyed vintage textiles. You can see her exhibition at the Alzeuta Gallery until 17th January.

Trending Topics: Nnena Kalu Triumphs at the Turner Prize

I’m thrilled to share the news that Glaswegian artist Nnena Kalu, whose colourful mixed media sculptures and spiral drawings I highlighted in October, has won the 2025 Turner Art Prize. Particularly moving was this interview with her facilitator, Charlotte Hollinshead. She spoke about how the art establishment has long overlooked artists with severe learning disabilities and the supportive organisations working with them. Nnena’s victory is a powerful step towards opening doors, creating more widespread opportunities for creative people with learning difficulties to showcase their work.

I wish you all a very Happy Christmas and I look forward to sharing more colour insights with you in 2026.

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November in Review:

So I thought I’d take this opportunity to reflect on some of the inspirational work I’ve seen recently that focuses purely on neutrals.

In December of last year, Pantone announced their 2025 Color of the Year as Mocha Mousse. Laurie Pressman, VP of the Pantone Color Institute, described it as a “mellow brown hue whose inherent richness and sensorial and comforting warmth extends further into our desire for comfort.”

Interestingly, back in 2023, Colour Compass had already forecast a brown for 2025: Chalkwood. We described this shade as a “comforting taupe that tapped into the ongoing need to nurture and protect.”

Looking at both selections, the consistent reference to “comfort” and the choice of a warm taupe or brown feels right, given that 2025 has been a challenging year for many.

Out and about:

This month I had the pleasure of visiting an exhibition dedicated to the woven textile artist Peter Collingwood (1922-2008). The display was held at Margaret Howell’s London store on Wigmore Street. Collingwood was a hugely influential weaver, teacher, and scholar, known for pioneering new construction techniques.

Peter Collingwood at Margaret Howell

The exhibition highlighted his innovative “Macrogauze” pieces. These were three-dimensional wall hangings, created on a specially constructed loom, resulting in a unique structural form. The colour palette was deliberately minimal and mostly neutral, a choice made to emphasise the construction of the designs and effectively enhance the dramatic 3D quality.

Peter Collingwood at Margaret Howell

I also took the opportunity to see Rust Never Sleeps at the Carpenters Workshop Gallery. This was a new exhibition showcasing Rick Owen’s Furniture, curated by Michèle Lamy. Here the minimalist forms were enriched with the raw surfaces of animal skins and wood grains. The palette of taupe and brown gave a warmth to the hard structures and enhanced the primal feel of the furniture.

Rust Never Sleeps at Carpenters Workshop Gallery

If you’re looking for more neutral inspiration I’d recommend:

• Embrace by Klára Hosnedlová at the Staatliche Museen zu Berlin. This Chanel commission is a monumental exhibition that creates a utopian landscape out of flax fibre, embroidery, cast glass and sandstone. It is an immersive environment full of organic hues and raw textures capturing the rural regions of the Czech republic shaped by craft, industry and changing borders.

• Currently showing at MoMA Ruth Asawa ‘A Retrospective’ charts the artist’s exploration of materials throughout her artistic career and presents many of her iconic looped-wire sculptures.

• The exhibition, ‘Fifty Years of Andy Goldsworthy,’ which closed this month at the Royal Scottish Academy, was a reminder of the impact that simple organic materials and colours can have. His art encourages us to connect more deeply with the natural world and view the land from a fresh perspective.

Colour Compass Inspiration This Month:

• Plant Based Paints: I love Casa Coral, an installation at the Casacor 2025 touring exhibition in Latin America. This innovative project between Todos Arquiteture and natural pigment specialist Maibe Maroccolo involved the selection of 20 plant species and development of 60 colours. The final palette was focused down to 10 and applied to the finished installation. It’s a surprising example of how rich and vivid natural pigments can be.

• Heritage Brights: I’ve been discussing the importance of heritage brand colours with our clients emphasising the need to revisit the archives when building a seasonal palette. So I was happy to read about this wonderful project ‘REI Archive Colors’.

