Graphic Design Dissertation

Question:

How does the use of colour and fabrics in Georgian-era interior design reflect social and cultural values, and in what ways have these historical elements been reinterpreted and modernised in contemporary interior design?

The Georgian era, spanning from 1714 to 1830, was marked by significant advancements in architecture and interior design that mirrored the social and cultural values of the time. The colours and fabrics used in interiors reflected both wealth and evolving cultural tastes. During this time, majestic houses and sophisticated townhouses with symmetrical designs, classical influences, and careful attention to detail became more popular. Class divisions, financial power, and international trade networks were among the core societal ideals that were expressed in Georgian interior design alongside aesthetic trends. The use of colour and fabric, which functioned as visible signs of money, rank, and changing cultural preferences, was one of the most important aspects of this design approach. This essay explores how the use of color and fabric in Georgian-era interior design reflected the social and cultural values of the time. It also examines how these historical elements have been reimagined in modern interior design, creating a bridge between the past and present in the world of design.

During the Georgian period, society was hierarchical, with clear distinctions between classes. The use of opulent fabrics and rich colours in interior design served as a visual representation of this hierarchy. High-quality materials like silk, damask, and velvet were associated with the upper classes, while the lower classes had limited access to these luxuries. According to The Secret Lives of Colour by Kassia St. Clair (St Claire, 2016), colours were often symbolic, with deeper hues indicating wealth and sophistication. For instance, deep reds and royal blues were not aesthetic choices, they were status symbols that reflected the owner's affluence and taste. Kassia St. Clair emphasises that "the deeper the hue, the more expensive the dye, " illustrating how colour was symbolic of the owner's affluence and sophistication. These colours were often used in formal settings, reflecting the wealth and status of the homeowner. Lighter colours like soft yellows and creams became popular in the later Georgian period, reflecting the neoclassical movement’s preference for lightness and airiness in design. Kassia St. Clair explores how the Georgian era saw a rise in lighter, neoclassical tones, like soft pastels and muted hues. The book notes that “this shift was part of a broader movement toward airy, refined interiors that contrasted with the earlier Baroque era's darker, more dramatic palettes” . St. Claire also suggests that soft yellows, creams, and pale blues became fashionable, enhancing the era’s focus on elegance and symmetry, inspired by neoclassical ideals. This palette aligned with the aesthetics of Georgian architecture and interiors, which valued lightness, balance, and understated sophistication.

According to Newton (2018) In the 1700s, some pigments used in art were derived from animal sources. Indian yellow, for example, was a vibrant colour used in Indian art that made its way to Europe through trade. Indian Yellow, also known as piuri or gogilī, was first used in 15th-century India for miniatures, frescos, and dyeing textiles. Renowned for its warm, glowing tone and brightness under sunlight, it gained popularity in Europe during the 16thand 17th centuries. When it arrived, it came in small yellowish balls with a strong, ammonia-like smell. Many speculated that it came from animal urine, possibly from camels or cows, this was never fully confirmed at the time. This article notes “By the 1880s, Sir Joseph Hooker, a botanist at Kew Gardens, attempted to investigate further, highlighting the fascination artists and scientists had with the exotic and sometimes mysterious sources of their colours” . This era illustrates how artistic materials were often a blend of local tradition and global trade.

