Crown Colour Insights Report 2025

Our experts use their in-depth industry knowledge to predict the colours of the future – inspiring interior designers, architects, professionals and specifiers to scope out styles for projects of tomorrow, today.

What’s possible? At Crown, we understand how colour can change a room, change a mood, or even change a life. There’s true power in the possibilities colour creates, and harnessing this effectively has a positive impact on the world around us. Colour Insights provides a carefully curated viewpoint on the future of colour and its application in the commercial and home environment. Each year our team of colour and design experts review global trends across political, cultural, technological and environmental spheres to understand how these are influencing the world of colour and design. In a landscape where sustainable considerations are overtaking a throwaway culture, our Colour Insights are more than just one trend, they develop and evolve, creating a colour collection that can inspire any interior or exterior project into the future. Welcome to Crown Colour Insights 2025/2026.

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Contents

The Colour Insights team

4 6

Global influences on design

27 37 32 49 41 22 18 17

Colour Insights 2026 palettes

G-local

Choreography

Disrupt

Faraway

Colour mapping in 3D space

Sources and References

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The Colour Insights team

This year we have brought together a diverse array of consultants, experts and designers from across political, technological, environmental, built environment and interior design landscapes to develop a unique viewpoint on the global influences driving forward design and colour. Through a one-day immersive discussion, hosted by our Crown Colour team, we uncovered and explored the trends that are shaping the mood of the moment, as well as the vision of the future.

Jo Love Founder of Jo Love Interior Design Jo co owns design studio, LOVE, with design director Susan Norman where they create interiors, products and experiences that are both meaningful and beautiful using a combination of psychology, neuroscience and intuitive work.

Kathryn Lloyd Crown Colour Specialist With experience across fashion, design, home and commercial interiors, Kathryn leads a dynamic team that provides colour advice to Crown’s professional customers.

Justyna Korczynska Senior Designer at Crown Working in the Crown Creative Design Studio, Justyna’s creative projects include colour trend forecasting, literature and packaging design, as well as bringing her photography skills to the creative team.

Katie Gallagher OBE and Managing Director of Manchester Digital A leader in the UK tech sector, Katie has expertise in ecosystem development, public policy and driving regional innovation and growth.

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Jemma Saunders Crown Colour Specialist

Tom Anelay Head of Public Affairs at Citypress Tom helps organisations look beyond individual policies and politicians by understanding the political, economic, social, technological and environmental factors which are driving them.

Atul Bansal Founder of Sheila Bird Studio Atul epitomises his motto, ‘love what you do’, and has over 35 years’ experience. His innovative approach stems from an understanding of how nurturing interaction in the design process empowers and supports creativity, culture and community.

As a key member of Crown’s Colour

Services team, Jemma provides colour support for professional and commercial customers.

Professor Carl Diver Professor of Innovative Manufacturing at Manchester Metropolitan University Carl is the Director of PrintCity at Manchester Metropolitan University, and the Faculty of Science and Engineering Lead for Advanced Materials and Manufacturing.

Francesca Kilby Head of Real Estate at Citypress As a built environment specialist, Fran works with clients to develop communications strategies across all stages of the real estate life cycle and influencing stakeholders at all levels.

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Today, there are a myriad of trends, some fleeting, others more far-reaching and long-lasting. Here, we explore the political, technological, environmental, and societal trends that are helping shape the global landscape. And, in particular, the influences they’re having on the world of design. Global influences on design

Geopolitics continue to influence trends on a global scale

But not all materials can be sourced locally. In our quest for sustainability comes an ever-increasing demand for critical, yet rare minerals. Lithium, nickel, and cobalt are all used in the manufacture of electric vehicles, wind turbines, and solar panels. By the beginning of 2024, some 58% of UK manufacturers had begun relocating their production from overseas to be closer to their markets 1 . Despite environmental concerns over mining and the potential impact on local communities, the economic fortunes of those countries with these scarce mineral deposits are continuing to rise.