• Healing Tones: Artist Marie-Claire Blais taps into the healing power of colour with her latest works ‘Streaming Light’ currently showing at the Montreal Museum of Fine Arts. The suspended installation made of painted burlap brings together gentle tones of blue, pink and orange to evoke the meditative feel of the rising and setting sun.

Looking ahead: if you need an injection of colour in December I would recommend:

• Beatriz Milhazes ‘Além do Horizonte’ a selection of new paintings which explore colour, pattern and ornament will be on display at the White Cube until the 17th of January.

• Pantone Color of the Year 2026: The countdown is on, what colour do you think they will choose? All will be revealed on the 4th of December. If you want to know first hand from Laurie Pressman you can sign up to the webinar here.

• Miami Art Week: The biggest annual art fair in the US starts on the 5th of December so expect art and brand activations which will surprise and delight. Hopefully there will be plenty of colour to inspire us!

Trending Topics:

• Coloured Microfibre Pollution: This month, the Sustainable Fashion Forum drew our attention to a significant new study. The research investigated the release of PET microfibers from textiles into aquatic environments and their subsequent formation. A key finding was that dark coloured, and specifically purple, PET microfibers undergo photoaging at a faster rate compared to lighter colours like green, blue, and yellow. Researchers believe this accelerated degradation is due to the higher light absorption of the dispersed dyes used in these textiles. This discovery acts as a stark warning, indicating that certain textile colours may be contributing more than previously understood to marine environmental damage. The crucial next step is to determine how to apply these findings to effectively minimise this impact.

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October in Review

This second edition features October’s happenings and highlights, plus must-see items for your November wish list.

Out and about:

This year’s Dutch Design Week did not disappoint. I always enjoy this event because it offers a relaxed atmosphere alongside a wealth of new ideas. It’s an essential experience for CMF professionals and I consistently return with fresh perspectives and numerous observations to share with my clients.

Many textile designers showcased woven jacquard tapestries, adding rich layers of texture and color to their work. Kiki Van Eijk’s ‘Memories of a Garden’ particularly stood out. This collection of beautiful jacquard textiles was inspired by her artist-in-residence experience in Marc Mulders‘ wildlife garden. The intense scale and vibrant palette captured the richness of the garden that inspired these pieces.

Photo of ‘Memories of a Garden’ by Kiki Van Eijk

In contrast, one of my favourite textiles was from a hand-made collection from Peruvian textile manufacturer Illari. Its exhibit, ‘Threads Telling Stories’, demonstrated the exquisite skills and vibrant sense of colour of the Peruvian artisans.

Photo of a textile by Illari

Glass proved to be a captivating medium this year. Studio Thier & Van Daalen’s new ‘Bloom’ lighting collection, with its delicate palette inspired by light dancing across flower petals, stood out. Studio Rens also expanded its offerings with a new collection of large-scale glass pieces.

Iris Toonen‘s exhibit, an ongoing project since 2018, focused on the intricate process behind glasswork. Inspired by brickwork, her pieces have evolved from paper weaving and colour experiments into suspended glass hangings, featuring a contemporary palette of tinted whites, pastels, and neon orange.

Photo of Iris Toonen’s glass work

To celebrate RAL’s 100th anniversary the German colour specifier partnered with Raw Color to showcase some of its heritage colours. Raw Colour selected five hues which represented common applications areas such as transportation, communication, technology and safety. The distinctive palette for this limited edition fan captured the functionality and purposeful nature of RAL’s classic collections.

Colour Compass Inspiration This Month:

• To celebrate Hispanic Heritage Month Artsy.net put together Hispanic Heritage in Full Color a place to discover vivid and expressive works of art.

• Who loves Liberty’s prints? 🙋🏼‍♀️ So I’ll be off to see Women in Print: 150 years of Liberty Textiles which has just opened at the William Morris Gallery, London.

• Plant-based paint brand Edward Bulmer has just launched ‘12 Colours For Your Autumn’ in collaboration with interior designer Carlos Gracias. The ‘Modern Country’ palette includes new shades and has a distinctly bold retro undertone. I also found a similar colour mood in Layered’s most recent collaboration with Teklan

• I’m obsessed with the latest Mathmos x Sabine Marcelis collaboration. The deliciously named ‘Honeydew Green’ was chosen for the limited numbered edition of the Astro Lamp.