The colour choices in Georgian interiors often mirrored social status and economic power. “Pigments like crimson and ultramarine were both costly and rare”, as explained in The World According to Colour (RAA, 2024). Their use in prominent spaces like drawing rooms showcased wealth, prestige, and a connection to global trade. The vividness of these colours became central to expressing identity, with rich hues marking both taste and influence. Fox indepthly explains the importance of colour within this time period. James Fox examines how Georgian aesthetics were impacted by the colour trade, particularly how certain hues became sought after symbols for culture and wealth. As suggested in the book, Fox explains “Luxury colours, which were frequently brought from remote regions and used in textiles, décor, and even architecture, became more popular throughout the Georgian era. Colours such as Prussian blue, a new synthetic blue from Europe, and the deep reds of cochineal, which were imported from the Americas, were greatly desired. ” These unusual hues showed not only individual preference but also knowledge of and participation in international trade networks. Fox notes that throughout the Georgian era, this colour obsession was a component of a larger cultural fixation with elegance and sophistication. In addition, patterns and wallpapers became staples of Georgian design, often in vibrant colours that aimed to impress and convey sophistication. According to Drama and Opulence (Of Bath, 2023), the use of elaborate patterns and bright colours created not just luxury but also a dramatic atmosphere that reflected the social ambitions of homeowners. Through the calculated use of colour and fabric, Georgian interiors served as a public display of personal refinement and awareness of cultural trends. These design elements formed a visual language that allowed individuals to communicate status and identity through their home environments. Georgian interiors were not only used to show one's wealth, womens fashion played a huge part in social status. During the 18th century, women had little rights, so they used fashion as a way of expressing their feelings and ideas. The British aristocrat Georgiana Spencer Cavendish, Duchess of Devonshire (1757–1806), was renowned for her influence in politics, wit, and beauty. She rose to popularity as a socialite in Georgian England and used her influence to support the Whig party and advocate social and political change. In addition to being a literary and fashion member, Georgiana interacted with well-known authors and artists of her age. Renowned for her flamboyant and ornate fashion sense, she popularised big hairstyles that were frequently accessorised with feathers, pearls, and occasionally extravagant embellishments fashionable. She enjoyed lavish gowns with bold necklines, opulent fabrics, and avant-garde designs that established trends in London society. Her fashion choices were revolutionary. According to (Of Art, n.d.) Georgiana's clothing represented her power and participation in social and political circles, as well as her love of self-expression and position as a cultural leader.

The National Gallery of Art (Of Art n.d.) explains in detail the significance of Georgiana’s social status and how it is expressed in modern times. As depicted in Figure 3, The portrait of the Duchess of Devonshire portrays her in a luxurious, loosely draped gown, emphasising opulent fabrics that reflect her high status. Her dress, a soft champagne-peach tone with a sage-green sash, features gossamer layers that drape gracefully around her arms, highlighting her elegance and femininity. Her relaxed pose, with one arm resting on a column base, contrasts with the structured elements of the setting. The deep red curtain and classical columns reinforce her position within an aristocratic, refined world, while the open landscape adds a sense of freedom and romanticism.

During the Georgian era there were many influential designers and artists who were essential in creating affluent fabrics and wallpaper. Christophe-Philippe Oberkampf’s toile fabric innovations exemplify how Georgian-era design united colour, fabric, and cultural themes. Oberkampf, known for his iconic toile de Jouy, used intricate, bold prints to depict pastoral and mythological scenes, capturing the era’s fascination with nature and nostalgia. These fabrics didn’t just serve decorative purposes—they conveyed social values and cultural narratives, as elaborated in the journal, Oberkampf - Vivre pour entreprendre. According to (Musée de la Toile de Jouy | Site officiel, 2024) “his work demonstrates how fabric design could act as a form of storytelling, reflecting societal ideals and aspirations”. (Translation) Mallet suggests here that not only was colour important, the depiction on imagery in fabrics restored signs of wealth in opulent houses. Mallet's biography portrays Oberkampf not just as an industrious creator but as a visionary who anticipated modern manufacturing and business approaches. For example, Oberkampf’s determination to produce high-quality "indiennes" (a term for printed cotton textiles) brought him acclaim and a lasting influence on French decorative arts.

Toile fabric, with its storytelling patterns, remains popular in both Georgian and contemporary interiors. Brands like Divine Savages have given it a modern twist, adding new motifs and colours that make it suitable for today’s spaces. Their creative updates on toile demonstrate how traditional designs can be adapted to reflect modern culture while honouring their origins. Mixing historical and modern styles is a growing trend, allowing brands to create spaces that are both functional and filled with character. This approach respects heritage while also embracing modern sensibilities. Divine Savages adds striking, vivid colours and motifs that blend classic elegance with light-hearted, modern themes to give traditional toile and Georgian textiles an updated appearance. For a unique design, their toile fabrics combine old and whimsical themes with surprising features like animals or pop culture elements. Divine Savages' vibrant and bold use of colour combines traditional elegance with striking, contemporary hues. They frequently combine unexpected bursts of colour with rich, saturated tones to create designs that are both opulent and quirky. Their colour schemes usually use modern tones to recreate ancient styles, such as Georgian or toile, giving classic themes freshness and individuality.