The ongoing war in Ukraine, hostile relations between the US and China, and the threat of wider conflict in the Middle East are just some of the increasing uncertainties the UK is currently experiencing. “De-globalisation has resulted from these geopolitical tensions, and is driving a trend away from US dominance and towards a more polarised or localised world. A world where states, regions, and even large conglomerates hold power in certain geographic locations or over technologies,” shared Tom Anelay, Head of Public Affairs at Citypress. While many companies operate globally, more of them are increasingly shifting towards meeting local demand with local production. In part, localisation is down to the many supply chain disruptions caused by a myriad of political and weather related events over recent years. It is also a response to the growing need to operate more sustainably. A shorter supply chain means there's less potential for disruption. And, with fewer miles travelled, transportation costs are inevitably lower and carbon footprints can be reduced. For example, by the beginning of 2024, some 58% of UK manufacturers had begun relocating their production from overseas to be closer to their markets 1 . Localisation is also driving much greater value being placed on supporting local artisanship, celebrating and revisiting traditions, together with championing the use of local materials.

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Evolving technologies: how products are being designed, made, and used Influenced by differing factors, from supply chain pressures and sustainability to a need for hyper-personalised interactions, the development of new technologies is happening at an even faster pace. With global material shortages, the focus is now very much on innovation, including the development of new materials and the reformatting of existing ones. Disruptors in every sense, these innovations are changing our perception of what materials are possible and how they might be used. Carl Diver, Professor of Innovative Manufacturing at Manchester Metropolitan University offered, “new and unexpected specialist materials are being trialled. Materials that can react to their environment, such as being able to expand or contract as necessary, or being capable of changing colour.”

Digital twin technology is used in many sectors, such as manufacturing, and product design. In manufacturing, machine and equipment monitoring is expected to be the largest application of this technology in 2026 2 . With global material shortages, the focus is now very much on innovation, including the development of new materials and the reformatting of existing ones. Digital twins are also increasingly being used within the built environment sector. In architecture, for example, it’s being used in building design with the aid of 3D digital models. Digital 3D modelling is also used in the creation of ‘smart cities’ by companies like London- based VU.CITY 3 . Here, building designs and large-scale urban developments can be planned Using digital twins speeds up processes and can support more sustainable planning and operations. In product development they’re helping bring products to market faster. and visualised in their full environmental context.

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For new buildings and urban planning and design, they make the process of taking architectural projects from conception to completion more streamlined and efficient. One technology that’s having a significant impact on how products are designed and made is 3D printing. In particular, by making manufacturing more accessible to more sectors. This also applies to other fast-evolving technologies such as Virtual Reality (VR) and Artificial Intelligence (AI). One technology that’s having a significant impact on how products are designed and made is 3D printing. The net result is a democratisation of design. It’s becoming increasingly possible to source and share innovation and inspiration from the most unexpected of places – across industries, geographies and knowledge centres. Just one example is the Biomimicry Institute, a leading centre for the large-scale application of lessons from nature that supports those looking to nature to solve design challenges 4 . The potential of this could have a deep impact on the speed of

innovation, the availability of new materials, operation efficiencies, and sustainability. In one trial project involving 3D printing technology, building demolition waste is being utilised to create street furniture. If proven successful, it’s a process that could potentially save sending many thousands of tonnes of building waste to landfill. Technologies such as Augmented Reality (AR) and (VR) are also changing the way people interact with the world. Helping them make better, more informed decisions about products and design. For example, in an interior design setting you can see how colours work in a room with changing light. In the case of the Metaverse and AI, personalisation remains at the forefront. From personal assistants to fully customised experiences, it’s driving forward a new era of possibility and forming new emotional connections between people and technology. For instance, in the UK the number of households with a smart speaker has almost doubled since the pandemic. In 2020, 30% of Briton’s said they had one. By 2022, ownership had risen to 47%. And the latest figures for 2023 this figure had jumped to 52% 5 .