• Purple, a colour connected to creativity, spirituality and royalty is the subject of Carlos Mota’s latest book ‘Purple Fever’. It’s packed full of inspiration from nature, art and interiors.

• If you’re into preloved fashion then I’d recommend watching RE/Style. Launched by resale market place Vinted, it’s a new six part fashion competition on Prime Video.

Looking ahead: November Inspiration

If you are seeking inspiration this November, consider:

• Jeffery Gibson new solo exhibition ‘Dedicated to the one I Love’ which has just opened at Hauser & Wirth Paris. The work refers to the history of colour studies and it includes new works which explore colour, light and prismatic effects.

• Biotechnology company Post Carbon Lab is presenting ’Phase 2 Microbial Dyes Project’ at the British Council in London until January.

• This year’s Turner Prize is in Bradford (Yorkshire) for the first time. Glaswegian sculpture and installation artist Nnena Kalu, binds, layers and wraps colourful textiles and paper into cocooned bundles with cellophane and tape. She is the first learning-disabled person to make the award shortlist and you can read this article to learn more about her artistic journey.

Trending Topics:

• Mintel’s 2026 Global Predictions include “The New Young,” a trend that examines the redefinition of age-based expectations and shifting milestones across all demographics. This trend forecasts a blurring of boundaries and an increased need for flexibility across all age groups, which brands and businesses must adapt to. According to Mintel, consumers will increasingly focus on life planning, reconsider investments, prioritize preventative healthcare, take micro-retirements, and pursue long-deferred passions. The report highlights significant opportunities for brands to support all-ages as they redefine themselves throughout their lives. This underscores the need to consider consumer life stages rather than focusing solely on traditional age demographics.

Well I hope that’s got the creative juices flowing, I’ll be back again in November with more colour and trend insights!

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If you’d like to know more about colour intelligence, forecasting and analysis head over to our website at colourcompass.co.uk

September in Review

September was a bustling month, as expected. After a relaxed August, I always appreciate the energy and excitement that trade shows and catwalk events bring.

It was also a significant month for colour launches. WGSN + Coloro unveiled their A/W 27/28 Key Colours via a webinar, Instagram, and LinkedIn. I found this season’s colours to be very commercial, with a good balance of directional and classic autumnal tones. I’m keen to see how these colours will emerge in the coming months.

It’s also the perfect opportunity to choose new colours for the home as paint brands launched their Colours of the Year for 2026. Recently, I painted my hallway in a warm plaster pink called ‘Factor Fifty,’ by Coat Paint. It’s my first time using this brand, and the results are great, it made the space feel so much warmer.

Dulux recently announced its Colours of the Year for 2026, opting for three indigo shades: Free Groove, Mellow Flow, and Slow Swing, collectively titled ‘The Rhythm of Blues.’ This trio feels like a progression from a single colour choice to a more versatile approach for consumers. My favourite is the bold ‘Free Groove,’ which echoes ‘Transforming Blue,’ a colour I recently forecasted and discussed on the Colour Compass Substack.

Out and About

The London Design Festival is always a highlight, kicking off my research for the new season. This year, I focused on two shows: Biofabricate and Material Matters.

Biofabricate Fair was a two-day event celebrating bioinnovation within the global design community. I explored the exhibition and chatted with various start-ups about their material and colour innovations. Netherlands-based Fabulous Fungi showcased a beautiful fungal pigment palette of warm pinks and orange tones across different substrates. Ruth Lloyd presented her ‘Living Colour’ PhD project in collaboration with Colorifix, which involves developing a standardised colour system for printing with microbial dyes, featuring a selection of her vibrant floral prints.

