Refresh your home, your investment property and your mindset with these nature-inspired colour schemes
3 min
Anyone who has taken even a passing interest in interior colour trends in recent years will tell you that the tones and shades of nature have played a strong role. Whether it’s the deepest ocean blues, the softest greens or the earthiest golds and terracottas, we’re looking for a deeper connection to natural spaces and environments within our own four walls. That’s the strongest theme in interior colour choices moving into 2023. This perhaps should come as no surprise given the past couple of years when so many of us have turned to nature for solace and as a way to re-energise ourselves, body and soul.
Green leads the way in terms of colourways, almost always with warm undertones, from soft seafoam shades and eucalyptus green to deep shades of olive and forest green and tantalising mixes of teal green.
Australian paint company, Haymes, describes their ‘Carefully Nurtured’ palette as restorative and reinvigorating as we begin to power up after two years of uncertainty and, in many cases, separation.
Biophilic elements – the human desire to connect with nature – make this palette ideal for creating connection between indoor and outdoor spaces, especially when teamed with natural materials such as timber and stone, as well as fibres such as linen and wool.
Warm colour bases ensure that while the green palette speaks of open space, a sense of cosiness is retained.
Similarly, the Balance and Connect colour palettes from Dulux focus on creating an equilibrium. While mid tones of teal and green speak of the natural world, the softness of these colours provides the perfect backdrop for contemporary or mid century furniture and abstract art.
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These are palettes that focus on harmony over contrast, with similar tones placed alongside each other for depth. Equally at home on cool winter nights or warm spring days, lighter colours are ideal for shared spaces, like open plan living areas, while deeper shades create a sense of comfort, intimacy and even drama in less frequented areas such as bedrooms, home offices or formal dining spaces.
Indeed, the beauty of these palettes is their versatility, able to make themselves at home in contemporary environments, as well as breathing new life into more traditional homes.
Whether the look is relaxed elegance or contemporary chic, the sense is one of calm and serenity.
As we continue to examine what life looks like in a post COVID world, the beauty of paint is that if you tire of it or your priorities change, it’s one of the least expensive and invasive options to change your space.
And that’s something we can all feel good about.
This warm palette from Dulux (above) doesn’t shout its appeal from the rooftops. Instead, they are the kinds of colours that improve on better acquaintance. Choose from deep earth tones such as Cinnamon Sand or Research for intimate spaces like bedrooms and separate dining, or opt for Whisper White in shared spaces such as living rooms.
If there is one colour that has dominated interior palettes in recent years, it is green. A key element of the biophilic trend, where we seek out the nature to restore balance to our increasingly tech driven world, shades like Haymes Botanist Green (above) continue to delve deeper each season. Texture is key, as cut flowers or indoor plants.
This dreamy palette (above) from the Dulux range draws on the ocean for colour inspiration. Gleaned from visits to Milan design Week and Future Laboratory London, among others, this palette is about stripping back the superfluous to immerse yourself in colour. Team with luxurious textures like velvet and silk for a look that is both sophisticated and comforting.
This palette from Haymes Paints (above) plays with notions of light – what colours reflect it and what colours absorb it. Colours like Empress Blue (below) play surprisingly well with pastels like Haymes Faith and Aloe Green. Add texture with hand made ceramics and organic patterns.
Miles from home and in lockdown with family, the designer took inspiration for his new sofa from an unlikely source
6 min
While the rest of the world was hunkering down in 2020 as the reality of COVID set in, Gabriel Tan was moving house — halfway around the world.
The Singaporean designer and his heavily pregnant wife Cherie Er relocated with their five-year-old son to Porto, on the coast of Portugal. It was a bold move given Tan had an established studio in Singapore, but the couple decided it was worth the risk to be in the heart of the design centres in Europe and the US.
“It was difficult because we had a good business in Singapore and my wife had a really good job — she was running the Asia Pacific sales for Credit Suisse,” he says. “We threw everything in the basket and moved to Portugal.
“We decided that this design business has to work.”
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By the time Tan, who decided on a career in design while doing his national service in the navy, left for Portugal, he was already a name in Singapore and Japan, first with Outofstock, which he started with two friends, then his own studio before working with Japanese brand Ariake.
“I met them when they were still doing contract manufacturing and they were a local brand that wasn’t even known in Tokyo,” he says. “Originally the plan was just for me to design a few products for them. I told them that’s not going to move the needle for them if you are just going to add my products to your current collection so I suggested something more ambitious.
“I kind of appointed myself as the creative director.”