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“ New and unexpected specialist materials are being trialled. Materials that can react to their environment, such as being able to expand or contract as necessary, or being capable of changing colour. ”

Carl Diver, Professor of Innovative Manufacturing at Manchester Metropolitan University

Embracing optimism - the new frontier for businesses Following the shocks of the pandemic and all that followed, businesses are ready to be optimistic again. High on their agenda is a signal from government that it's safe for them to invest. And that they can start making exciting decisions about the future once more. Yet, despite a desire for business optimism, there are still some challenges too. Labour and skills shortages remain obstacles to progress and growth - especially in the technology and construction sectors. In the tech sector, for example, they're finding technological advancement is outpacing the training and development of new talent. As a result, 81% of UK businesses report being negatively affected by a skills gap that's posing a serious threat to their operations 6 . Labour and skills shortages remain obstacles to progress and growth - especially in the technology and construction sectors. In the construction industry, the situation is much the same. Here, an extra 251,500 new construction workers will be needed by 2028 to meet current demand 7 . There are also concerns that perhaps not enough is being done to attract people with the right skills to the right parts of the country. The trend of working from home also comes into the equation.

Something born of necessity during the pandemic, working from home has resulted in some unintended consequences. In London, for example, occupancy in the office market is at its lowest level in many years at just 55% in 2024 compared to 62% pre-pandemic. But, people are now slowly returning to the office, with occupancy steadily increasing and peak utilisation – Tuesday to Thursday – returning to 2019 levels 8 . It's a trend gradually being repeated across the country, with more employers asking: do they keep the status quo or encourage staff back to the workplace? According to a recent survey by Virgin Media O2, 40% of companies now require staff to work a five-day- week. Meanwhile, 92% of firms have some kind of mandatory in-office working policy 9 . To make returning to work easier for everyone, many companies are exploring ways to be more attractive to employees. Making them better places to work. “With remote working, the tech sector found keeping the office culture strong extremely difficult. As a result, innovation suffered. Now, we’re developing ways to attract people back to the workplace full time, such as offering extra support and office perks. We also frequently record our conferences to any attendees who may be nervous about travelling to a new place so they can watch it in the comfort of their own home – offering them a personalised experience.” said Katie Gallagher, CEO of Manchester Digital. Workplace design is also becoming less formal. For example, seating arrangements and furniture more reflective of home environments to make workspaces feel more relaxing and collaborative.

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Good design: building with purpose

Repurposing can sometimes come quite late into a new development. And, in order to meet changing demands or simply to attract potential buyers, some developers are having to learn how to pivot and quickly change how a space might work. While others are being more agile in their plans and are designing spaces with a broad purpose from the outset. Many architects and designers are incorporating collaboration or ‘collision’ spaces where people can meet, mix, and work in an open environment.” Beyond individual building use, there is an ever- deepening consideration of how purposeful design across entire cities can positively impact peoples’ health and well-being. Specifically, by helping to tackle issues such as loneliness and nurturing social well-being by creating spaces that foster community and connection 11 .

Purpose has always been at the heart of good design. But we’re seeing a broadening of the definition of how to create purpose. Going far beyond the expected functional aspects of how a building is used, it embraces the potential within design to connect, disrupt, rethink and repurpose. Many architects and designers are incorporating collaboration or 'collision' spaces where people can meet, mix, and work in an open environment. Designed to create a disruptive energy that sparks social interactions where ideas for change and innovation thrive. “Repurposing buildings (adaptive reuse) is also becoming a necessity for developers to increase occupancy, improve commercial viability, and as an effective strategy for decarbonisation. It’s a trend that can perhaps be seen as a disruptor: an old building with a new, unexpected, purpose. Office blocks redesigned as apartments or student accommodation. Others, for example, are transformed into Life Science research laboratories,” explained Atul Bansal, Founder of Sheila Bird Studio In a report produced by Historic England, they've outlined how the adaptive reuse of some of England's older vacant buildings could provide an additional 670,000 homes. A process that could go some way to address the country's chronic housing shortage 10 . There are also some more imaginative uses being tried. As disruptors to traditional thought, these include shared, flexible spaces designed to have one use during the day and another at night. For example, a typical office is transformed into a night market for the local community.