Photo of Ruth Lloyd’s PhD project ‘Living Colour’

Material Matters London, held at the new venue ‘Space House,’ was another excellent opportunity to discover sustainable material and colour applications. The show was strongly focused on environmental impact, with themes of Land, Water, and Agriculture, and I was impressed by the diverse concepts. Jacob Marks’ ‘Exploration in Pine Resin’ particularly caught my eye with its deep amber tones and the tactility of the resin-dipped pieces. I was also drawn to Gizem Candan’s ‘Invasive Palette’ hangings, coloured with pigments and dyes extracted from common buckthorn, an invasive shrub threatening Montreal’s Mount Royal Park. Both creatives presented compelling narratives and evocative organic palettes.

Photo of Gizem Candan ‘ Invasive Palette’

Colour Compass Inspiration This Month:

• Catwalk Trends: Catwalk month is in full swing, and I’ve been particularly captivated by the colours from Milan, especially at Fendi and Prada. Both luxury brands strategically used bold brights to highlight utilitarian and feminine pieces. Check out Fendi’s colourful pixelated set design by Marc Newson.

• Artist Spotlight: I’ve been following artist Emily Powell, who had a summer residency on the Isles of Scilly. Emily’s vibrant and expressive paintings truly capture the essence of summer in this remote part of southwest England. She also opened her Dartmoor studio earlier this month to showcase her work.

• Reading Material: I’m currently reading ‘Designing Hope’ by Sarah Housley, which explores four emerging futures. It’s a fantastic read for those seeking macro insight inspiration.

• Exhibition News: As a huge Marimekko fan, I was thrilled to hear about the touring pop-up exhibition ‘Field of Flowers’ at Helsinki Design Week, which unveiled 25 new print designs.

Looking Ahead: October Inspiration

If you’re seeking inspiration this October, consider visiting:

• Dutch Design Week (18-26th October): This 25th edition is Colour Compass’s favourite design show, brimming with CMF inspiration. We’ll be there researching for 2028.

• Do Ho Suh: Walk The House at Tate Modern: This is your last chance to experience the colourful, immersive textile artwork by the Korean-born artist, with the exhibition closing on the 26th October.

• Dirty Looks: Desire and Decay in Fashion at the Barbican: This exhibition just opened and is on my ‘must-see’ list.

Trending Topic:

• Thrift-tripping: Colour Compass is tracking this emerging travel trend. As consumers’ interest in vintage and pre-loved items grows, Globetrender reports that they are increasingly combining this with travel. If you’re interested in how the pre-loved market is influencing colour, get in touch.

That’s all for this month! I look forward to sharing more insights with you in October.

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As September draws close it’s a good time to reflect on the year so far and the memories forged. Some are very vivid, while others have already begun to fade. I've been contemplating how we recall the past—how crisp memories of cherished events can transform into an emotion, a blurred image, or an abstract sound.

In this narrative, I will delve into the concept of "traces"—evidence of a specific moment in time, whether it's an emotion or a tangible impression.

This year, I discovered the work of Kaye Donachie, a contemporary Scottish painter renowned for her cool-toned figurative art. Her work first caught my attention through a collaboration with the UK-based luxury womenswear brand Erdem, showcased earlier this year at the British Museum. I was captivated by Kaye's watery blue portraits, featured on flowing organza shift dresses, which imparted an otherworldly, ethereal quality. To me, the softness of her brushwork and the melancholic palette of blue and lavender tones evoked the fading memory of a familiar presence. A recent exhibition of her work at Maureen Paley in London, titled ‘I kept the memory to myself,’ further reinforces this interpretation.

During my visits to London's degree shows this summer, I encountered some forward-thinking textiles that explored themes of memory and circularity. Lottie Frei, a Central Saint Martins (CSM) textiles graduate, captured the memories and imperfections of well-worn garments using vibrant inks and sublimation printing. Stitched and darned in places, these "traces" of beloved clothing serve as a reminder of their inherent value, beauty, and emotional significance.

Emily Gubbay, a CSM Material Futures graduate, developed a circular process for recovering synthetic indigo from waste denim. For her 'Infinity Blue' project, she collaborated with London-based jean maker Blackhorse Lane Ateliers, collecting their denim off-cuts and utilizing them as waste pigment to reprint new jeans. The final product was an impression print of waste dye, creating the sensation of the memory of unwanted denim directly onto a new pair of jeans.

