Burgundy

See this colour in the real world

Colours in photographs vary with lighting, material, camera processing and screen calibration — the named colours below are visual approximations, not exact measurements.

Used in room palettes

Burgundy appears in the following curated Interiors room palettes.

Used in outfit palettes

Burgundy appears in the following curated Fashion outfit palettes.

Uses & contexts

Nearest named colours, and how they differ

• Claret is the closest, at ΔE00 5.9 from burgundy: 2 points lighter, 7 points less saturated and 11° round towards red. That is visibly different side by side, easily confused apart.

• Carmine is next, at ΔE00 6.6 from burgundy: 5 points lighter, 10 points more saturated and 8° round towards yellow. That is clearly different, though many people would use one name for both.

• Wine is next, at ΔE00 8.2 from burgundy: 3 points lighter, 21 points less saturated and 6° round towards red. That is clearly different, though many people would use one name for both.

• Maroon is next, at ΔE00 9.0 from burgundy: 8 points more saturated and 15° round towards yellow. That is clearly different, though many people would use one name for both.

Distances are CIEDE2000 between catalogue reference values; lightness and saturation are CIELAB L* and C*. How to read a ΔE figure · Measure any two colours

Often confused with

Using this colour in a real room

Using burgundy in a real space

Worked out from this colour’s own measurements — its lightness, saturation and undertone — rather than written for it. That is why the guidance differs from one colour to the next even when the two look similar.

What role it can play

This is a small-scale colour. At chroma 53 it holds attention easily, which is a strength on a cushion or a door and a liability across four walls.

• Walls and large surfaces

  difficult

  At chroma 53 this is far above the level walls and large surfaces usually carry comfortably. It can be done deliberately, but it will be the room rather than part of it.

• Secondary surfaces

  strong

  Chroma 53 sits inside the range secondary surfaces carry without taking over the room.

• Furniture

  strong

  Chroma 53 sits inside the range furniture carry without taking over the room.

• Rugs, curtains and bedding

  strong

  Chroma 53 sits inside the range rugs, curtains and bedding carry without taking over the room.

• Trim and joinery

  strong

  Chroma 53 sits inside the range trim and joinery carry without taking over the room.

• Accents and small objects

  strong

  Chroma 53 is exactly what an accent is for. The saturation that makes this difficult across a wall is the reason it works on a cushion, a door or a single chair.

How it behaves under different lightresilient

Under warm bulbs

With almost no hue of its own, this mostly reports the colour of the light. Under warm bulbs it will read warm — which is not the colour changing but the colour being honest.

Under cool bulbs

Near-neutral under any source, so a cool bulb will simply make it read cool.

In daylight

Deep colours hold their identity in daylight better than pale ones, because there is more of the range left to work in. This will look most like itself in good indirect light.

In a dim room

At low light levels the eye's colour discrimination genuinely falls and deep colours converge toward each other. This will read as "dark" rather than as its own colour in a dim room unless it is lit.

Compared with the sample card

Already deep, so there is little further to fall — but on a large matte surface it will absorb enough light to look flatter than the sample.

What colour temperature actually means · Why two bulbs at the same rating can differ

With wood

• Oak · Pine · Plywood · Light wood (ash, birch, beech)

  works well

  Shares the neutral bias of Oak, Pine, Plywood and Light wood (ash, birch, beech), so they agree about the temperature of the room, and 40–60 points of lightness keep them readable as separate from this colour.

• Dark wood

  works well

  Shares the neutral bias of Dark wood and sits within 4 points of it in lightness, so expect a quiet, tonal relationship rather than a contrast.

• Walnut · Reddish wood (mahogany, cherry, teak)

  needs care

  Sits close to Walnut and Reddish wood (mahogany, cherry, teak) without matching them (ΔE00 17) — near enough that the eye reads an attempted match and far enough that it fails. Either move decisively away or repeat the tone exactly.

The amount of timber matters as much as the tone: one piece is an accent, a floor plus joinery is the room’s dominant colour. More on working with wood tones

With metal fittings

• Brass · Gold-tone · Chrome · Stainless steel · Copper

  works well

  Shares the neutral bias of Brass, Gold-tone, Chrome, Stainless steel and Copper, so they agree about the temperature of the room, and 42–55 points of lightness keep them readable as separate from this colour.

• Black metal

  works well

  Shares the neutral bias of Black metal and sits within 19 points of it in lightness, so expect a quiet, tonal relationship rather than a contrast.

Metal carries more attention than its area suggests, so repetition matters more than the exact finish. More on metals and mixing them

Where it can go wrong

• May dominate a small or dim room. At L*26 and chroma 53 it absorbs light and holds attention at the same time, which is a lot to ask of a space that has little of either.

Lighter, darker & directional variants

Calculated directional adjustments. Some directions converge on the same result from this starting colour — shown as one merged card with an explanation, not repeated duplicates. Generated shades link to a curated profile only when one is close enough.