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“

Repurposing buildings (adaptive reuse) is also becoming a necessity for developers to increase occupancy, improve commercial viability, and as an effective strategy for decarbonisation. It’s a trend that can perhaps be seen as a disruptor: an old building with a new, unexpected, purpose.

”

Atul Bansal, Founder of Sheila Bird Studio

Planning reform and building for a future Design is also going to be a key feature in UK planning reforms. Building more homes is a priority of the new government. What these homes will look like, how many will be built, where they'll be built, and how they support a response to the climate crisis, will undoubtedly influence design trends in the coming years. As part of their reform a new planning framework has been written and, perhaps contentiously, sees the words 'beauty' and 'beautiful' dropped from its pages in terms of building design. Francesca Kilby, Head of Real Estate at Citypress expanded, “the reason given by Angela Raynor (Deputy Prime Minister and Secretary of State for Housing, Communities, and Local Government) is that they’re too subjective. What this will mean in practice is yet to be made clear. But may have a significant impact on design trends within the built environment.” Yet, one new word was added to the planning framework – 'grey belt'. It's not exactly the Green Belt but rather parcels of land that fall within it that could be repurposed – i.e. built on. These could include sites such as car parks, golf courses, market gardens, quarries and leisure facilities like caravan parks. Research by The Times, shows that some 3% of England's Green Belt could be considered grey belt. This equates to around 46,871 hectares (115,820 acres) that could potentially be built on 12 .

While there is still some ambiguity as to what the full list might contain, it raises the possibility of new developments being more appealing than these sites currently are. In England and Wales, Biodiversity Net Gain (BNG) is being put at the heart of creating new habitats as part of all new developments Far less contentious is a country-wide trend for creating new greenspaces within the urban landscape. In England and Wales, Biodiversity Net Gain (BNG) is being put at the heart of creating new habitats as part of all new developments, making our towns and cities much greener and nicer places to live and work. Put simply, BNG, ensures any development has a measurably positive impact ('net gain') on biodiversity, compared to what was there before.

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Sensory design: exploring neurodiversity

Achieving this needs to be a blend of science, design, creativity, and, most importantly of all, collaboration,” offered Jo Love, founder of Jo Love Interior Design.

Exploring the world of neuroscience is helping us to understand how our bodies react in spaces and environments. The answers provided will enable us to realise the full potential good design can have in the built environment and beyond 13 . Approximately 15-20% of the global population has a neurological difference and designing with neurodiversity, accessibility and inclusion in mind is increasingly being taken more seriously 14 . For instance, universities are one area where thinking about more inclusive and neurodiverse design is becoming a priority. Although it can be argued that it’s not yet happening on a wide enough scale. Neurodiverse design is something all employers should be investing in. It not only enhances inclusivity, but can also help improve business performance by attracting and nurturing a much wider workforce 14 .

“We need to encourage all those who process things differently. Doing so helps make the world a better place, and so it should be the norm to create spaces where everyone can thrive.“ Jo Love One bright spot is the tech sector where they are leading the way by carefully designing large spaces with neurodiversity in mind from the outset. And colour is always a major consideration. Colour is universal. It doesn’t matter what a person’s background or outlook is, everyone feels a connection with colour. In a world that can often seem overwhelming and intense, there’s aneed for spaces designer with colours that help ground or uplift people. Spaces that can bring a sense of joy and calm, alongside those that can effectively inspire, motivate and excite. And, in the words of panel member, Jo Love, founder of Jo Love Interior Design, “there is a joy in choosing colours”.

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“

In a world that can often seem overwhelming and intense, there’s a need to choreograph spaces to meet the diverse needs of people, a need for spaces designed with colours that help ground people.

”

Jo Love, founder of Jo Love Interior Design

Colour Insights palettes

Informed by factors influencing global trends and enriched with insights from innovative design fairs across the UK and Europe, this year’s Colour Insights have been curated into five unique colour palettes. Providing comprehensive colour inspiration and recommendations that capture the coming climate, the palettes are designed to spark creativity, drive colour innovation and help designers deliver impactful spaces.