What struck me in these works was not only the narrative and poetic nature of the colour application but also the subtle transference of blue pigment onto canvas or fabric.

This exploration led me to select Transforming Blue (Coloro 117-44-21), a concentrated tone that can be diluted to a subtle, lighter tint. It has a muted quality that makes it feel serious and a violet warmth which gives it familiarity.

Artisanal applications such as dip dyeing, marbling, wood block printing, and stone glazing can impart a poetic quality to the colour. I particularly admired how Studio Kloak and Didi NG Wing Yu applied this colour to wood. I was also intrigued by denim company 3Sixteen’s collaboration with Saucony to create a naturally indigo-dyed synthetic shoe in this blue. The expertise of natural dye company Green Matters was enlisted to achieve the shoe's tonal, dip-dyed aesthetic.

Peichin Lin's textile exploration "Blue Becoming" offers an excellent reference for this concept of “Traces”. The MA Biodesign graduate investigated methods of using a microbial system to purify waste dye water while simultaneously producing phycocyanin. The project draws inspiration from Chinese indigo dyeing and resulted in a collection of blue textiles. My favourite piece has a blue marble pattern with a translucent watery appearance.

I eagerly anticipate tracking the evolution of Transforming Blue over the next 12-18 months, observing its transition from conceptual to commercial applications. It is a versatile mid-tone blue that is suitable for a range of materials from textiles, leather, bio plastics, wood, ceramic and glass. I expect to see it translate onto apparel, footwear and accessories along with furniture and automotive products. 

I hope you’ve enjoyed this latest colour narrative, thank you for reading!

Discover more artists, designers and manufacturers that are working with this blue:

Felicity Aylieff: Expressions in Blue

From field to fashion: Tintoremus' homegrown indigo cultivation promotes natural dyes

Lab to Loom

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London Craft Week, which took place from 12th to 18th May, was a fantastic event this year. It’s always inspiring to see the new works and meet the talented makers across the city. The 11th edition featured some thought-provoking pieces, and it was interesting to note the connections with other art exhibitions currently running.

This year, I was particularly drawn to the artists exploring inks, both in their application and their sustainable origins. As a long-time admirer of marbling, especially since learning the technique in primary school, I was fascinated to see a novel application in the ‘Tides’ collection. This collaboration between Nat Maks and Brogan Cox of Sebastian Cox showcased marbling on sycamore furniture – a completely new approach. Inspired by nature and the coastal environments of their hometowns, the sycamore tables featured surprisingly vivid colours, and the marbling effect gave them a beautiful watery fluidity. I could certainly envision these pieces in my own home.

Tides: a new collaboration between Brogan Cox and NAT MAKS

I also had a great conversation at the 67 York Street Gallery with textile artist and designer Amélie Crépy, who was presenting her first upholstery collection ‘Chêne’. Her use of black plant-based ink, derived from oak galls – an ancient pigment with roots in the 4th century – really caught my eye. This ink was applied as a hand-applied wash to natural linen, resulting in a lovely rawness in her textile artworks. The organic quality was also present in her furnishing fabrics, which are produced in collaboration with AO Textiles and Gainsborough.

Art work by Amélie Crépy

Adding another interesting layer to the week was the ‘Art for Your Oceans’ exhibition at Sotheby’s. This exhibition and auction, supporting WWF’s marine conservation efforts, brought together a diverse range of works by both emerging and established artists like Antony Gormley and Mona Hatoum. A unique aspect of this project was the use of Ocean Ink, provided by the Scottish company Oceanium. Sotheby’s described this as the, ‘first sustainable, fully biodegradable ink made from regenerative farmed seaweed’. The artists were given blue and gold inks and each interpreted the theme in their own unique way. I found this to be a clever way to highlight the potential of sustainable inks and to engage a new audience within the art world, potentially paving the way for future investment in Oceanium’s innovative algae ink.