In figures 3 and 4, Divine Savages’ designs fuse contemporary style with Georgian elegance to create a timeless feel in modern spaces. Their use of colour and imagery complements ornate furnishings (notably seen in figure 3), enticing customers with examples of how their wallpapers add sophistication to any room. Their toile fabrics depict scenes of people interacting with exotic animals, like a man walking an ostrich or a nun with a lion cub—whimsical details that become visible only up close, adding playful intrigue. This element of surprise echoes Georgian fascination with exotic animals, which were once a status symbol in aristocratic menageries, places where the elite socialised with the public. This historical nod enriches their designs with layers of meaning and elegance, ideal for those seeking both modernity and heritage in home decor. Menageries were places of social interaction where the nobility could meet with ordinary Georgians. Some popularmenagerists included Queen Charlotte, the Duke of Marlborough, and the Duchess of Portland. “The enduring colour scheme of porcelain whites and Delft blues enriches the historical allusions” (Metropolitan Design Magazine, 2024)

Within the 18th century, fabrics were typically handmade by artisans, which is partly opposite to today's manufactured fabrics. Many were made to order, plainly for aristocratic people. Located in London, Spitalfields was famous for producing luxury silk fabrics that were highly sought after for Georgian interiors. Artisans here created intricate patterns and metallic threads, which were used for upholstery, curtains, and wall coverings in wealthy Georgian homes. The weavers in Spitalfields contributed significantly to the elegance and sophistication associated with Georgian interiors. Fabrics were essential in shaping the style of Georgian interiors, where materials like brocade and silk were often used for upholstery and curtains to create a luxurious feel. Layering these rich fabrics gave rooms warmth and a sense of sophistication, while also showing social status. This layered look continues to influence modern design, although many of the resources at that time were imported from distant lands to create these luxurious fabrics. There was a significant development in trade and the importation of luxury goods and fabrics, which was driven by the growth of the British Empire. Silk was a luxury fabric that was imported from China and later from Franceand Italy. The popularity of silk led to the establishment of a domestic silk industry in areas like Spitalfields. Despite the domestic production, silk remained a highly desired and sustained symbol of wealth. Whilst fabrics were often sought after by artisans, dyes were important in creating profound fabrics made for the wealthy and established. The importation of natural dyes was significant during this time. Vivid colours were fashionable, indigo dye was imported from regions of India. Indigo was one of the most significant imports from India and played a crucial role in the textile industry. It was prized for its deep rich blue colour, which was difficult to achieve with European dye sources. This vibrant blue became highly fashionable and was used to dye a wide variety of textiles.

Whilst the importation of these resources were significant, the way in which these were transported modernised trade routes within the Georgian era. The British East India Company popularised the trade of indigo from India. The company sourced indigo from regions such as Benegal, which had a well-established indigo cultivation and dye production industry. The dye was transported back to England where it was sold at a high profit. The British East India Company controlled much of the trade with Asia, importing not only textiles but also spices, tea and sugar, each of which were seen as expensive ingredients. The importation of fabrics and resources was facilitated by advancements in shipping and navigation. This helped Britain's growing influence in global markets. The history of importation has highly affected fabric and colour production today. Modern textile production and dye sourcing continue to rely heavily on international trade, with materials and dyes being produced in countries with the most preferred conditions such as India, China and Bangladesh. The legacy of colonial trade patterns still influences where resources are cultivated and processed. There is a growing appreciation for heritage textile techniques that were developed or popularised during the colonial era.

