• I notice it everywhere.

    In museums, restaurants, hotels, old buildings, new buildings, people’s homes — and sometimes in places where I really wish I hadn’t noticed it.

    A colour can make a space feel calm, dramatic, intimate, monumental, warm, cold, strange or completely wrong.

    And yes, sometimes a colour is simply wrong.

    That’s what interests me.

    Not colour in isolation, but what happens when it meets architecture, light, materials, art and the people using the space.

  • I started out in interior design and have spent much of my career working with spaces, materials and colour.

    I have also worked as a colour consultant for Farrow & Ball and with Ressource Peinture, which taught me a great deal about colour in practice — not just how colours look on a fan deck, but what happens when they actually meet a wall, a material and a particular kind of light.

    Over time, I realised that colour was the part of my work I kept coming back to.

    So I decided to follow it.

    Today I work as an independent colour consultant with architects, designers and cultural and exhibition teams.

  • Why this colour?

    What happens when the afternoon light comes in?

    Why does that particular material suddenly look pink next to it?

    Should the wall disappear, or should it be part of the experience?

    And, occasionally:

    Are we sure about this?

    I don’t believe in having all the answers. There is always something new to learn, and that’s one of the things I like most about the work.

    What I do believe in is looking carefully, asking the right questions and being honest about what I see.

  • A colour that looks fantastic in a sample book can be completely underwhelming on a large wall.

    A colour that seems too strong in isolation can be exactly right once the artwork, architecture and light are taken into account.

    That’s why I don’t start with a predetermined palette.

    I start with the space.

    I look at what is already there, what needs to happen, what needs to stand out and what needs to recede.

    Then we work out what colour needs to do.

  • I work alongside architects, designers and exhibition teams rather than trying to take over their projects.

    I am there to bring a different perspective — a colour-focused one.

    I’m straightforward, curious and practical. If something works, I’ll tell you. If I think something doesn’t, I’ll tell you that too.

    But I’m also perfectly happy to change my mind.

    There is usually more than one good answer to a colour problem. The interesting part is finding the one that makes sense for that particular place.

  • I’ve lived and worked in Paris, New York, Berlin, Brussels and Madrid, and I have always been drawn to the space between different cultures, disciplines and ways of seeing.

    I speak French, English, German and Spanish.

    I’m naturally curious, happiest when I’m learning something new, and probably spend far too much time looking at walls.

    I’m based in Paris and work internationally.