BS 476 Part 7: Surface Spread of Flame for Wall and Ceiling Linings

BS 476 Part 7: Surface Spread of Flame for Wall and Ceiling Linings

What it tests: How quickly flame spreads across the surface of a material when exposed to a heat source. Relevant to wall panels, ceiling linings, acoustic panels, and fabric wall coverings.
The four classes: Class 1 is the most restrictive — very limited spread of flame. Class 4 is the least restrictive. Class 0 is a composite designation covering Class 1 surface spread of flame plus a non-combustibility requirement.
What it does not test: Upholstery fire performance. BS 476 Part 7 is a surface lining test, not an upholstery test. Crib 5 and BS 7176 cover upholstered seating.
Who requires it: Building control for non-domestic buildings; the Regulatory Reform (Fire Safety) Order 2005 for occupied non-domestic premises.

Interior designers specifying fabric for wall panels, acoustic panels, and decorative wall linings in commercial environments need to understand BS 476 Part 7 alongside the upholstery fire standards. Where Crib 5 and BS 7176 cover the fire performance of upholstered seating, BS 476 Part 7 covers how quickly flame spreads across surfaces — walls, ceilings, and the materials covering them. The two standards address different fire risks and apply to different elements of an interior specification.


What BS 476 Part 7 Tests

BS 476 Part 7 is the British Standard method for testing the surface spread of flame of building products. It measures how far and how fast a flame travels across the surface of a material when one end is exposed to a defined heat source. The test is conducted on a sample 900 mm long by 225 mm wide, mounted vertically on a radiant heat panel. A pilot flame is applied at one end and the spread of flame along the sample is measured at 90 seconds, 3 minutes, and 10 minutes from ignition.

The results determine which of the four BS 476 Part 7 classes the material achieves. The test is separate from, and not interchangeable with, the upholstery tests. A fabric that passes BS 476 Part 7 Class 1 is certified for use as a surface lining material. This certification says nothing about its performance as an upholstery fabric under Crib 5 or BS 7176 ignition sources.


The Four Classes

Class 1 is the most restrictive classification. Flame spread at 90 seconds must not exceed 165 mm and at 10 minutes must not exceed 165 mm. Class 1 is required for walls and ceilings in most circulation areas, corridors, stairways, and escape routes in non-domestic buildings under the Building Regulations. For fabric wall panels in commercial interiors, Class 1 is the specification that most building control officers and fire risk assessors will expect in occupied non-domestic premises.

Class 0 is not defined within BS 476 Part 7 itself. It is a composite classification used in Approved Document B requiring Class 1 surface spread of flame and additionally meeting non-combustibility or limited combustibility requirements to BS 476 Part 11 or Part 4. Most fabric materials cannot achieve Class 0. Glass fibre and mineral fabrics can. For most commercial interior projects, Class 1 is the practical target for fabric wall linings.

Class 2 is acceptable for wall linings in lower-risk areas of some non-domestic buildings where Class 1 is not explicitly required. In practice, specifiers should aim for Class 1 across commercial interiors to provide a consistent and defensible specification.

Class 3 is the minimum permitted for wall linings in domestic rooms and some low-risk areas of non-domestic buildings under Approved Document B. Not appropriate for escape routes, corridors, or high-occupancy commercial spaces.

Class 4 does not meet any acceptable Building Regulations standard for wall or ceiling linings in habitable spaces.


BS EN 13501-1: The European Equivalent

The European reaction to fire classification system, BS EN 13501-1, uses Euroclass ratings — A1, A2, B, C, D, E, F — with additional designations for smoke production and flaming droplet behaviour. BS 476 Part 7 Class 1 is approximately equivalent to Euroclass B or C. BS 476 Part 7 Class 0 is approximately equivalent to Euroclass B with s1, d0 designations. These are not exact equivalences.

For wall panel and acoustic panel fabric specification in the UK, it is safest to request a BS 476 Part 7 test result specifically from the supplier rather than relying on Euroclass conversion, unless the building control officer for the specific project has confirmed acceptance of Euroclass ratings as equivalent.


Fabric Applications Requiring BS 476 Part 7

Fabric-covered wall panels, whether fixed directly to the wall or suspended on a batten system, form a wall lining. The fabric and any interliner or backing material must be tested together as the composite assembly. A fabric that achieves Class 1 as a face fabric may not achieve Class 1 when applied over a foam interliner, because the combined assembly’s performance depends on all layers.

Acoustic fabric panels installed on walls for sound absorption purposes are wall linings and require BS 476 Part 7 classification. The acoustic infill material — typically mineral wool or acoustic foam — affects the composite panel’s classification. Mineral wool infill is non-combustible. Polyurethane acoustic foam typically achieves Class 2 or 3 at best and will limit the composite panel’s classification accordingly.

Fabric wall coverings applied over plaster or plasterboard similarly form a wall lining. The surface to which the fabric is applied affects the test result, so the fabric should be tested in the configuration as installed.

Headboards in hotel bedrooms are treated as furniture rather than wall linings and are therefore subject to the upholstery standards — Crib 5 and BS 7176 — rather than BS 476 Part 7. For full guidance on headboard specification, see our wall panels and headboards guide.


Achieving Class 1 with Fabric

Most uncoated natural-fibre fabrics will not achieve BS 476 Part 7 Class 1 without topical FR treatment. Cotton, linen, and viscose fabrics ignite readily and will typically achieve only Class 3 or Class 4 without treatment. Wool and mohair have significantly better inherent fire resistance but still typically require treatment to achieve Class 1 for wall lining applications.

Topical FR treatment — typically wet-padding with intumescent or phosphorus-based compounds — can raise most cellulosic fabrics from Class 3 or 4 to Class 1. The treatment must be applied by a UKAS-accredited treatment company and the treated assembly must be tested as a composite with the backing and fixings used in the actual installation. For guidance on FR treatment and dye interaction risks, see our dye types and FR treatment guide.

Some polyester fabrics with inherent flame retardant additives — including Trevira CS — can achieve Class 1 without topical treatment, with better long-term durability than treated natural-fibre fabrics.


Testing and Certification

BS 476 Part 7 certificates must be issued by a UKAS-accredited testing laboratory. A supplier’s own claim that a fabric meets Class 1 is not sufficient for building control purposes. The certificate should specify the fabric tested, the configuration tested including backing materials and fixings, the test standard, and the classification achieved.

For composite wall panel systems, the certificate should cover the full assembly rather than the face fabric in isolation. Testing the face fabric alone and assuming the assembly will achieve the same classification is not reliable.

Certificates should be retained for the life of the installation and included in the building’s fire safety documentation. For projects subject to the Building Safety Act 2022, the classification certificates for all wall lining materials form part of the golden thread. See our Building Safety Act guide for documentation requirements.


Frequently Asked Questions

What is the difference between BS 476 Part 7 and BS 5852 Crib 5?

BS 476 Part 7 tests surface spread of flame on wall and ceiling lining materials. BS 5852 Crib 5 tests the fire resistance of upholstered seating assemblies. They test different products under different fire scenarios and one certification does not substitute for the other. A fabric certified to BS 476 Part 7 Class 1 for wall panel use requires separate Crib 5 testing if it is also to be used for upholstered seating in the same project.

Do headboards in hotel rooms need BS 476 Part 7 certification?