Finally, I visited ‘Astonishing Things: The Drawings of Victor Hugo’ at the Royal Academy. After seeing such innovative contemporary ink applications, I felt a desire to explore more historical contexts. The exhibition, featuring paintings and sketchbooks from an original collection of 4,000 artworks, did not disappoint. It was fascinating to see his wide range of subjects and techniques. His striking gothic style, utilising ink blots, washes, stencils, and lace, created a hauntingly abstract feel. I also noted parallels with the ‘Suminagashi’ marbling technique used by Nat Mak.

These discoveries have really fuelled my interest in sustainable ink making, and I’m eager to continue exploring new colour innovations in this area. What stood out to me was the creative approach to non-toxic, low-impact colour sources and the shared enthusiasm for finding new solutions and inspiring the design and manufacturing sectors to adopt more sustainable practices.

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It's interesting how much attention soil health has received recently, with many gardeners now embracing the 'no dig' method. According to Guy Barter, Chief Horticulturist at the Royal Horticultural Society (RHS), “Digging disrupts natural processes that keep soil healthy and productive.” The current recommendation is to enrich flower beds with mulch and well-rotted organic matter to protect the soil's structure.

My recent visit to the 'Soil: The world at our feet' exhibition at Somerset House gave me an opportunity to consider the remarkable potential of soil and to see how artists have explored its diverse colours and textures. I was particularly drawn to Herman de Vries's work 'from earth: kreta', a 1992 study featuring 60 earth and soil samples collected from Crete by Roland Warnbach. The simple act of rubbing each sample onto paper and framing them individually created a beautiful collage of earthy tones.

The deep historical connection China has with the earth through the use of clay, dating back to the Neolithic period, is also fascinating. Japanese architects Kengo Kuma and Associates beautifully acknowledged this heritage in their design for the recently opened UCCA Clay Museum in Yixing, a city known as the 'ceramic capital'. The museum's facade is covered in thousands of handcrafted ceramic tiles, created with the help of local children who carved designs into them. The tactile nature of the coarse tiles and the warm tonal variations of the glazed surfaces truly highlight our physical relationship with the earth.

Roland Rael's recent architectural work, 'Adobe Oasis', currently part of Desert X in the Coachella Valley, also explores the tradition of using natural materials like earth, water, and straw. This 3D-printed ribbon-like structure, made from red adobe, draws upon ancestral knowledge. Rael's work emphasises the importance of returning to sustainable building practices by combining age-old materials with advanced manufacturing techniques.

Inspired by this ongoing relationship with soil, I've chosen Baked Adobe (Coloro 025-49-19) as a key colour. This coppery brown, with its warm orange undertone and rich materiality, reminds me of the earth's subtle yet profound connection to our daily lives through our food, clothing, and shelter.

As more consumers seek to slow down and engage with the physical world, I believe colours with a tangible quality will become increasingly significant. The Modus Brewery in Newcastle, Australia, offers a compelling example of how this warm tone can be integrated into commercial interior spaces. Its rammed earth walls and custom ceramic tiles in a light Baked Adobe help to connect the indoors with the outdoors, softening the industrial feel of the building.

Interestingly, Baked Adobe can also evoke a sense of luxury. At the recently restored Casino Royal Palm in Cannes, this colour was used to capture the opulence and glamour of the 1920s. Intimate spaces were enveloped in this warm copper tone, with layers of both hard and soft materials creating an atmosphere of refined luxury.

Given its versatility, Baked Adobe can be effectively used across various materials. To maximize its impact in interior spaces, I suggest creating contrast by pairing it with glazed ceramics, brushed metallics, etched glass, and plush textiles. For fashion products, it lends itself beautifully to natural fibres and laundered denims. As a classic leather colour for bags and sandals, consider using it for polished veg tans, tumbled nubucks, and velvety suedes.

I hope like me you find beauty in the small things and appreciate their significant impact on our lives. I look forward to sharing more Colour Narratives with you in the summer.

Discover how designers and makers are implementing this colour by exploring the following links.

