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Kelly Wearstler's 6 Rules for Kitchen Design

Kelly Wearstler's 6 Rules for Kitchen Design

1. Be Bold with White

When used generously, white can make just as much of a statement as color. For a client's stainless steel–and–white kitchen, Kelly Wearstler chose Calcutta marble for the countertops, walls and floor, and accessorized with a white-handled knife set. She also created copies of a vintage chinoiserie-style chandelier, then painted them glossy white.

2. Play with Color and Pattern

Hue, Wearstler's new book, is all about the power of color. For her guest house, Wearstler chose teal fabrics in different patterns from a collection she designed for Groundworks at Lee Jofa: "Sea Urchin" for the window treatment and "Confetti" trimmed with "Fretwork" for the tablecloth (from $60 a yard; leejofa.com). The trim echoes the porcelain tile floor.

3. Open Up Cabinets

In the guest house, Wearstler installed a glass front in the upper cabinets: "A mirrored back, glass shelves and interior lighting create the illusion of more space."

4. Mix Materials

Wearstler will sometimes use two or three kinds of stone in a kitchen: "You would never have two of the same big tables in a living room, so why would you want to have two islands with the same countertops?"

5. Use Pendant Lighting

"Recessed ceiling lights make everyone have raccoon eyes," Wearstler says. "Chandeliers are so much sexier." In the kitchen of her guest house, she hung a vintage Murano glass chandelier from Paris to create a dramatic focal point over the table.

6. Hide Paper Towels

One of Wearstler's biggest pet peeves is seeing paper towel rolls on the counter: "It's not very glamorous," she says. "It looks like toilet paper hanging out in the kitchen." In her own kitchen, she hides the roll by hanging it vertically inside the cabinet door under the sink. For clients who like leaving the holder out, Wearstler compromises by recessing it in the island, as in the steel-and-white kitchen.

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Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

Advertisement

Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

Read next

Why weaving is the craft of the moment

California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

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Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

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What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Kelly Wearstler's new collection with Farrow & Ball evokes the colours of California

F arrow & Ball is known for its particularly British palette of colours, often inspired by historic interiors or by our landscapes, and all created in the company’s Dorset factory. So the decision to ask the Los Angeles-based decoration maven Kelly Wearstler, who has her own highly distinctive style, to put together a new palette of colours is an exciting departure, especially as this is the first time in the brand’s 75-year history that it has collaborated with a designer in this way.

‘I love colour,’ explains Kelly. ‘And I’ve been specifying Farrow & Ball for as long as I can remember. For me, it felt an authentic collaboration – everything I do has to have a natural connection. The colour palette is amazing, as are the finishes. The paints are also sustainable and that means a lot to me – I was amazed, walking into the factory, that there was no toxic smell and no masks needed.’

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Kelly discusses her palette with Charlotte Cosby, head of creative at Farrow & Ball

For Farrow & Ball, this collaboration needed to be more than just asking a designer to choose their favourite colours. It had to be a strong and coherent palette with a particular, well-thought-through vision Kelly was the perfect fit. ‘Kelly is as obsessed with colour as we are and she looks at it in a similar way, drawing inspiration from the landscape and seeing how colour affects mood and ambience,’ explains Charlotte Cosby, head of creative at Farrow & Ball.

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California was Kelly’s starting point – cues range from the gritty patina of the Pacific Coast highway to hazy mornings in Malibu. Kelly talks of California as a happy place, where you can get plenty of sunshine and vitamin D she describes the salty air that comes in from the ocean, the citrus and palm trees, even the particular green of the inside of a wave, all of which provided inspiration for her Farrow & Ball collection. The process began with a detailed presentation put together by Kelly and her team. These colour stories included physical materials as references – a terracotta-pot fragment was the starting point for a colour now called ‘Faded Terracotta’, for instance.

‘Palm’ is a soft, restful shade of green

Advertisement

Then, in February last year, Kelly made a trip to Dorset to make the last edits to her colour palette. I met her there at the end of her visit, when final decisions were being made. Some colours did not make the cut, while others had been through several evolutions or tweaks and were on their second or third generation, as the Farrow & Ball experts referred to the process. Some, like ‘Salt’, were just right from the start. For Kelly – and also for me – one of the fascinating things was learning more about the science behind the formulation of colours, and being able to look at the chosen colours being tested under different lights to see the metameric effects – how the pigments within the paint react in a variety of lights. Working with a tight palette meant that the team could control the pigments carefully, so the colours sit well together.

The California Collection, as it has been named, is being launched this month with its own colour chart. It is a strong, concise edit of eight colours. The idea is that you could put together a scheme using these colours alone –but while the colours as a collection create a distinctive look, each one could sit happily within the larger Farrow & Ball family and complement paints in the existing range.

Advertisement

What Charlotte is most excited about is that the colours can be used in a way that is neutral and gentle, but make a different selection and suddenly your choices can become very bold – as Kelly’s roomsets (pictured above) show. It has clearly been a happy and mutually enthusiastic collaboration. As we finish for the day in the lab, Kelly says to the Farrow & Ball team, ‘You guys killed it.’


Watch the video: In Residence: Kelly Wearstler (October 2021).