No. Headboards are classified as furniture and are subject to BS 5852 and BS 7176, not the surface lining standards. A headboard fixed to the wall does not become a wall lining by being attached. Confirm the applicable standard with the building control officer or fire risk assessor for the specific project if there is any doubt.

What does Class 0 mean and can fabric achieve it?

Class 0 is a composite designation in the Building Regulations requiring Class 1 surface spread of flame and additionally meeting non-combustibility or limited combustibility requirements. Most fabric materials cannot achieve Class 0. Glass fibre and mineral fabrics can. For most commercial interior projects, Class 1 is the practical target for fabric wall linings.

Does the fabric or the whole wall panel assembly need to be tested?

The whole assembly — face fabric, interliner, backing, and fixing method — should be tested together. Testing the face fabric in isolation and assuming the composite assembly will achieve the same classification is unreliable, because the thermal behaviour of backing materials significantly affects the test result.

How does BS 476 Part 7 relate to BS EN 13501-1?

BS EN 13501-1 is the European reaction to fire classification using Euroclasses A1 to F. BS 476 Part 7 Class 1 is approximately equivalent to Euroclass B or C, though the equivalence is not exact. For UK projects, always request BS 476 Part 7 results specifically unless the building control officer has confirmed acceptance of Euroclass ratings for the specific project.


For wall panel and headboard fire specification, see our wall panels and headboards guide. For upholstery fire standards, see our Crib 5 guide. For FR treatment guidance, see our FR treatment and fibre compatibility guide.

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Top UK Interior Designers 2026: London and National

Top UK Interior Designers 2026: London and National

The following is a curated reference list of interior design studios and practitioners active in the UK in 2026, compiled for homeowners, property developers, and clients seeking design representation for residential and commercial projects. The list is organised by location — London studios first, followed by national coverage — and listed alphabetically within each section. No ranking is implied. All studios listed were active and accepting new commissions at the time of compilation.

Kothea is a trade-only supplier of luxury fabrics based in London. We supply fabric directly to interior designers and architects. If you are a homeowner seeking a designer, the studios below can advise on the full range of fabric options available through trade accounts.

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London Studios

Beata Heuman. Stockholm-born, London-based, Beata Heuman’s studio produces interiors of playful sophistication — bold colour, idiosyncratic furniture, and a distinctive blend of Scandinavian restraint with maximal personality. Her residential work has been widely published and her aesthetic is among the most recognisable in contemporary London design. Website: beataheuman.com

BradyWilliams. Founded by Shayne Brady and Emily Williams, BradyWilliams offers a comprehensive bespoke interior design service for residential and commercial clients. Known for acute detailing, timeless design, and strong project management, the studio operates across London and internationally. Website: studioshaynebrady.com

Buchanan Studio. Led by Jessica Maybury, Buchanan Studio specialises in high-end residential projects with an emphasis on craftsmanship, natural materials, and considered materiality. The studio’s work has a quiet confidence and a strong understanding of bespoke joinery and architectural detail. Website: buchanan.studio

David Collins Studio. One of London’s most established luxury design studios, founded in 1985. The studio — now led by Iain Watson and Simon Rawlings — has defined interiors at iconic London locations and continues to work across hospitality, retail, and high-end residential. Known for layered palettes and architectural precision. Website: davidcollins.studio

Design Haus Liberty. Founded by Dara Huang, Design Haus Liberty blends mid-century and contemporary European influences across residential and commercial projects. The studio has worked with Four Seasons, Cartier, and LVMH alongside a significant private residential portfolio. Website: dhliberty.com

Elicyon. A luxury studio based in Kensington, led by Charu Gandhi. Elicyon works across interior design, interior architecture, and project management on some of London’s most prominent prime residential developments including One Hyde Park, with an international portfolio extending to Dubai, Monaco, and Singapore. Website: elicyon.com

Fran Hickman Design and Interiors. Fran Hickman’s studio is characterised by bold colour, pattern, and confident maximalism. Her residential work is full of personality and her commercial portfolio includes Soho House properties. A strong choice for clients who want distinctive, colour-forward interiors. Website: franhickman.com

Kelly Hoppen Interiors. A global name in luxury interior design, Kelly Hoppen’s studio is known for its East-meets-West aesthetic — neutral palettes, geometric precision, and harmonious spatial composition. The studio has worked on celebrity homes, luxury yachts, hotels, and aircraft. Website: kellyhoppeninteriors.com

Katharine Pooley. Katharine Pooley’s Knightsbridge studio produces polished, sophisticated interiors for the most discerning clients. Her work spans Mayfair and Belgravia townhouses through to international luxury residences and is consistently among the most refined in the London luxury market. Website: katharinepooley.com

Lawson Robb. Lawson Robb bridges architecture and interior design with particular expertise in high-end residential and superyacht interiors. The studio’s technical capability — integrating complex AV, lighting, and environmental systems seamlessly into the interior — sets it apart from purely decorative practices. Website: lawsonrobb.com

Martin Brudnizki Design Studio. Founded in 2000, MBDS is known for bold, timeless, and immersive spaces across hospitality, retail, and residential. Notable projects include Annabel’s, Bacchanalia, and numerous hotel and restaurant interiors in London and New York. Website: mbds.com

Natalia Miyar. Cuban-American designer Natalia Miyar brings an international perspective to London’s design scene. Her interiors are glamorous, refined, and impeccably detailed, with a particular strength in luxury residential. Her studio has grown rapidly since its founding and is among the most watched in the current London market. Website: nataliamiyar.com

Nicky Haslam Design. Nicky Haslam is one of Britain’s most celebrated decorators, internationally renowned for original, glamorous, and authoritatively realised commissions spanning decades. His studio continues to work across residential, hospitality, and commercial projects. Website: nickyhaslamstudio.com

Nina Campbell. Nina Campbell established her practice and shop in 1974 and remains one of the most respected and influential interior designers in the world. Known for stylish, characterful interiors and for her own collections of fabrics and wallpapers, her studio continues to deliver residential and commercial commissions of the highest quality. Website: ninacampbell.com

Oliver Burns. Led by Sharon Lillywhite, Oliver Burns Studio has become an esteemed practice serving some of the world’s wealthiest families and luxury property developers. The studio’s focus on thoughtful luxury, artisanal sourcing, and narrative-led design has produced a client list spanning Belgravia townhouses to international country estates. Website: oliverburns.com

Retrouvius. Not a conventional design studio — Retrouvius specialises in architectural salvage and designing interiors around reclaimed materials. The results are entirely unique: spaces with genuine material history and character that cannot be replicated with new materials. A first choice for clients who want sustainability and authenticity above all. Website: retrouvius.com

Rose Uniacke. Working from her Pimlico Road showroom — part gallery, part antique shop, part design studio — Rose Uniacke creates interiors of extraordinary calm and refinement. Spare, elegant rooms furnished with carefully sourced antiques and her own furniture line. Among the most admired British designers of her generation. Website: roseuniacke.com

Sibyl Colefax and John Fowler. The most venerable name in English decoration, with a client list spanning generations of aristocratic and distinguished families. The current team maintains the firm’s tradition of scholarly, comfortable English country house style while remaining fully contemporary in its approach. Website: sibylcolefax.com

Staffan Tollgård Design Group. An award-winning architectural interior design practice offering a bold take on residential interiors. Staffan Tollgård’s style draws on Asian and Scandinavian functionalism combined with a strong appreciation of furniture as sculptural art. Website: tollgard.com

