It may not be the most theatrical moment on a site visit, but when a designer pauses to quietly take in the light, everything else starts to fall into place. It’s when the real decision-making begins. ‘Natural light is the single most important element for a project,’ says Wendy Nicholls, chairman of Sibyl Colefax & John Fowler. Her first step? ‘Try to see the room at the middle of the day when the light is at its most harsh,’ she advises. ‘Colours will tend to turn sour, blue tones leached out, and the whole composition will look tired.’
This early observation often becomes the foundation for everything that follows. ‘You need to understand the room’s orientation and the amount of natural light available,’ explains interior designer Alex Dauley. ‘The quality and colour of light in a south-facing room will differ greatly from that of a north-facing one.’ It’s the kind of nuance that can influence not just paint choices, but layout, textiles and window treatments.
Colour is particularly sensitive to shifting sunlight. ‘South-facing rooms are much warmer, so I avoid whites with too much yellow pigment, as they can read too creamy. Here, you can afford to go darker with your neutrals,’ says designer Natasha Quick. ‘In north-facing rooms, I lean into soft yellow neutrals, or go full cocoon with strong, pigment-rich colours.’
To get the tone just right, Natasha turns to brands that offer flexibility. ‘Edward Bulmer offers different strengths of their colours, which is brilliant for getting a shade perfectly suited to the space,’ she says. Designer Uns Hobbs agrees: ‘High-quality paint brands that are full of pigment really come into their own with natural light. It brings out the subtle variations in colour, adding depth and complexity.’
Of course, it’s not just about colour. ‘I love using texture on walls as it gives the light something to catch on,’ says Oliver Lyttelton. That could mean limewashed plaster, tongue-and-groove panelling, or rough-sawn timber cladding—materials that break up the surface just enough for light to absorb, flicker, and diffuse as it passes across them.
Fabrics can do the same. In rooms with abundant natural light, matte textures—think flat linens or heavy cottons—can soften the brightness. In dimmer spaces, materials with a gentle sheen, like velvet or mohair, can subtly enhance what little light there is.
Amplifying light without overdoing it is a delicate balance. ‘We use reflective surfaces like mirrors, glass cabinetry or even picture frames to bounce light deeper into the room and soften shadowy corners,’ says Romanos Brihi, co-founder of Studio Vero. But, he warns, placement matters. ‘Put a large mirror directly opposite a window and you risk glare.’ His philosophy? ‘Think of light not just as illumination, but as an active material in the design—guiding mood, rhythm, and the subtle interplay of texture and colour throughout the day.’
And while light’s availability is important, so is the room’s function. ‘If a space lacks natural light and, by nature of its use, can afford to be sultry, like in a hallway or guest bedroom, I’ll lean into that and darken it further with colour to give it personality,’ says Sarah Walter Boyd. ‘Then I’ll layer in artificial light: spotlights on artwork, mirrors to give depth to dusky corners and carefully chosen lamps to accentuate the glow of what light you do have.’ Natasha recommends layering in glossy finishes—brass, mirrored surfaces or high-sheen paint—to draw light into darker corners without resorting to stark contrasts.
In contrast, Sarah keeps walls clean and bright in sun-soaked rooms, opting to introduce colour through rugs, upholstery and art. She recommends layered window treatments, such as Holland blinds, patterned Jali-style panels or shoji screens, which filter the light without blocking it entirely. After dark, she shifts the mood. ‘Lamps and wall lights create a soft glow that brings the focus lower in the room.’
Artificial light isn’t just a stand-in for the real thing—it’s its own design layer. ‘Architectural lighting should always be used as a support,’ says Uns, who avoids harsh overheads in favour of a softer approach. ‘In darker rooms, we use wall lights, table lamps, picture lights and even candle sconces. Each one adds another layer of warmth and intimacy.’ Furniture placement plays a role, too. ‘If possible, place desks or reading nooks near the natural light source, and balance the rest of the room with soft, low-level lighting and task lamps,’ says Wendy.
Designers also keep an eye on the shadows. ‘What is made by light casts a shadow, and the shadow belongs to light,’ says Oliver, quoting architect Louis Kahn. ‘Shadows create depth and allow our eyes to travel. Looking at a room that’s washed out is so unnatural for our bodies and nervous systems.’ The body, in fact, responds to light on a cellular level. ‘A simple internet search—‘how light affects the human body’—explains why light is arguably the foundation on which design is, and should be, based,’ says Sarah. ‘According to Google: Light significantly impacts human health and well-being by regulating our circadian rhythm, influencing hormone production, and affecting our mood, sleep and even metabolism.’ Which is why so much hinges on getting it right.
Sometimes it’s as simple as rotating a mirror or adjusting pigment strength. Other times, it’s a more intuitive layering of surfaces, shadows and scale. But the guiding principle remains the same. As Wendy puts it: ‘Emphasise the light wherever possible.’ It’s not just about aesthetics—it’s biology.