Ceramic teapot by Jacques Monneraud

Marquet Flooring by Stratum Marquetry

Surface Matter composite materials from Surface Design Show London 2024

G-local G-local emphasises the fusion of local craftsmanship with global perspectives, celebrating the intersection of traditional materials and new technologies. A neutral base palette is accented with subtle injections of synthetic green and orange tones, reflecting the harmonious marriage of nature and innovation.

Visual & graphic concrete by Vico Visual Concrete

New Designers London 2024

Lull handcrafted forms by Maria D’Souza

System T by Emma Cogné for Rising Talents at Maison & Object 2024

Wild Fibers Collection by Aurélie Hoegy, Raising Talents Award at Maison & Object 2024

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G-local

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G-local

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G-local

G-local exterior inspiration by Atul Bansal | Founder of Sheila Bird Studio

“This palette highlights the impact of sourcing locally and responsibly. This palette is unique in how it honours traditional, natural materials like stone and wood, while also opening possibilities

for modern composites, such as terrazzo. It’s a true balance between the traditional and the modern, the organic and synthetic.”

Kathryn Lloyd, Colour Specialist at Crown

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Co Co influences the creation of harmonious spaces, bringing a balance that can foster both productivity and relaxation. A mix of calming green and grey tones serve as a foundation for Co, while vibrant pops of yellow and red inject energy and joy. The colour palette is intentionally saturated to maintain maturity and avoid overwhelming brightness, achieving a modern, neutral base that supports community and connection.

Cors Stacking Chair by Orangebox

Courtyard Restaurant in OurVillage by Someone Studio

The Rib bench by Eve Thomson, New Designers London 2024

Styling Alessandra Salaris, image by Production Francesca Fani Studio

PAU C2630 pendant by Ferroluce

Remi lounge chair from Boss Design lounge collections

Imm Cologne, January 2024

Maison & Object 2024

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The empty stools of rural village life in China

Parklet in Ivano-Frankivsk, Ukraine

The Waterhouse At South Bund, Shanghai, China

ParkedBench, a portable micropark on Tooley Street, London, by WMB Studio

instagram.com/houseonthecorner_16

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Co interior inspiration by Atul Bansal | Founder of Sheila Bird Studio

“Co creates spaces that feel organic, playful, and considered like a perfect city that harmonises work, rest, and leisure in seamless, thoughtful ways.”

Kathryn Lloyd, Colour Specialist at Crown

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Premium polyurethane fabrics by Ultrafabrics, from Clerkenwell Design Week, May 2024

Kvadrat, Serpentine by Giulio Ridolfo

Choreography At the core of Choreography is a melody of organic shapes, curves, and a rhythmic flow that emphasises sensory comfort. Featuring warm, muted tones, like soft lilacs and greens,

alongside deeper shades, the palette offers a calming and cocooning effect, that evolves to the individual.

Truffle Pouf by NaughtOne

Le Nuage - The Cloud, a multisensory cocoon by Vital Tech

‘Softie’, residential property in Mill Valley, California by OPA Architects

Remi lounge chair from Boss Design lounge collections

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Funky Blouse by Bea Muller

Tones Art Rug Lilac by Tekla Evelina Severin

Show Up Trade Show, Amsterdam February 2024 Softie residential property in Mill Valley, California by OPA Architects

Luxembourg garden bench by Frédéric Sofia, from Salone del Mobile 2024

The Beluga chair by POLIMAIR

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Choreography

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Choreography

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Choreography

Choreography exterior inspiration by Atul Bansal | Founder of Sheila Bird Studio

“Choreography is flexibility embodied, it’s about movement and adaptive design that supports different sensory experiences within a space. There’s lots of softness in the palette, and the complementary tones are purposely proportional, allowing for endless possibilities to combine and reinvent the colourways.”

Jemma Saunders, Colour Specialist at Crown

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Shapes quilted wall hanging by Granite + Smoke

Disrupt Dynamic and high-energy, Disrupt provokes interaction and sparks emotion, offering a bold contrast to quieter, more personal spaces. The synthetic, digital-inspired palette features clashing colours including electric blues and vibrant orange and yellow accents, combined with grounding grey tones.