Studio Ashby. Sophie Ashby’s studio is one of the most consistently exciting in London — warm, layered interiors that mix mid-century pieces with contemporary art and artisan-made objects. Recent projects include The Whiteley development in Bayswater and a growing hospitality portfolio. Website: studioashby.com

Studio Hessian. Scarlett Hessian trained as an architect and brings a rigorous spatial intelligence to residential and commercial interiors. The studio has a significant international presence across London, Stockholm, and the west coast of the United States. Website: studiohessian.com

Taylor Howes. Taylor Howes Designs operates across prime central London and international markets, delivering sophisticated, elegantly layered interiors for high-net-worth residential clients with an established presence in Mayfair, Knightsbridge, and Chelsea. Website: taylorhowes.co.uk


National Coverage

Ben Pentreath. Based in Dorset with a London office, Ben Pentreath is among the most respected English decorators working today. His interiors draw on a deep knowledge of English architectural history and decorating tradition — layered, colourful, and deeply comfortable. His influence on a generation of younger British designers is significant. Website: benpentreath.com

Eadie and Crole. Founded in 2019 by Sophie Eade and Fi Crole, Eadie and Crole operates from Hampshire with a portfolio spanning London townhouses and country house projects across the south of England. Known for elegant, understated interiors that pair subtle hues and natural textures with antiques and contemporary art. Website: eadieandcrole.com

Emily Smoor Interiors. Based in Edinburgh, Emily Smoor’s practice began as an upholstery studio and evolved into full residential and commercial interior design. Her interiors are eclectic, texture-rich, and characterised by a talent for sourcing and combining pieces from different eras and places. Website: fantoush.com

Henry Prideaux Interior Design. Henry Prideaux offers sophisticated, practical schemes notable for unexpected and extraordinary moments. Based from a showroom-studio in Twickenham with a portfolio of residential projects across London and the home counties. Website: henryprideaux.com

Max Rollitt. Max Rollitt is an interior designer, furniture-maker, and antiques dealer working from his Hampshire showroom at Yavington Barn. His interiors are distinctive for their layers of colour, texture, and history — richly composed rooms drawing on antiques, bespoke furniture, and a sophisticated understanding of English decoration. Website: maxrollitt.com

Rita Konig. British-born Rita Konig is a sought-after talent on both sides of the Atlantic, known for her acute understanding of comfortable, personal, and quietly stylish interiors. Her recent collections with Schumacher have further established her international profile. Website: ritakonig.com

SHH Architecture and Interiors. SHH is a London-headquartered practice with a national reach, known for bold palettes, architectural confidence, and exacting detail across residential, hospitality, and commercial projects. Listed in Country and Town House’s 50 Best Interior Designers in the UK in 2025 and 2026. Website: shh.co.uk

Sims Hilditch. Sims Hilditch operates from the Cotswolds and London, specialising in English country houses and town houses. The studio is known for warm, layered interiors that combine strong architectural understanding with a fine eye for antiques, textiles, and colour. Website: simshilditch.com


This list is updated periodically. If you are an interior designer or studio and would like to be considered for inclusion in a future edition, contact us via kothea.com/contact.

Kothea supplies trade fabric to interior designers and architects.

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Mohair Thermal Properties: Why It Works in Hotels Year-Round

Grey Mohair Velvet Upholstery

Mohair Thermal Properties: Why It Works in Hotels Year-Round

The key property: Mohair fibre is hollow at the microscopic level, trapping air and providing insulation without the bulk associated with wool.
The practical result: Mohair feels warm to the touch but does not cause overheating in sustained use — it regulates temperature rather than simply retaining heat.
Moisture management: Mohair absorbs up to 30% of its weight in moisture vapour before feeling damp, making it comfortable across a wide range of humidity conditions.
Why it works in hospitality: The combination of thermal regulation and moisture management makes mohair velvet comfortable across seasons and climates without the seasonal specification limitations of most upholstery fabrics.

Most upholstery fabric discussions focus on durability, fire rating, and cleaning compatibility. The thermal and moisture management properties of mohair velvet are less frequently discussed but are commercially significant in hospitality environments where guests sit for extended periods across a wide range of ambient temperatures and humidity levels. This guide explains the physical mechanism behind mohair’s thermal performance, how it compares to other upholstery fibres, and why these properties support specification in hotel and hospitality environments year-round.


The Hollow Fibre Structure

Mohair fibre — the hair of the Angora goat — has a medullated structure. The fibre contains a medulla, a cellular core that runs through the centre of the fibre and creates air-filled spaces within the fibre itself. This hollow structure traps air within the fibre rather than just between fibres as in a conventional yarn. Trapped air is an excellent insulator: it reduces the rate at which heat is conducted away from the body.

The result is a fibre that provides warmth without the density and bulk required by other fibres to achieve the same insulating effect. A mohair velvet achieves its thermal character at a lower pile weight than a wool velvet of equivalent warmth performance. This is commercially relevant in upholstery because it means a warmer fabric without the added weight that can make a piece feel heavy or overbuilt.


Temperature Regulation Rather Than Heat Retention

The distinction between a fabric that retains heat and one that regulates temperature matters for extended seating use. A fabric that simply retains heat will feel warm initially but cause discomfort in sustained contact as body heat accumulates at the fabric surface and cannot dissipate. This is the mechanism behind the stickiness associated with non-breathable synthetic upholstery in warm environments.

Mohair velvet regulates rather than simply retains. The hollow fibre structure and the natural protein composition of mohair allow the fibre to respond to changes in body temperature and humidity. When the body produces more heat and moisture, the fabric absorbs moisture vapour from the skin and the warmer air near the body surface can circulate through the pile structure. When conditions cool, the absorbed moisture is released and the fibre’s insulating properties provide warmth.

This active thermal behaviour is described in textile science as hygroscopic regulation — the fibre’s ability to absorb and release moisture in response to environmental conditions moderates the microclimate between the body and the fabric surface. It is the same mechanism that makes wool and cashmere comfortable across a wider temperature range than synthetic fibres of equivalent weight.


Moisture Management

Mohair can absorb up to approximately 30% of its own dry weight in moisture vapour before the surface of the fibre begins to feel damp to the touch. This high moisture absorption capacity means that perspiration from guests sitting for extended periods is absorbed by the fibre and held within the fibre structure rather than remaining at the fabric surface. The fabric surface continues to feel dry even as the fibre absorbs moisture.

The absorbed moisture is subsequently released as the ambient conditions change — when the guest leaves and the seat is unoccupied, or when the ambient temperature drops — restoring the fabric to its dry state without the need for active drying or cleaning. This self-refreshing behaviour is a practical advantage in hospitality environments where upholstery is in continuous use throughout the day and cannot be dried between seatings.

The moisture absorption also generates a small amount of heat — a property known as heat of sorption — which contributes to the warm sensation associated with wool and mohair in cooler conditions.


Comparison with Other Upholstery Fibres

Cotton and linen are cellulosic fibres with good moisture absorption but no hollow fibre structure. They absorb moisture well but do not provide the same insulating warmth as mohair. A cotton velvet feels cooler to first touch than mohair of equivalent pile weight.

Polyester and other synthetic fibres have very low moisture absorption — typically below 1% of their dry weight. Synthetic upholstery fabrics do not absorb perspiration; it remains at the fabric surface and evaporates slowly, producing the clammy sensation associated with synthetic seating in warm environments. In cool conditions, synthetic fabrics feel cold to first touch because they conduct heat away from the body rapidly.