Virtues of Unity by Halima Cassell

Collect LAYER x MDF Italia x Kvadrat

A single material has the power to craft powerful spatial narratives, a chinese cinema show

Sustainable Acid Wash by Officina39

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Here in the UK, this winter has felt particularly damp and grey. However, I'm grateful that we haven't experienced the extreme temperatures, storms, or wildfires that have affected many other countries in recent months.

Temperature and climate are constant topics of discussion as we experience more extreme weather. The Environment Agency reports that April 2023 to March 2024 saw wet, windy, and stormy weather across the country, with 13 named storms compared to just one in 2022-2023. Flooding is becoming more common in the UK, and water quality is a national concern and political issue. 

A new exhibition, "Water is Coming," at the Danish Architecture Center explores the complex relationship between water, people, and nature, showcasing architectural ideas and projects that adapt to and manage the threat of flooding.

Designing adaptive architecture will be essential to our survival. I was particularly intrigued by the immersive design of the Zaishui Art Museum in China, which is partially submerged in a man-made lake and designed to allow water to flow over some parts of the flooring. It's an interesting example of how we can work with the elements and design architecture that harmonizes with nature.

The changing environment is impacting tourism, and travellers are seeking cooler destinations and water-centric getaways. As global temperatures rise, tourists are heading north, and destinations like Norway, Ireland, and Sweden have seen significant increases in international arrivals. According to Reuters in July 2024 Norwegian Air added 10 new routes between northern Norway and European cities.

But our relationship with water isn't all negative. The growing popularity of bath rituals, communal bathing, and winter bathing signals a growing connection to the restorative properties of water. Cold plunge pool therapies have surged in popularity, and new venues like Arc in London’s Canary Wharf are offering social, urbanised contrast therapy experiences.

The shifting climate, the draw to cool destinations, and the popularity of bathing therapies have led me to forecast a light aquatic tone which I've named “Vapour”. This turquoise colour (Coloro 094-81-06) is a tinted pastel with a clean, illusional quality.

“Vapour” should be translated into a range of materials, textures, and finishes which enhance its evaporative quality. It can be applied to milky bio resins, opalescent glass, iridescent powders, silky chiffons and airy animal fibres. Product applications can include beauty ingredients, packaging, glassware, ceramic tiles, knitwear, occasion wear, jewellery and accessories.

Despite its lightness and translucency, “Vapour” is a trans-seasonal pastel that complements both darker winter tones and summer brights. It's a colour I expect to gain popularity in the next 12 to 18 months across a range of product categories.

Thank you for reading, and I look forward to sharing a new colour narrative with you in the next few months.

In the meantime you can also check out these related links:

Dubai is set to build the world’s tallest resort with three waterfalls & massive botanical gardens

Ecotrapod: a sustainable innovation in wave dissipation

The idea: The swimmable city

Vector Architects’ forest spa channels bond-worthy sophistication in China’s mountains

MAD designs Nanhai Art Center to emulate "continuous wave of water”

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What we do

If you’d like to know more about colour intelligence, forecasting and analysis head over to our website at colourcompass.co.uk

Let me introduce myself. I'm Jenny Clark, a colour forecaster working in the fashion and design industry. For the past 25 years, I've specialised in selecting colours for products and explaining the context behind them.

My background in textiles, along with my passion for sewing and crafting, has always kept me close to the creative process. I spent several years studying weave at college, where I honed my creative skills and developed a strong technical foundation. During my studies, I also learned how to dye yarn, and that was the beginning of my colour journey.

Since graduating, I've worked in the design industry selecting colours for a wide range of products, from cars and shoes to interior paints.

As a colour consultant, part of my job is to forecast colour trends two years in advance. This challenging task demands extensive research and a deep understanding of the cultural and social shifts that influence consumer behaviour. Explaining these shifts is a key aspect of my work and provides essential information for my clients.

I believe that colour has the power to brighten our lives. Through this blog, I aim to inspire you with my creativity and storytelling. I'll share articles about new colour concepts and innovations, connecting you to a more colourful future. I'll also share insights from exhibitions and city visits to keep you informed about the latest trends in art, design, and culture from around the world.

I hope you enjoy it!

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