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Colorimetry

Nothing in film or interior design is left to chance. The choice of characters’ clothing, hair colours, the setting, a painted wall, a flat’s furniture can, and usually do tell a substory if one is able to identify them. This is all ruled by a set system of colour codes evocating certain themes, protagonists’ states of mind as well as a tool of foreshadowing.

Le Jardin Rossini, 2025, Les Gobelins

The talented students of the animation school Les Goblins, William Burger, Siméon Jacob, Odelia Laine, Garance Mondamert, Tara Rewal, Mathilde Vergereau, Arthur Wong directed the gorgeous short film Le Jardin Rossini. 

This touching and colourful animation on heritage and untying of one’s family and parents’ expectations. 

It uses a vibrant and surrealist colour palette, adding on to the whimsical atmosphere of the garden, place of Hervé’s retrospective as an acclaimed gardener artist. The tones chosen also work as a metaphor for Rosalie’s (Hervé’s daughter) emancipation and inner “flourishment”.

Click on the image to access Le Jardin Rossini.

Ruurd Wiersma’s House in Burdaard, Netherlands

“Twice daily, Ruurd Wiersma skimmed along the canals of the northern Netherlands, transporting churns of fresh milk from farm to dairy. But at home, he poured his heart into his painting” (The World of Interiors). Indeed, for five years, Wiersma surrounded himself with frescoes of his life, bringing to sight some of his fond memories as well as cherished friends. 

Not only is his entire house an explosion of joy and color, but also his shoes, his dishes, all of his living interior landscape. From finding joy in surrounding himself with echoes of past happiness, to using his art to thank the nurses that cared for him in hosptial, this house is a true example of how color and paint can impact one’s final experience of life, transforming what he spoke of as loneliness to purpose and joy.

Click on the image to read the World of Interiors’s article. 

Run Lola Run, 1998, Tom Zykwer

Run Lola Run is a 1998 German thriller directed by Tom Tykwer following Lola, a singular woman racing against time to save her beloved boyfriend from an imminent death.

As there is merely any in between as for the colours’ choice in the film (they are either dull or remarkably vibrant), the optical focus is led by Lola’s hair colour, which is, willingly red. It symbolises danger, a form of constant central urgency, as well as seduction and extreme passion. This colour trick also serves to lead the audience’s conscience to make their own (but actually rather collective) idea of Lola’s persona and to make her stand out of the ordinary, visually as much as narratively.

Museum in Progress, Vienna State Opera Safety Curtain

Museum in Progress’s Vienna State Opera Safety Curtain project is a landmark experiment in turning a traditionally functional surface into a site of contemporary art and public reflection, thanks to the work of talented artists and set designers.

Since the late 1990s, the massive safety curtain of the opera house has been reimagined and embellished by internationally renowned artists, transforming the concert hall into a living exhibition space visible to thousands. What makes the project especially impactful is its engagement with colorimetry: the curtain’s scale, lighting conditions, and architectural context demand a precise understanding of color measurement, perception, and intensity.

Color is not merely aesthetic here but structural, shaping how viewers emotionally and physically experience the space. Subtle shifts in hue, saturation, and contrast highly interact with the artificial stage light, altering perception from seat to seat.

Please click on the image to read Museum in Progress’ Safety Curtain page.