Faux leather — PVC and PU — has negligible breathability or moisture absorption. It is comfortable for short contact periods but in extended seating in warm conditions the lack of moisture management becomes uncomfortable, a practical consideration where guests may sit for two to three hours.


Why This Supports Year-Round Hospitality Specification

A hotel lobby, bar, or restaurant operates across a wide range of seasonal temperatures. In winter, guests arrive from cold outdoor conditions and the ambient temperature is maintained at 20 to 22 degrees Celsius. In summer, the ambient temperature may be similar but guests arrive warm. The thermal and moisture management demands on the upholstery fabric are very different across these conditions.

Mohair velvet performs well in both conditions because its thermal regulation is active rather than passive. The hollow fibre provides insulation in cool conditions. The moisture absorption capacity prevents surface dampness in warm conditions. The pile structure allows some air circulation through the fabric in warm conditions while maintaining pile density and pile recovery in cool conditions. The result is a fabric that does not need to be specified differently for summer and winter.


Frequently Asked Questions

Why does mohair feel warm?

Mohair fibre has a medullated hollow core that traps air within the fibre itself, providing insulation without requiring the bulk of denser fibres. The protein structure of mohair also generates a small amount of heat when it absorbs moisture — a property called heat of sorption — which contributes to the warm sensation on first contact. Unlike synthetic fibres, which conduct heat away from the body rapidly and feel cold to first touch, mohair conducts heat more slowly and feels immediately warm.

Does mohair velvet become uncomfortable in warm weather?

No. Mohair can absorb up to approximately 30% of its weight in moisture vapour before the surface feels damp. In warm conditions, perspiration from guests is absorbed into the fibre and held away from the skin surface, keeping the fabric surface dry. In sustained warm-weather use, mohair remains more comfortable than non-breathable synthetic alternatives.

Is mohair velvet suitable for restaurant seating where guests sit for long periods?

Yes, provided the Martindale rub count and fire certification meet the requirements of the specific environment. The thermal and moisture management properties of mohair are well-suited to extended seating use. For restaurant seating Martindale thresholds, see our hotel fabric specification guide.


For mohair velvet specification data including Martindale rub counts, fire ratings, and colourways, see the mohair velvet upholstery page. For velvet type comparisons, see our velvet types compared guide. For fabric hand and tactile properties, see our fabric hand guide.

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Which Fabrics and Fibres Can Be FR Treated: A Guide for Designers

Which Fabrics and Fibres Can Be FR Treated: A Guide for Interior Designers

Fibres that can generally be treated: Cotton, linen, wool, mohair, silk, viscose, polyester (with conditions), nylon, modacrylic
Fibres to avoid for FR treatment: Acrylic, polypropylene, polyethylene, pure acetate or triacetate
Exempt fibres (domestic upholstery): Cotton, linen, wool, silk, viscose — do not require match test treatment if at least 75% natural fibre by weight with a Schedule 3 interliner
The single most important rule: Fibre type is a guide, not a guarantee. The specific fabric construction, dye type, and finish all affect treatability. Always confirm with the treatment provider before ordering.

A fabric that cannot be successfully FR treated is a fabric that cannot be legally used in a contract environment without an alternative compliance route. Discovering this after the fabric has been specified, ordered, and delivered is a significant problem. This guide explains which fibres and fabric types are treatable for the UK standards most commonly required in contract interiors, which should be avoided, and what the exemption rules mean for domestic upholstery.

For the fire standards that require treatment, see our Crib 5 guide and our hotel fabric specification guide. For how dye type affects FR treatment, see our dye types and FR treatment compatibility guide.


How Treatability Works

FR treatment works by introducing a chemical compound — typically phosphorus-based or halogenated — into or onto the fabric structure. For the treatment to be effective, the compound must be able to penetrate and adhere to the fabric in sufficient quantity to inhibit combustion. The fibre type determines whether this is chemically and physically possible.

Natural protein fibres — wool, mohair, silk — have an inherently higher resistance to ignition than cellulosic and synthetic fibres, which reduces the amount of chemical treatment required to achieve compliance. This is one reason protein fibre fabrics can often be treated successfully even at relatively low chemical loadings.

Cellulosic fibres — cotton, linen, viscose — ignite readily and require more chemical treatment to achieve compliance. They can generally be treated successfully, but the dye type carried on the fabric affects whether the treatment can be applied without causing colour change. See the dye types and FR treatment guide for detail on this.

Synthetic fibres present a different challenge. Some — polyester, nylon — can be treated. Others — acrylic, polypropylene, polyethylene — melt and flow when exposed to heat rather than forming a char, which FR chemicals cannot effectively prevent. Fabrics containing significant proportions of these fibres cannot be reliably FR treated.


Fibre by Fibre: Treatability for UK Contract Standards

Cotton. Can be treated for both Crib 5 upholstery and BS 5867 Part 2 Type B curtains. Cotton is one of the most commonly treated fibres in the UK contract market. Back-coating is the standard method for upholstery Crib 5. Wet padding is used for curtain treatment. Dye type matters: reactive-dyed cotton carries a risk of post-treatment colour change and should be confirmed with the treatment provider before committing to an order. In domestic upholstery, cotton is an exempt fibre — fabric of at least 75% cotton by weight does not require match test treatment if used with a Schedule 3 fire-retardant interliner.

Linen. Can be treated for Crib 5 and BS 5867. Linen is an exempt fibre for domestic upholstery at 75% or above by weight with a Schedule 3 interliner. For contract use, treatment is required and linen takes FR chemical treatment well when correctly applied. The same reactive dye caution applies as for cotton.

Wool. Can be treated. Wool is a protein fibre with natural fire resistance arising from its high nitrogen and sulphur content. It is an exempt fibre for domestic upholstery. For contract upholstery requiring Crib 5, wool can be back-coated. The treatment chemical loading required is typically lower than for cotton because of wool’s inherent resistance. Wool treated with FR chemicals retains its handle well compared to some other fibres. An exempt fibre for domestic use.

Mohair. Can be treated, and Kothea’s active ranges carry independently certified Crib 5 passes achieved without topical treatment on the tested ranges, meaning treatment is not required. Where a mohair velvet does not carry an inherent certification, it can be back-coated. Mohair is not listed as an exempt fibre for domestic upholstery under the Furniture and Furnishings (Fire) (Safety) Regulations, which means it does not qualify for the Schedule 3 interliner route at any fibre content level. It requires treatment for domestic match test compliance unless it passes the test inherently.

Silk. Can be treated with care. Silk is an exempt fibre for domestic upholstery. For contract use, silk can be back-coated for Crib 5 but the treatment process must be managed carefully — silk is a delicate fibre and incorrect application can alter handle and appearance. Silk velvet in particular is sensitive to any wet process and should be approached with specialist advice before treatment is specified. The low Martindale rub count of silk velvet means it is unlikely to be specified for most contract upholstery applications regardless of fire treatment status.

Viscose and modal. Can be treated. Viscose (also called rayon) is a regenerated cellulose fibre and behaves similarly to cotton in FR treatment. It is an exempt fibre for domestic upholstery. For contract use it can be back-coated or wet-padded. Viscose is prone to shrinkage in wet processes and the treatment must be applied with appropriate tension control. Modal (polynosic) is a modified viscose and is also generally treatable.