Many artisans around the world are using traditional methods, such as hand spun and hand-dyed fabrics. They market them as luxury or sustainable alternatives to mass producedgoods. The elegance and artistry of Georgian interior design are incorporated into Soane Britain's contemporary design approach. Soane Britain, which is well-known for highlighting British craftsmanship, takes influence from Georgian-era designs through the use of fine materials, intricate details, and classical motifs found in historic English furniture and architecture. In an interview I conducted with (Soane, 2024) they highlighted how their inspiration comes from the sophistication of Georgian interiors. When asked about their design influences they explained “We don’t copy Georgian design directly, instead we reinterpret it, blending the craftsmanship of the era with modern sensibilities to create designs that feel both timeless and fresh. ” This is clear throughout all their designs, as (Soane, 2024) blends traditional ideals with modern expertise. The furniture, lighting, and textiles produced by the company frequently include Georgian-style curved shapes, symmetrical designs, and understated finishes. Deep, rich tones like sage greens, ruby reds, and mustard yellows, combined with more gentle tones that offer warmth and refinement, are the colour palettes used in Soane Britain's collections, which are reminiscent of Georgian aesthetics. When asked about the colour palettes used, they said “Our colour choices reflect a balance between tradition and modernity. We love using rich, bold colours like deep greens, ochres, and warm reds but we also incorporate softer, neutral tones to ensure our designs suit contemporary interiors. It’s about bringing warmth and elegance into today’s spaces. ” This is a clear indication of how they incorporate historical values to their designs. Soane regularly works with British artisans to create handcrafted textiles which uphold traditional printing and weaving methods, ensuring their authenticity and traditional appeal.

Whilst conducting this interview, I was eager to understand how their design methods shape the brand as a whole and how they balance historical inspiration with modern functionality. As (Soane, 2024) suggested “Everything we do starts with a respect for traditional craftsmanship. Whether it’s a hand-printed wallpaper or a woven fabric, the process always involves skilled artisans and a lot of care. We might begin with an old motif, adjust its scale or refine the pattern, and then work closely with British craftspeople to bring it to life. It’s all about collaboration. ” Their designs feel both classic and current because of their belief in quality and craftsmanship as well as their use of striking, historical colours, which connects the Georgian era with contemporary luxury interior design. It is clear that (Soane, 2024) really cares about their audience and how their designs can affect a space positively to shape lives and experiences. In interior design, it can be challenging to appeal to everyone’s preferences, particularly in a world where so many styles are constantly being merged and reimagined. Although (Soane, 2024) ensures their clients' thoughts are a priority. When asked about their target audience (Soane, 2024) discussed “ Our clients are people who appreciate the finer details, those who value craftsmanship, history, and quality. Whether it’s designers, architects, or individuals looking to create beautiful homes, they’re drawn to pieces that feel luxurious but also have a story behind them. ” This resonates with me, as I believe that the history behind a design can really resonate and shape someone's view of a design's worth and meaning.

As seen in (Figure 6) and (Figure 7) there is a clear indication of the use of colour and fabric in (Soane, 2024)’s fabrics and wallpapers. When asked about the use of textures and materials in their designs, and what roles these play in historical reinterpretations, (Soane, 2024) explained “We’re big believers in using natural materials. Handwoven linens, silks, and leathers are staples for us, and we work with some of the best British mills to make sure ourfabrics reflect the quality and authenticity that people expect from us. It’s about creating pieces that are both beautiful and enduring. ” It is clear here that quality plays an important role, this idea can be taken back to the Georgian Era, as only the best fabrics and dyes were used for such opulent designs.

