A House in 13 Colours
One house, dressed room by room. Thirteen rooms, thirteen Cameron Fuller finishes, each chosen for what the room does, not just how it looks. A new room joins the gallery every week.
…and the window finished the room.
Room scenes are AI-visualised from real, orderable Cameron Fuller hardware. Every finish shown is one we sell.
Walnut, because the room already knew. Cameron Fuller wooden pole, ball finials, hand-finished in Devon.
Shop wooden poles →Week 1, extended: same pole, ten homes
The Week 1 pole, Cameron Fuller's 50mm wooden pole with ball finials, carried through ten different homes and ten of the sixteen finishes. Every window is different; the pole is the constant.
The library. Burnished gold against deep teal, low evening light.
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The garden snug. Grey-green calm, herbs on the sill.
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The morning room. Soft white with a gilt whisper.
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The music room. Aged gold on heritage red.
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The cottage parlour. Warm pine, ochre and gingham.
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The winter sitting room. Cream on cream, fire lit.
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The city flat. Matt black against anthracite glass at dusk.
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The attic studio. Greige under the eaves, north light.
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The window seat. Powder blue-grey, books within reach.
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The green study. Rich grain against panelled green.
Shop wooden poles →The Trend Report: three years, season by season
Written in hindsight from what the magazines, the paint houses and the search data were saying at the time, one finish chosen for each era. Runs from early 2024 to now, and continues season by season from here.
Peach Fuzz and quiet blush, cafe curtains everywhere, grey and greige shown the door. Pale putty-greige on oat linen.
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Mocha Mousse and cherry red arrived together, colour drenching peaked. Warm walnut under cherry-red velvet.
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Mocha still in force, a bright yellow answer from Dulux, millennial grey finally declared over.
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Butter yellow peaked, retro prints back, farm-cottage kitchens up nine hundred per cent. Antique pine over gingham.
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2026's colours landed in a cluster: blue, aubergine, damson. Floor-to-ceiling drapes replaced the matching pelmet.
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Espresso and Neo Deco either end of the year, dramatic drapery back in favour. Gilded pole for burgundy and moss velvet.
Shop wooden poles →Loud colours, matched hardware
Four rooms in paint too bold to leave the pole white. Cameron Fuller hand-finish the pole, rings and finials to any paint colour, RAL number or sample.
A 1930s garden room drenched in mustard, cobalt velvet at the window, the pole finished to the wall so it disappears into it.
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A converted mill loft, beams and brick, coral velvet at a crittall window on a slim metal pole matched to the turquoise wall.
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A small cottage casement, racing green velvet against a pink wall, the pole finished to match rather than fight it.
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A city flat at dusk, canary yellow velvet against black gloss walls, cage finials on a matt black metal pole.
See colour matching →Rooms built around the season
Four finishes chosen for what the colour charts and the search data were saying that week, each carried through its own room.
Seen from the doorway: silvery sage walls, oatmeal linen with a dusky-pink edge, an Ash pole in the same quiet register as the wall.
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Deep plum drenched to the ceiling, ochre velvet at the window, lamps on, a Walnut pole warm against the dark wall.
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A moody snug: heavy mustard velvet on a Victorian sash, Natural Mahogany's rich grain against panelled forest green.
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A terracotta hallway, cream linen in a fine rust stripe, an Antique Pine pole hand-finished to sit quietly against the warm wall.
Shop wooden poles →The Bay: six windows a pole can't do
Six real bay and bow windows, one Cameron Fuller System 30 bendable track bent to fit each one, six finishes.
A 1930s semi's five-pane bay, one track bent to follow every angle so the oatmeal curtains run round it in a single sweep.
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Forest green to the ceiling, mustard velvet turning both corners of a Victorian sash bay without a break.
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A new-build box bay in anthracite and pink plaster, wave heading running the corners of the bay as one continuous line.
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A curved cottage bow with beams overhead, cream pencil pleat drawn round the curve on a wall-fixed Oyster track.
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Plum dining room at night, mustard pencil pleat drawn as one pair round an Edwardian three-sided bay.
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A window seat kept clear: wave-headed linen stacks back off a blue-grey panelled bay in Nimbus.
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