Cuprammonium (cupro). Can be treated but is not an exempt fibre. Less commonly encountered in upholstery specification but treatable by similar methods to other regenerated cellulosics.

Acetate and triacetate. Problematic. Acetate and triacetate are cellulose acetate fibres with thermoplastic properties — they melt and drip when heated. This makes effective FR treatment very difficult. Treatment is only practically viable when acetate or triacetate are present as minor components in a blend with natural fibres. Fabrics with significant acetate or triacetate content should be avoided for contract applications requiring FR treatment. Not exempt fibres for domestic use.

Polyester. Can be treated when blended with natural fibres. Pure polyester is a thermoplastic fibre — it melts rather than chars — and standard FR back-coating compounds are less effective on pure polyester than on natural fibres. However, polyester blended with natural fibres at significant proportions can be treated. Trevira CS is a permanently flame-retardant polyester fibre whose fire resistance is inherent to the polymer and does not require topical treatment. Standard polyester in blend with cotton or wool at 50% or above natural fibre content is typically treatable by back-coating. Confirm the specific blend and proposed treatment method with the treatment provider.

Nylon (polyamide). Can be treated when blended with natural fibres. Similar position to polyester — thermoplastic in its pure form, more treatable in natural fibre blends. Nylon 6,6 blended with wool or cotton at significant proportions can generally be back-coated for Crib 5.

Modacrylic. Can be treated. Modacrylic is a modified acrylic fibre with significantly better inherent fire resistance than standard acrylic. It is treatable for both upholstery and curtain standards and behaves well in FR treatment processes.

Acrylic. Avoid. Standard acrylic (at least 85% acrylonitrile) is thermoplastic and melts and drips when exposed to heat. FR chemicals cannot effectively prevent this behaviour. Acrylic should not be specified for contract applications requiring FR treatment. This applies to both upholstery and curtain use. Not an exempt fibre.

Polypropylene. Avoid. Polypropylene burns readily and melts at low temperatures. It cannot be reliably FR treated to UK contract standards. Not an exempt fibre.

Polyethylene. Avoid. Same position as polypropylene — melts and burns without forming a char. Not treatable. Not an exempt fibre.


The Domestic Exemption: What It Means in Practice

The Furniture and Furnishings (Fire) (Safety) Regulations define a category of exempt fibres for domestic upholstery. A fabric composed of at least 75% by weight of exempt fibres — alone or in combination — does not require treatment for the match test (BS 5852 Source 1), provided it is used with a fire-retardant Schedule 3 interliner. It must still pass the cigarette test (BS 5852 Source 0).

The exempt fibres are: cotton, linen (flax), wool, silk, viscose (rayon), modal (polynosic). Mohair is not on the exempt list despite being a natural protein fibre with good inherent fire resistance. A fabric of 100% mohair does not qualify for the Schedule 3 interliner route and must pass the match test by another means — either inherently or through topical treatment.

The exemption applies to domestic upholstery only. It does not apply to contract upholstery, where Crib 5 or BS 7176 certification is required regardless of fibre content. A fabric of 100% cotton used on a domestic sofa with a Schedule 3 interliner is compliant for domestic sale. The same fabric on a hotel chair requires Crib 5 certification.

The Schedule 3 interliner must itself be fire retardant to the required standard. It cannot be a standard curtain interlining or a general-purpose backing fabric. The interliner supplier should provide confirmation that the product meets the Schedule 3 requirement.


Fabric Construction and Finishes That Affect Treatability

Fibre type is the primary determinant of treatability but not the only one. The following fabric characteristics can affect whether a treatment will be effective or practical.

Pile fabrics. Velvet and other pile fabrics present additional considerations for FR treatment. The pile surface increases the volume of combustible material at the surface relative to a flat-woven fabric of the same fibre and weight. A pile fabric may require a higher chemical loading to achieve compliance than a flat-woven fabric of the same fibre. The pile structure also means that any visible effect of treatment — colour change, handle alteration — is more noticeable than on a plain fabric. Treatment must be applied from the back only, without penetrating the pile face.

Coated or laminated fabrics. Fabrics with a polymer coating or laminate backing may not be treatable by standard back-coating methods because the existing coating prevents adhesion of the FR compound. Faux leather and coated technical fabrics typically achieve their fire performance through the inherent properties of the coating compound rather than topical FR treatment.

Water-repellent or stain-resistant finishes. Some fabrics carry a Teflon, Scotchgard, or similar fluorocarbon finish for stain resistance. These finishes can reduce the penetration of FR chemicals into the fabric structure, potentially reducing treatment effectiveness. Confirm with the treatment provider whether the specific finish is compatible with the proposed treatment method before ordering.

Very lightweight fabrics. Sheer curtain fabrics and extremely lightweight upholstery fabrics may be difficult to treat without visible handle change or shrinkage, regardless of fibre type. The chemical loading required for compliance may be a higher proportion of the fabric weight than for a heavier cloth, making the treated fabric noticeably different in handle from the untreated original.


What to Ask Before Specifying a Fabric for FR Treatment

Before specifying a fabric that will require topical FR treatment for contract use, confirm the following with the fabric supplier and with the proposed treatment provider.

What is the full fibre composition by percentage? The fibre content label gives this, but confirm with the supplier whether any blend components are thermoplastic — polyester, nylon, acrylic — and at what proportion.

Does the fabric carry any surface finish — stain resistance, water repellency, or coating — that might affect FR treatment penetration?

What is the dye class? See the dye types and FR treatment guide for why this matters.

Has this specific fabric been successfully FR treated before, and to which standard? Treatment providers keep records and can often advise whether a specific fabric has been through their process previously.

Is the treatment provider UKAS-accredited to issue the certificate required for the project? For contract upholstery the certificate must be issued by a UKAS-accredited laboratory. No fabric company or designer can self-certify FR compliance.


Frequently Asked Questions

Can all fabrics be made fire retardant?

No. Fibres that melt rather than char when heated — acrylic, polypropylene, polyethylene, and pure acetate — cannot be reliably FR treated to UK contract standards. FR chemicals work by inhibiting combustion in fibres that burn; they cannot prevent the melt-and-drip behaviour of thermoplastic fibres. Fabrics containing significant proportions of these fibres should not be specified for contract applications requiring Crib 5 or BS 5867 compliance through topical treatment.

Can polyester be FR treated?

Pure polyester is thermoplastic and difficult to treat effectively by standard back-coating methods. Polyester blended with natural fibres at substantial proportions — typically 50% or more natural fibre — can generally be back-coated for Crib 5. Trevira CS is a permanently flame-retardant polyester fibre with inherent fire resistance that does not require topical treatment. Always confirm the specific blend composition and proposed treatment method with the treatment provider before specifying.

Does a fabric with 75% natural fibre content need FR treatment for contract use?

Yes. The 75% natural fibre exemption applies only to domestic upholstery under the Furniture and Furnishings (Fire) (Safety) Regulations, allowing the use of a Schedule 3 interliner in place of match test treatment. It does not apply to contract upholstery, where Crib 5 or BS 7176 certification is required regardless of fibre content. A hotel, restaurant, or other commercial environment requires certified FR compliance irrespective of whether the fabric is made from exempt fibres.

Can mohair velvet be FR treated?

Mohair velvet that does not carry an inherent Crib 5 certification can be back-coated for Crib 5. However, Kothea’s active mohair velvet ranges carry independently certified Crib 5 passes on the tested ranges without topical treatment, which removes the need for treatment entirely. Mohair is not an exempt fibre under the domestic regulations regardless of fibre content, so it requires Crib 5 compliance by inherent certification or topical treatment for all contract applications.