Ode to Chair 14 by Jiri Krejcirik, Salone del Mobile 2024

Fast Rocking Chair by Muddycap

Immersed in the Wilds of Creativity, he Homme Plissé Issey Miyake AW24 collection

Prada SS 2025 Womenswear

Maison & Objet April 2024

Collection recycling system by Sophie Mockridge, New Designers London 2024

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Outonomy project by Mathieu Lehanneur, Maison & Objet 2024

Metamorphosis: Material Lifeworldsby Olivia Gonsalves, New Designers 2024 Award Winner

Another Kingdom: Light Stage Collectible Chess Set by Taras Yoom

Hairy Table by Mark Malecki, Maison & Objet 2024

Mid Century tufted wool chairs by Juliusz Kedziorek, Goscicinska Furniture Factory, Poland

Trapping the Wild Cushion by Gussie Quaile-Found, New Designers 2024

Echoes of the Earth: Living Archive Installation by Refik Anadol

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Disrupt

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Disrupt

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Disrupt

Disrupt interior inspiration by Atul Bansal | Founder of Sheila Bird Studio

“Disrupt creates spaces that encourage engagement and collaboration. Grey tones in the palette balance the bolder hues, allowing the brighter colours to stand out and create focal points.”

Justyna Korczynska, Senior Designer at Crown

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Effective Skin innovative 3D printing by Sekisai, Tokyo, Japan

Prismatic patterns 3D Printed Fashion Swatches by Travis Fitch

Rewild the Run footwear design by Kiki Grammatopoulos

Faraway A futuristic, personalised design experience, where technology enables endless possibilities for individual expression is at the heart of Faraway. The palette features iridescent hues, with digital blues and purples balanced alongside warm

greens to prevent coldness and reflect light in ways that allow each space to transform.

Textiles by Rose Hinami Sakai

Maison & Object 2024

Croydon Colonnade, 3-dimensional porcelain tiles handmade by Adam Nathaniel Furman

Air Swipe bag made of 99 per cent air by Coperni

The Installation Circles by STUDIO DESSí

Boolb Vases by Polspotten, Maison & Object 2024

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Faraway

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Faraway

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Faraway

Faraway interior inspiration by Atul Bansal | Founder of Sheila Bird Studio

“Farawaytranscends trends to allow the creation of unique, adaptive environments

that blur the boundaries between digital and physical worlds. The palette enables fluid, transitional colour shifts, accentuated by gradients, textures, and response to hanging light to create dynamic, ever-evolving environments.”

Jemma Saunders, Colour Specialist at Crown

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To aid colour scheming, each palette has been mapped in 3D space. This provides insight and additional depth on how they work across the colour spectrum. Colour mapping in 3D space

Insights 25/26 The palettes within Colour Insights 25/26 embrace a vibrant spectrum of colours, with a strong focus on warming oranges and reds. The colour palettes are bolder and more dynamic than previous years, moving away from soft, organic tones, though those are still present, toward more vibrant, primary pops of colour. There’s also an infusion of red-based blues alongside rich greens, with aqua tones shifting from the blue side of the colour spectrum to the green side. It’s about brighter, bolder, and more confident colour choices, which are now making their way into a variety of materials—things that were once neutral, like bathroom suites and tabletops, are now available in an array of bold colours. Additionally, each palette this year is designed with tonal contrast in mind. This allows for the creation of cohesive, inclusive colour schemes, as every palette offers a range of tones that can work harmoniously together in a space. Chart A - Hue (colour family) and saturation The L*a*b colour model shows (+) red to (-) green on the a axis and (+) yellow to (-) blue on the b axis. Shades that have little colourant are in the centre whereas more vivid colours are at the periphery. Chart B - Lightness value and saturation L- Lightness value and saturation. Light colours are shown at the top of the vertical axis and dark colours at the bottom, while brighter colours are further away from the centre along the horizontal axis.

Chart A - Hue (colour family) and saturation