BLACK IN DECORATION.

Sun (Christchurch), Volume II, Issue 438, 6 July 1915, Page 4

BLACK IN DECORATION.

The era of the black room has not lasted a great while. There were too many black rooms —or perhaps too few. That is to say, one black room was sufficiently startling to hold its own, but imitated a few times it became stale without achieving the backing of custom. At the same time it has left its mark. There is the white room, for instance, with the black carpet —it has rather the suggestion of the .mourning envelope. Also there is a recrudescence of the strong, bright colours which were demanded by the black walls. When the black walls go the eolours survive, and among others an Oriental red of very satisfying hue has crept into room decoration generally.

There is, however, more direct evidence of the influence of the black room. Black is being used very largely in design. Some of the old brocades — black velvet figures on a white ground —are being revived with great effect. The exact tone of the white is important here, as it makes all the difference between a sharp, hard contrast and a strong mellow blending. But black has crept also into cotton and linen stuffs, and one of the most attractive innovations is the influx of new black and white chintzes. The background is white, and among the black designs a touch of colour is introduced. Thus some of the foliage chintzes are adorned with a gaily coloured longtailed bird. The colour is such that it is not too obvious; yet it lends a warm tone to the whole. The black chintz goes back as far as Queen Anne. One of the most striking -patterns of that period was composed of rows of long white Madonna lilies against a background which included a great deal of black. And as these chintzes were among the best we liavc had, the revival of the black note may be taken as a hopeful augury for the future.