Will FR treatment change how my fabric looks or feels?

Back-coating applied correctly to upholstery fabric does not typically alter the appearance or handle of the face. Wet-padded curtain treatment can affect the handle of lightweight fabrics, particularly sheers. Pile fabrics treated from the back retain their face pile character if the treatment does not penetrate the face. Any fabric where colour or handle change would be commercially significant should be sample-treated and approved before committing to a full order.

Who can issue a Crib 5 certificate?

Only a UKAS-accredited testing laboratory can issue a Crib 5 certificate. A fabric supplier, treatment company, or interior designer cannot self-certify FR compliance. When specifying a fabric for contract use, request the test certificate from the supplier and confirm that the issuing laboratory is UKAS-accredited. For contract curtain treatment requiring BS 5867 Part 2 Type B, the same applies.


For how back-coating and wet padding work, see our how FR treatment works guide. For the fire standards requiring FR treatment, see our Crib 5 guide. For dye types and their interaction with FR treatment, see our dye types and FR treatment guide.

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Colour in Interior Design: Naming, Systems, Translation and Metamerism

Colour in Interior Design: Naming, Communication, and Specification

The specification problem: Colour names are commercial and subjective. The same underlying colour has dozens of different names across suppliers, paint brands, and clients — and no two designers will necessarily agree on what duck egg means.
The solution: Always resolve to a colour system reference — NCS for interior surfaces, RAL for metal finishes, Pantone for print and brand work — before ordering.
The hidden risk: Metamerism. A fabric that matches in the showroom under daylight may not match under the artificial light in the finished room.
The translation table below groups common UK interior design colour names by the underlying colour they typically describe, as used in 2026.

Colour is the specification decision most likely to cause a client complaint and the one most rarely handled with precision. A client approves a fabric described as blush. The designer orders a paint described as petal. The upholsterer sources a trim described as powder pink. All three are different colours. The scheme arrives on site and nothing matches because no one resolved the name to a number.

This guide covers how colour naming works and why it fails, which colour system to use and when, how to communicate colour precisely across trades, and why the same colour looks different to different people and in different light. The translation reference below groups the most common UK interior design colour names by colour family, as of 2026.


Why Colour Names Fail

Every fabric house, paint brand, and tile supplier names its own colours. The names are chosen for commercial appeal, not precision. A paint company wants Elephant’s Breath to evoke warmth and character. A fabric house wants their Biscuit to suggest luxury neutrality. Neither name tells you where the colour sits in any colour space. Both names could plausibly describe a wide range of warm mid-toned neutrals.

The problem compounds across a project. A designer specifying a scheme involving fabric from one supplier, paint from another, carpet from a third, and joinery from a fourth is working across four independent naming systems. There is no cross-reference between them. The only way to align them is to resolve every colour to a shared external reference — a colour system number — and communicate that number to every trade.

Even within a single supplier’s range, names shift. A fabric house that has offered a colour called Midnight for ten years may reformulate the dye lot, slightly alter the weave, and produce a Midnight that is measurably different from the one specified two years earlier. The name is the same. The colour is not.

The naming problem is also cultural. British designers use colour names that reflect a particular historical and landscape vocabulary — stone, slate, chalk, flint, pewter, linen, dove. American designers use a different vocabulary. European designers working in the Nordic tradition use the NCS system. A project involving international suppliers requires an explicit colour system reference to avoid compounding the naming problem across languages as well as trades.


Colour Systems: Which to Use and When

NCS — Natural Color System. The most useful colour system for interior design specification. NCS describes colours in terms of how they are perceived by the human eye, using six elementary visual colours: white, black, red, yellow, green, and blue. An NCS code such as S 3020-Y50R specifies blackness (30%), chromaticness (20%), and hue (50% toward red from yellow). The S prefix indicates the second edition of the standard. NCS is used by architects and interior designers across Europe and is the reference standard for major paint manufacturers including Jotun and Dulux Trade in their professional ranges. When specifying wall colours for a commercial interior project, NCS is the correct system to use. It allows you to communicate a precise colour to a painter, a fabric supplier, and a joinery manufacturer without relying on any of their proprietary names.

RAL. The European standard for powder coating, metalwork, and architectural finishes. RAL Classic uses four-digit codes covering approximately 215 colours. RAL 9016 is Traffic White. RAL 7016 is Anthracite Grey. When specifying metal chair frames, radiators, window frames, or any powder-coated architectural element, RAL is the correct system. Most powder coating suppliers work from RAL as their primary reference. RAL does not map directly to NCS or Pantone without conversion, and conversions are approximate rather than exact.

Pantone. The dominant colour system in graphic design, brand communication, and print production. Pantone codes are used when specifying a brand colour for print, signage, or product. In interior design, Pantone is occasionally used as a colour reference for upholstery and wallcovering suppliers who offer Pantone matching, but it is not the primary system for architectural finishes. Pantone codes appear on printed swatches and fabric samples but should not be used as the sole colour reference for a painted surface, as the translation from ink to paint is approximate.

BS 4800. The British Standard colour specification for paints used in building work. BS 4800 covers a defined set of colours identified by a code such as BS 4800 10 A 03 (a warm off-white). It is used primarily in public sector and heritage projects where British Standard compliance is specified. Many general contractors and architects working on commercial buildings in the UK will be familiar with BS 4800 references. It is a smaller palette than NCS and less commonly used for bespoke or high-design interiors.

The practical rule is: use NCS for all wall, floor, and soft furnishing colour communication on interior design projects. Use RAL for metalwork and powder-coated elements. Obtain both references where possible so that trades working in either system can match without conversion.


Metamerism: Why the Colour That Matched in the Showroom Looks Wrong on Site

Metamerism is the phenomenon by which two surfaces that appear identical under one light source appear different under another. It is one of the most common causes of colour-match complaints on interior design projects and one of the least discussed with clients in advance.

The reason it occurs is that two surfaces can reflect the same amount of light to the eye under one type of illumination while having different underlying spectral profiles. Under a different light source, the differences in spectral profile become visible. A fabric and a paint that match perfectly under the daylight of a showroom window may look visibly different under the warm tungsten halogen downlights in the finished room. Both colours are correct. The light source changed the relationship between them.

Metamerism is particularly common between natural and synthetic materials. A mohair velvet and a painted wall that match under daylight are likely to show metameric shift under artificial light because natural fibre dyes and paint pigments have different spectral curves. It is also common between fabrics from different fibre types — a cotton and a polyester in the same colourway may match under daylight and diverge under artificial light for the same reason.

The practical response is to view all fabric samples and paint samples together under the artificial light sources specified for the finished room before approving the scheme. This means reviewing the lighting specification in advance and obtaining the same lamp type for the sample viewing. Most clients and many designers view samples in daylight or under office fluorescent lighting and assume the match will hold. It often does not.

For high-stakes colour matching — a large hotel project where hundreds of chairs must match a specified wall colour across multiple rooms — commission a formal metamerism assessment from a testing laboratory before committing to production quantities.


Colour Perception Differences Between People

Approximately 8% of men and 0.5% of women have some form of colour vision deficiency. The most common type is red-green deficiency, in which the receptor cells that distinguish red from green are absent or abnormal. A person with this condition perceives red and green as variations of the same brownish yellow. This is not a minor variation — it is a fundamental difference in how approximately one in twelve male clients perceives the fabric palette a designer is presenting.