Origin story
The experience with Ariake spurred Tan onto build his own brand, Origin Made, designing products and taking on interior design projects, but he was keen to continue to extend himself.
Over time, living and working in a country of 5.5 million people was beginning to feel limiting.
With more of his time and attention being directed towards brands in Italy, Scandinavia and the United States, it made sense for Tan to make a permanent move to a location with easier access to Europe as well as North America. It was also an opportunity for a fresh start in design terms.
“I felt I was getting pigeon holed a little bit before COVID because people felt my work was very minimalist Japanese/Scandinavian, but it was because I was designing for Japanese clients,” he says. “When you work with a company, it is 50 percent them and 50 percent you. You bring part of yourself but at the same time, you can’t ignore the brand, their culture and their customers.”
Life in lockdown
Like much of the rest of the world, Portugal was in lockdown when Tan and Er arrived and their rental accommodation was not entirely comfortable for the family. As some work dried up in Singapore, Tan found himself with time to think.
“We were spending a lot of time in front of the TV and we were all wishing we had a more comfortable couch in our apartment,” he says.
“I was still waiting for my home to be finished construction so we were in a very uncomfortable spot.
“I really prioritised comfort when I was designing this sofa so I really went for it and tried to think ‘what is the craziest, most comfortable form we could get’.”
The sofa is the Luva (Portuguese for glove), a modular design taking its inspiration from Japanese futon beds and western boxing gloves. The backrest has the ability to extend for full lounging or to fold down to create a ‘fist’ for more support. It’s a deliberate attempt at cross cultural pollination.
“You have the eastern influence of the futon and the western sport of boxing and I tried to get an aesthetic that different cultures would be familiar with whether they are from Asia, Europe or the US,” he says. “You will find this shape is familiar to you and you will be naturally drawn to it.”
Build your own
While the lounge is in keeping with a contemporary aesthetic and comfort levels, it also embodies the practicality that is an integral part of Tan’s approach. Each piece is available individually, allowing the user to ‘build’ the lounge to suit their needs, whether they live in a large house or a small apartment.
“I have lived in apartments all my life,” he says. “You can see how narrow the stairwells can be, and you have to carry the sofa up.
“Whenever we are doing interior design for clients we know the consideration when you’re buying a sofa. If it’s modular, if you can get it through doorways and narrow hallways, it’s going to be much easier to convince the client to buy.”
It’s also a design that the user can add to over time, extending the usefulness and longevity of the sofa. Tan took it to product design director at Herman Miller, Noah Schwarz, who was quick to recognise its applications.
“He would often ask what I was working on so I showed him this sofa and immediately he was like ‘this could be something for us’,” says Tan.
“He thought it might be something for the MillerKnoll group but which brand he couldn’t tell yet.
“But he said ‘definitely don’t show it to other people’.”
The Luva has since been joined by the Cyclade tables, a trio of coffee and occasional tables designed to work equally well together or singularly. Other collaborations have followed, including work with major European brands such as B+B Italia, Menu, Abstracta and Design Within Reach while still maintaining his Singaporean office.
Cutting down travel times has meant more time on the ground.
“Here I travel quite a lot to meet with different companies I am working with and that helps because to me these distances are super short,” he says. “For designers living in Europe they might not want to go to Denmark because it’s a 3.5 hour flight but to me, even if I have to transit, five hours is no problem.”
Leap of faith
Although the move to Europe was risky, Tan has no regrets. While he admits his Portuguese is still a work in progress, his two sons (Er delivered a baby boy not long after arriving in Portugal) are quickly learning the language and the family has now moved into a traditional townhouse, which Tan has renovated, and where their office is based.
Being in the heart of Europe has opened up a world of opportunity for Tan that has been both invigorating and challenging.
“I am designing for companies of different countries and I get to learn more about other ways of life and how people from other countries see design and see their homes and their spaces and how people do business in different parts of the world,” he says. “Coming from Singapore, it can be very stifling because it is so small. It’s really such a joy to experience these different cultures through design collaborations.”
Moving away from family and friends was a leap of faith but it gave him the push he needed. For a designer whose work is all about comfort, he is not one taking the safe path and staying home.
“It’s a good business model for revenue but you are not going to leave a mark on design history, you are not going to touch the lives of that many people if you are working with regional brands,” he says. “I really wanted to work with the international brands that have the reach with customers worldwide and I think if I hadn’t moved I would not have had that clarity of mind and that focus to really go for it.”
Article originally published on Kanebridge News Australia
