Continuing our series charting the evolution of colour and pattern, we explore how trends and historical influences have shaped British interiors, this time exploring the potential of brown
FEATURE EMMA J PAGE
BROWN
Reminiscent of the earth and therefore conjuring a sense of solidity, brown, in its many guises, from tobacco to terracotta, is a grounding neutral that has anchored interiors through the ages. One of the first colours to be used in art, thanks to natural pigments found in umber, sienna and ochre, it dates back to Ancient Egyptian and Greek culture. This is also one of the most prevalent colours in architecture, thanks to materials such as timber, brick and stone. However, the tone also garnered associations with drabness throughout the Middle Ages, when brown clothes were associated with the mundane and the ordinary. Rich browns found favour again in the 1960s and 1970s, especially when paired with vibrant pops of purple and orange, before falling on hard times. Now, brown is having a resurgence, thanks to its renewed associations with earthiness and elegance.
New neutral
Few colours encompass as many tones as brown, whether lightest beige, rich russet and burgundy or darkest chocolate. And few have as many verbal associations with food, from caramel and toffee to hazelnut, mushroom and cocoa, perhaps indicating that this is a colour that appeals to the senses. Of course, this is a hue found in a wealth of natural materials too, including timber, grasses, terracotta and marble, reinforcing its connection to the elements. Perhaps in part due to our renewed appreciation of organic materials, brown is once again in focus, prized for its restful yet grounding qualities. “For me, brown evokes paintings by Rembrandt or Vermeer, leather club chairs, libraries, smoking rooms and hunting lodges,” says La Manufacture Cogolin’s Sarah Henry. “It brings warmth to interiors and provides a strong anchor to rich colour palettes.”
Modern treatments of this earthy colour avoid overload and instead focus on texture. “Unlike the 1960s and 70s, this isn’t about an abundance of dark wood or heavy materials,” says colour consultant and stylist Emily Brooks. “A contemporary application of brown feels fresher and more handmade and artisanal, with the addition of linens, plants, ceramics and other tones from nature’s colour palette to lift the look. The aim is to avoid a flat finish and instead create a wonderfully tactile experience with wools, woven wall hangings, cosseting throws and c