Colour vision deficiency is frequently undiagnosed. Clients who have lived with it since birth have developed compensatory strategies and may not disclose it or may not know they have it. A designer who presents a scheme relying on contrast between red-toned and green-toned neutrals — terracotta versus sage, for example — may be presenting a scheme the client cannot see as intended.

Beyond clinical deficiency, there is significant variation in how people with normal colour vision name and categorise colours. Studies have shown that colour naming is culturally and linguistically variable — what one language group calls blue, another language group divides into two separate colour categories. Two designers with normal colour vision looking at the same fabric may describe its undertone differently, and both will be accurately reporting what they see. The human visual system is not a calibrated instrument. It is a perception system shaped by language, culture, expectation, and the colours surrounding the object being observed.

In practice, this means that verbal colour descriptions are unreliable between any two people unless they are standing in front of the same physical sample under the same light at the same time. The specification implication is the same as for naming: resolve to a colour system reference and communicate physical samples, not verbal descriptions or digital images.


Colour Translation Reference: Common Interior Design Names by Family (2026)

The following groups the most frequently used colour names in UK interior design, upholstery, and decorating as of 2026, organised by the underlying colour they typically describe. Names within each group are not identical — they occupy overlapping but distinct territory — but they are commonly used interchangeably by clients, designers, and suppliers who do not share a colour system reference. The groups are a starting point for conversation, not a claim of equivalence.

Whites and near-whites. Brilliant white, pure white, chalk white, off-white, cloudy white, old white, linen white, ivory, cream, antique white, aged white, bone, parchment white, ceramic white, architectural white. These names span a wide range from cold blue-whites through warm cream-whites. A client who asks for cream and a client who asks for ivory may be describing colours a full tone apart. Always show physical samples.

Warm greiges and neutral taupes. Greige, warm grey, stone, putty, linen, parchment, oatmeal, mushroom, taupe, mole, beige, buff, calico, string, natural, jute, raffia, hessian, wheat, biscuit, driftwood, pale stone, light stone, warm stone. This is the most densely populated territory in UK interior design naming and the one most prone to miscommunication. Greige alone is used to describe colours ranging from pale warm beige to mid warm grey. Always resolve to NCS before specifying in this family.

Cool greys. Silver, lead, slate, pewter, gunmetal, graphite, charcoal grey, payne’s grey, dove grey, ash grey, mist grey, flint, pebble, smoke, zinc, concrete grey, storm grey, elephant grey, mouse. The warm-cool axis within grey is the primary source of mismatch in this family. A warm grey specified by a designer may read as brown against the cool grey chosen by a contractor for metalwork. NCS or RAL references resolve this.

Blue-greens and aquas. Duck egg, teal, peacock, kingfisher, jade blue, lagoon, aqua, eau de nil, mineral blue, verdigris, turquoise, malachite, sea green, ocean, petrol, airforce blue (with green undertone). Duck egg and teal are used interchangeably by many clients but occupy different positions — duck egg is typically a pale, muted blue-green and teal is a deeper, more saturated blue-green. Eau de nil is greener and paler than both. These distinctions are lost without a physical sample or a colour system reference.

Blues. Navy, midnight blue, ink, indigo, denim blue, storm blue, petrol (with blue undertone), prussian blue, french navy, cobalt, ultramarine, cornflower blue, wedgwood blue, china blue, powder blue, pale blue, sky blue, dusk blue, twilight blue, deep sea. Navy alone covers a range from near-black blue-black through mid blue-navy to softer slightly lighter navies. Ink and midnight typically sit at the dark end. Wedgwood and china blue sit at the lighter, cooler end.

Greens. Sage, eucalyptus, olive, khaki, moss, fern, forest green, hunter green, racing green, bottle green, dark green, heritage green, military green, lichen, oregano, artichoke, willow, soft sage, pale sage, mint, jade, malachite, emerald, jungle, avocado, apple green, pistachio. Sage is the most widely misapplied name in UK interiors. It is used to describe everything from pale grey-green through mid green-grey to distinctly green muted mid-tones. A client who asks for sage may mean any of twenty different colours.

Pinks and blushes. Blush, dusty rose, dusky pink, rose, antique rose, petal, old rose, powder pink, nude, flesh, ballet pink, candy pink, shell pink, dawn pink, cameo, clay pink, terracotta pink, blossom, peach blush, pale copper. Blush and dusty rose are frequently used as synonyms but blush typically carries a lighter, more pink tone while dusty rose sits further toward red-pink with more grey. Peach blush crosses into the orange-pink territory that can read as terracotta under warm artificial light.

Terracottas and clays. Terracotta, rust, burnt orange, sienna, burnt sienna, copper, brick red, clay, adobe, paprika, spice, cinnamon, ginger, saffron, turmeric, ochre-red. Terracotta has shifted considerably in UK design usage over 2023 to 2026, moving from a darker burnt clay toward lighter, more muted clay pinks. A fabric specified as terracotta in 2019 and a fabric specified as terracotta in 2026 may be visibly different colours.

Ochres and mustards. Ochre, mustard, turmeric, gold, amber, honey, sand, straw, hay, maize, sunflower, chartreuse (warm end), saffron, golden yellow, aged gold, antique gold, harvest. Mustard and ochre are frequently confused. Ochre is typically a more muted, earthy yellow-brown. Mustard is warmer and more saturated. Honey sits between them. Gold crosses into metallic territory that is distinct from pigment-based versions of the same tone.

Browns and taupes. Tobacco, chocolate, mahogany, walnut, chestnut, caramel, mocha, coffee, cocoa, espresso, bark, sepia, burnt umber, raw umber. Taupe, mole, beaver, warm stone, fawn, doeskin, camel, vicuna, praline, hazel, truffle. The brown-taupe family is split between the red-brown furniture tones (walnut, mahogany) and the cooler grey-brown neutrals (mole, taupe, beaver). A client who asks for camel may mean anything from a warm tan through to a dark golden brown depending on their reference point.

Blacks and near-blacks. Jet black, pure black, soft black, charcoal, anthracite, gunmetal, ink, pitch, ebony, onyx, carbon, slate black, warm black, blue-black, off-black. Off-black and near-black have become a significant design category in UK interiors. Railings (blue-black), Downpipe (blue-grey-black), and similar deep tones occupy different positions on the warm-cool axis within apparent black and will not match each other on site.


Frequently Asked Questions

What is the difference between duck egg and teal?

Duck egg is typically a pale, muted blue-green with significant whiteness — it reads as a soft, quiet colour in most rooms. Teal is deeper and more saturated, with a stronger blue-green chromatic content. Some suppliers use the names interchangeably, which makes them unreliable without a physical sample. Eau de nil sits to the greener, paler side of duck egg. Petrol sits to the darker, bluer side of teal. Always view physical samples side by side rather than ordering from name descriptions alone.

What does greige mean?

Greige is a portmanteau of grey and beige, describing a neutral that sits between the two. It has become one of the most popular colour families in UK interior design since approximately 2018 and is heavily used in both residential and hospitality specification. The problem is that different suppliers use greige to describe colours spanning a significant range — from pale warm beige with barely perceptible grey, through to mid warm grey with beige undertones. There is no standard definition. Always request a physical sample and resolve to an NCS reference before ordering.