Soane Britain is not the only company that uses historical references in their designs. There are many designers who use old methods within their expertise creating a new way of designing spaces for those inspired by historical esthetics. Block Shop Textiles, founded by sisters Lily and Hopie Stockman, produces textiles by fusing contemporary design with traditional Indian block printing as suggested by (Temple, 2024). Their strategy includes working with fifth-generation craftspeople from Bagru, Rajasthan, a town renowned for its ancient block-printing methods. As noted in (Shop, 2021), “Our textiles are printed by hand with carved wooden blocks in Jaipur, Rajasthan, a method known as hand block printing. This method is taught through the apprenticeship method, where the skill is passed over generations within a family. ” This idea of generational values is a strong indication of the brand's appreciation of historical methods. This is a clear lead from the Georgian Era, as many artisans would pass down their trade to future generations. Block printing, an intricate process involving natural dyes and hand-stamped designs, reflects the heritage of Indian textile art. The company deliberately embraces the irregularities of this process, seeing them as a testament to the skill and individuality of the artisans. As noted in (Fall, 2022) they explain “We have no interest in changing a centuries-old process. So the challenge lies in educating the (mostly American) customer that imperfection is desirable and something to be celebrated. ” Their fabrics have a distinctive earthy colour palette since each one is carefully printed by hand using natural dyes made from materials like onions, turmeric, and pomegranate skins. This fusion of traditional craftsmanship and organic dyes represents a sustainable method that protects Bagru's historical creativity while incorporating a contemporary touch appropriate for modern homes. Although Block Shop Textiles doesn't directly emulate Georgian patterns, the timeless, intricate motifs and muted, natural tones echo the balance of elegance and organic beauty found in Georgian designs. Their textiles feature a restrained colour palette and minimalist designs, which can be easily integrated into a variety of interior styles, including spaces inspired by Georgian themes.

As seen in (Figure 8) there are clear inspirations here taken from ornate flock wallpaper, many of Block Shop Textiles floral patterns have clear leads to this historical design. Flock wallpaper, which combined style, luxury, and functionality, was a significant advancement in Georgian interior design. Flock wallpaper was first developed as an affordable replacement for expensive supplies like velvet, giving homes a richly textured, stylish appeal. As noted in (V&A, 2018) “Flock papers proved extremely durable – certainly more so than the textile hangings they imitated – and so although they were relatively expensive in comparison to other contemporary wallpapers, they were nevertheless good value for money. ” We can understand here that this wallpaper style was still made for affluent households. While flock wallpaper was associated with this, less expensive imitations, called "mock flock," were also available. These versions used block-printed designs to replicate the look of flock wallpaper, making the style more accessible to middle-class households. This suggests that although expensive fabrics were notably used for prominent aristocrats, artisans understood that those with less money had a chance to express themselves through their home design also. Flock wallpaper often featured bold, formal designs, such as rococo floral motifs, and came in deep, dramatic colours like crimson and gold. These patterns were designed to convey status and sophistication. As like many colour palettes of this era, pattern was not the only symbol of wealth. Colour is a clear and important theme throughout the Georgian Era which in modern times has become less important due to the modernisation of technology and ways of digitally creating any colour combination.

There is a clear link between Georgian interiors and Indian methods. The use of trade during this time was hugely important, this suggests why so many colours, patterns and methods that modern designers use today are heavily influenced by Indian designs. Contemporary designers reinterpret Georgian colour schemes with modern design principles. Penny Morrison is a designer who brings Georgian-inspired style into her work through bold colours and vintage patterns, creating a nostalgic feel that appeals to modern tastes. Her approach shows how historical design can be refreshed to fit today’s interiors, blending elements of the past and present. Penny Morrison's designs reflect a deep connection to historical inspirations, particularly through her use of intricate patterns and bold colours. Her work draws heavily from global influences, including traditional Indian textiles, as seen in designs like the "Magda" fabric (Morrison, 2024). This fabric incorporates magnolia flowers in a half-drop pattern, paying homage to Indian block-printing techniques while being screen-printed on linen in the UK. Morrison combines these traditional elements with a contemporary aesthetic, creating designs that feel timeless and globally resonant . Many designers now use these historical references due to their enduring aesthetic appeal, rich cultural significance, and the ways they can elevate contemporary spaces with a sense of depth and narrative. While designs inspired by the Georgian era are far more accessible now than they were in the 18th century, incorporating such interiors into our homes remains a symbol of luxury and refinement. Much like during the Georgian period, the use of opulent fabrics and intricate patterns can still signify wealth and sophistication. Handcrafted textiles, despite their wider availability today, retain their status as a luxury due to the artisanal skill and time involved in their creation.

