Preview Colours 2024

Superposition

Products exist simultaneously in the physical and digital domains, and should convey the same feeling in both very different worlds. To connect the physical and digital, selecting and testing colours is changing. Today both domains are equally important, so sampling and making the actual product in colour exists next to testing how the colour behaves in the digital world.

Our brains and screen resolutions affect how we perceive colour on a monitor. Colours on the screen seem much more dimensional; our eyes perceive the colours as vibrant and closer and the darker colours as depth. Luminescence, the perceived brightness of a colour, shines on a screen and creates the idea of depth and light in a palette.

These colours are not typical digital colours, they are more natural and will create more symbiosis between both worlds. The five colours of the preview of SS 2024 express these colliding worlds, the superposition of products and the human experience of colours.

You can download the PDF of the report here

Left to right, painting by Loie Hollowell, Machine Hallucinations, Coral by Refik Anadol, Crash Baggage at Galeries Lafayette

Ambient Tones

The palette consists of two unique natural neutrals, a green tone and a warm natural tone with a humble attitude; these two colours balance with blue and yellow’s energising colours. A darker, more mysterious purple colour provides contrast and depth. The five colours are natural colours, blurring the boundaries of the physical and digital world. When used in the digital universe, the colours have a touch of mystery and otherworldliness. In the physical, the colours are sophisticated and present.

You can download the Adobe .ase colours here

Banner image, The Bedroom, designed by Harry Nuriev of Crosby Studios

Laurel

OVN-43007

Neutrality & Calm

Laurel is a colour that evokes emotions; on screen, green tones in general are the most clicked colours. It is a dominant colour in nature, the colour of growth, but it represents a humble form of growth. The Laurel colour is comforting and attracts pleasant feelings that can diffuse anxiety and help us stay calm and refreshed. It is a new base colour that replaces grey and beige with a more active natural tone.

Left to right, Offhours homecoat, Igshaan Adams Between Planes, Wotton Works London, Cablicious by Strangecarrots

The Laurel colour is calming and refers to metal structures, moss and desert plants. The colour seems like green pigment has been added to concrete; it is a soothing colour in a grey city environment. The colour can be used in a matte finish as new greenish grey neutral.

Left to right, Hyundai Seven, Hullebusch Natural Stone, Everlane Eco packaging, Tabula non Rasa materials, Canova chair by Claus Breinholt, Exofood Thailand, jacket by Kiko Kostadinov, Amorepacific X Off-White Protection Box

Blue Tinge

OVN-43002

Space & Activity

The Blue Tinge colour refers to deeper shades of water in the physical world. Blue in the digital realm has the feeling of endlessness and provides the feeling of infinite space. The blue of the palette has a sense of time, weightlessness and space.

Left to right, Untitled by Beverly Fishman, painting with light by Iswanto Soerjanto, Air Summit One by Kenzo Digital for Summit One Vanderbilt, CryptoPunk digital sneaker by RTFKT, 49 Nord 6 Est 68 Ven 12 FL installation by Doug Wheeler

The Blue Tinge colour is like a digital presence; the colour glows and gives a sense of dimension. It is a vibrant and energetic colour. The colour is used to indicate zones and areas and to emphasize a shape.

Left to right, MBUX Hyperscreen, Aera Bakery Berlin, coat by Post Archive Faction, knit by Pisa Tekstil, Heartfelt by Gayle Lee and Jessica Vea, chair by Nortstudio, coat by Helmut Lang, sculpture by Edgard Negret

Betula

OvN-21016

Golden Shine

The Betula colour is the colour of changing autumn leaves; it is a golden and warm colour that seems to glow. The colour is reminiscent of golden light, the golden hour in nature just before sunset that gives everything a unique warm glow. Betula is a friendly, optimistic colour for creating positive products and surroundings.

Left to right, Baju Digital NFT for Dolce & Gabbana, Our Future Is Now by Olafur Eliasson, artwork by Jorge Pardo, artwork at Kiaf Art Seoul

Betula is a colour between yellow and orange; the tone varies depending on the light shining on the material. The colour is warm, shiny and gives an identity and energy to objects and materials. The colour works well on matt materials or materials with dept or a shine, such as velvet, boucle or textured paint.

Left to right, Asmara by Bernard Govin, workspace by Note Design, outfits by Sies Marjan, Void Matters by Note Studio, Charlotte Taylor for Tetra, vest by Nudie Jeans, Living Textures at Time Wil Change by Buro Belen at the van Abbemuseum Eindhoven

Mars Brown

OVN-75002

Grounded Space

Mars Brown is inspired by the surface of the planet Mars that appears reddish from a distance due to rusty dust in the atmosphere. Up close, it looks more like a butterscotch colour. Mars Brown is a tonal colour, a new warmer neutral that has something otherworldly and symbolizes openness towards possible future life on other planets.

Left to right, Hyundai Seven interior, artwork by unknown, Chiesa Madre by Ludovico Quarroni, landscape by Khaled El Mays

Mars Brown is a muted colour that is sophisticated and warm. It gives products and objects a timeless feeling. The colour also has a grounded sense of silence, an element of craft and human touch. The colour plays with the idea of perfect and imperfect; used as a solid, it has something clean and polished; when used more structured, the colour looks aged with more identity.

Left to right, Tea Community Centre by Waterfrom Design, Felix Meritis by I29 Architects, coat by Kassl, Oyster leather, Mercedes-Benz Project Maybach by Virgil Abloh, Pellis lamp by Pauline Esparon, outfit by Coach, natural finishes with IMD technology by Nissha

Deep Space

OVN-65007

Absorbing

Deep Space is a deep purple colour with a touch of red; it is an absorbing colour with a warm glow and a feeling of elegance and mysteriousness. This colour refers to other worlds and gaming landscapes; the darkness reflects the light and adds value to the different colours of the palette.

Left to right, Stations by Gianmaria Della Ratta, Nocturno Bubble by Jan Kaláb, Afterworld: The Age of Tomorrow by Balenciaga

Deep Space is a warm, dark redish purple colour. The colour gives a glow and a dimension of depth to products. The colour adds something rich and classic when used in the digital. Combined with glossy finishes and light effects, the timeless colour has protective warm qualities in the physical world.

Left to right, chair by unknown, outfit by Vincent Thurstein, woven textile by Hella Jongerius, Loop Chair by Jason Mizrahi, department store SKP-S in Beijing, China by Sybarite, Graduation show by The Royal Academy of the Fine Arts Antwerp, Cordura textile by Yoonia Tex, holographic table by Six N Five

TEXTILE SWATCHES

Overview

You can download the PDF of the report here

Download the Adobe ASE palette here

You can order the OvN package of textile swatches of the 2023 preview here

* Pantone TCX reference for closest colour match to the OvN dyed swatches

The PANTONE © reference numbers shown represent the PANTONE © colours most closely related to the Oltmans van Niekerk colours displayed. PANTONE © and other Pantone trademarks are property of Pantone LLC. PANTONE colours displayed here may not match PANTONE - identified standards. Consult current PANTONE Color publications for accurate colour. Pantone LLC is a wholly owned subsidary of X-Rite. Incorporated.