The appeal of high-end designs from companies such as Soane Britain and Penny Morrison is clear, yet their exclusivity highlights the divide between luxury interiors and more affordable options. In an age dominated by fast fashion and mass production, many view these handcrafted designs as indulgent or unnecessary, particularly as trends have shifted towards accessible decor in the past two decades. However, for those who can afford them, these designs offer a timeless elegance and an opportunity to connect with history and craftsmanship. There are many high street brands that offer designs which are more accessible. For instance, Next (Next Retail Limited, 2019) paired with esteemed interior designer Nina Campbell (Campbell, 2017) to showcase a blend of traditional and contemporary design elements, making timeless patterns more accessible to a wider audience. Nina Campbell, celebrated for her refined yet practical approach to design, brought her signature aesthetic of classic patterns with a modern hint to a wider audience. The collection draws inspiration from her extensive experience in interior design, incorporating vibrant colour palettes and detailed patterns that can complement both traditional and modern interiors . The designs showcase Nina Campbell's historical inspirations, especially her use of Georgian-era interior design elements and her ability to modify them to fit the demands of modern households. Through a high-street retailer like Next, this partnership guarantees that these opulent designs, which were previously thought to be exclusive, are now offered at more affordable pricing points. The collection highlightsNina's love for designing aesthetically pleasing and peaceful living environments with a selection of items like wallpaper, cushions, and textiles.

The use of colour and fabrics in Georgian design offers a look into the values of that era, reflecting wealth, taste, and global influences. Today, designers interpret these elements by integrating rich colours, luxurious fabrics, and detailed patterns into modern design. This balance of the past and present shows the lasting influence of Georgian style, making its opulence both accessible and relevant to today’s homes. Through this exploration, it becomes evident that the legacy of Georgian interior design is not merely a relic of the past but a living influence that continues to evolve, reflecting our changing cultural values and aspirations. The emphasis on this idea throughout the Georgian era is seen in the use of colour and textiles in interior design. Using striking colours like crimson, ultramarine, and indigo, as well as luxurious fabrics like silk, damask, and velvet, interior design throughout this era demonstrated elegance and luxury. These decisions represented the homeowner's position in society and their connection to international trade networks, and they expanded above simple aesthetics. Imported from India, indigo gained particular significance as a symbol of British colonial power and expanding wealth in addition to elegance. The period's enthusiasm for detail and using design to tell a story was also expressed in patterns like toile de Jouy. Every element of Georgian interior design, from fabrics to colours, was carefully chosen to impress and to create an atmosphere of luxury and sophistication. This era's symmetrical layouts, rich tones, and layered textures established a standard for interior design that still serves as an inspiration today.

Georgian aesthetics continue to have a significant influence today. For modern homes, designers frequently recreate these historical elements, blending classic elegance with practical, contemporary details. In order to appeal to modern tastes, companies such as Soane Britain and Divine Savages modernise Georgian designs and colours by merging traditional themes with striking, vibrant colours. By using this method, they can pay tribute to the past while designing rooms that are both fashionable and feel current. Inspired by Georgian techniques like block printing and hand-dying, traditional craftsmanship is also seeing a revival. These methods are employed by artisans and businesses such as Block Shop Textiles to create distinctive and sustainable designs. These practices offer a substitute for mass-produced products while preserving cultural traditions, reflecting a growing appreciation for sustainability and heritage Deep reds, gentle pastels, and sage greens were colour schemes popular throughout the Georgian era and now throughout modern times. These colours are used by designers such as Penny Morrison to create nostalgic yet modern spaces in contemporary home design. This historical style continues to influence contemporary design concepts, as seen by the Georgians' enthusiasm of arranging textures and patterns in today's luxurious interiors. The legacy of Georgian interior design is ongoing. Its use of opulent textiles, striking colours, and elaborate designs has influenced our ideas of sophistication and elegance in our houses. In order to ensure that Georgian aesthetics are still relevant, contemporary designers draw inspiration from this era to create interiors that combine innovation and tradition. We incorporate contemporary ideals like sustainability and global innovation while honouring the timeless beauty of this age by conserving ancient methods and updating them for the present. Good design really remains, as seen by Georgian design, which keeps connecting the gap between the past and present.

After submitting my Dissertation, I was awarded a 1st class (80%). I am really pleased of the outcome and grade for my dissertation. I loved researching all the various artists and historical references.