What colour system should interior designers use?

NCS is the most appropriate colour system for interior design specification in the UK and Europe. It describes colours in terms of visual perception, is used by major paint manufacturers in their professional ranges, and allows precise communication across trades without relying on proprietary colour names. RAL should be used for metalwork, powder coating, and architectural hardware. Pantone is appropriate for brand colour communication and print. BS 4800 applies to public sector and heritage projects with British Standard requirements. Always obtain an NCS reference for any colour that will be matched across multiple suppliers or trades.

What is metamerism and how does it affect fabric specification?

Metamerism is the phenomenon by which two surfaces that appear identical under one light source appear different under another. In interior specification, it most commonly occurs when a fabric approved in daylight in a showroom does not match the paint or other materials under the artificial lighting of the finished room. The underlying colours are correct — the light source changed the relationship between their spectral profiles. To avoid metameric mismatches, always view fabric and paint samples together under the same light source as the finished room before approving a scheme. For large-scale projects, a formal metamerism assessment can be commissioned from a testing laboratory.

What is sage green?

Sage is one of the most widely misapplied colour names in UK interior design. It is used by different suppliers and clients to describe colours ranging from pale grey-green (barely green, primarily grey) through to distinctly green mid-tones with visible chromatic content. The common territory is a muted, greyed green — a green that has been reduced by the addition of grey or its complementary colour until the green is soft rather than vivid. Eucalyptus, willow, and soft sage typically sit at the paler, more muted end. Lichen and oregano sit at the more complex, multi-toned end. Always use a physical sample and NCS reference when specifying any green in this family.

Why do colours look different to different people?

Two main reasons. First, approximately 8% of men and 0.5% of women have colour vision deficiency, most commonly red-green deficiency, in which red and green are perceived as variations of the same brownish tone. This is frequently undiagnosed. Second, even among people with normal colour vision, colour naming is variable — shaped by language, culture, and prior experience. Two designers with identical colour vision may describe the same fabric undertone differently and both are accurately reporting their perception. The implication for specification is consistent: verbal descriptions and digital images are unreliable. Physical samples under agreed lighting conditions are the only reliable basis for colour approval.


For guidance on colour fastness and how fabric colours perform over time, see our colour fastness and crocking guide and our light fastness and Blue Wool Scale guide.

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IMO Fire Standards for Yacht Interiors: FTP Code Part 7, 8 and MCA MGN 580

Superyacht Luxury Cashmere Throw

IMO Fire Standards for Yacht and Superyacht Interiors: A Guide for Interior Designers

Applicable standard: IMO 2010 FTP Code — not BS 5852 Crib 5
Upholstery: Part 8 / Curtains: Part 7 / Bedding: Part 9 — certificates are not interchangeable between parts
BS 5852 Crib 5 is not accepted as an equivalent to IMO Part 8 by classification societies or the MCA
UK flag state: MCA Large Commercial Yacht Code — topical FR treatment must comply with MGN 580

Applicable standard: IMO 2010 FTP Code — not BS 5852 Crib 5
Upholstery: Part 8 / Curtains: Part 7 / Bedding: Part 9 — certificates are not interchangeable between parts
BS 5852 Crib 5 is not accepted as an equivalent to IMO Part 8 by classification societies or the MCA
UK flag state: MCA Large Commercial Yacht Code — topical FR treatment must comply with MGN 580

Specifying fabric for a yacht or superyacht interior is fundamentally different from specifying for a hotel or residential project. The fire safety framework at sea is governed by the International Maritime Organization, not by British Standards. A fabric with a BS 5852 Crib 5 certificate, which represents the benchmark for most UK contract upholstery, does not automatically qualify for use on a commercial vessel. The IMO and BS standards use different test methodologies and the certifications are not legally interchangeable. This guide explains the IMO fire testing framework, which standards apply to which applications onboard, how UK flag state requirements work through the MCA, and what questions to ask before specifying fabric for a marine project.

For the UK land-based fire standards referenced in comparison throughout this guide, see our complete guide to BS 5852 Crib 5.


How to Specify Fabric for a Marine Project: Fast Path

Before researching specific fabrics, confirm the answers to these questions in order. They determine which standards apply and what documentation you will need.

Is the vessel commercial, meaning used for charter or commercial purposes under LY3 or equivalent? If yes, IMO FTP Code certification is required. If no, land-based or residential standards may be sufficient, though many private owners specify to IMO standards voluntarily.

What is the application onboard? Upholstered seating and sofas require IMO FTP Code Part 8. Curtains and vertically hanging textiles require Part 7. Bedding components require Part 9. A certificate for one part does not substitute for another.

Is the fabric inherently fire resistant or does it require topical treatment? Inherently fire-resistant fabrics proceed directly to certification verification. Topically treated fabrics require confirmation of the treatment route, including whether the treatment provider operates under MCA-recognised procedures for UK-flagged vessels.

What foam will be used in the installation? The IMO Part 8 certificate is valid only for the specific fabric and filling combination tested. Confirm foam compatibility with the test certificate before ordering fabric.

What are the UV exposure conditions and cleaning regime onboard? These determine the light fastness grade required and whether the fabric’s cleaning code is compatible with the vessel’s maintenance routine.


IMO Compliance Sits in the Assembly, Not the Fabric

The single most important principle in marine fabric specification is this. IMO compliance does not sit in the fabric alone. It sits in the tested assembly of fabric, filling, and construction as they will be installed on the vessel. A fabric is not “IMO compliant” in isolation. It is compliant when tested as part of a specific configuration.

The practical consequence is that a certificate obtained by a fabric manufacturer for their standard foam configuration may not cover the project’s foam. If the foam specified by the upholsterer or the shipyard differs from the foam used in the test, the certificate does not apply. You must either use the foam specified in the certificate or commission new testing with the intended foam.

This is the most common source of certification problems on yacht projects and the point most frequently misunderstood by designers coming to marine specification from land-based contract work.


Common Failure Points in Marine Fabric Specification

The following failures occur regularly on yacht and superyacht projects and are largely preventable with the right questions asked at the right time.

Fabric approved to BS standards rejected by classification society. A designer specifies a fabric with a BS 5852 Crib 5 certificate, assuming it satisfies the fire requirement. The classification society requires IMO FTP Code Part 8. The fabric may well pass if tested, but it must be tested independently to the IMO standard. The project is delayed while the fabric is re-tested.

Certificate invalid because the project foam differs from the test foam. The fabric holds an IMO Part 8 certificate, but the certificate was obtained using a standard foam the manufacturer supplies. The shipyard uses a different foam. The certificate does not cover the actual installation. New testing is required at late stage in the project.

FR treatment rejected because the provider is not recognised under MGN 580. A fabric requires topical treatment for a UK-flagged commercial yacht. The treatment is carried out by a provider experienced in land-based contract work but not operating under MCA-recognised procedures. The classification society does not accept the treatment documentation. The fabric must be re-treated or replaced.

Curtain fabric passes BS 5867 but is rejected under IMO Part 7. The designer has specified curtain fabrics with full BS 5867 Part 2 Type B certification. The standards are not interchangeable. The curtain fabric must be tested to IMO Part 7 before it can be accepted.

Light fastness not specified. Fabric is installed in a sun-exposed saloon on a Mediterranean charter yacht. Within one season, fading is visible. The designer specified for fire and durability but did not confirm the light fastness grade. The fabric was grade 4, insufficient for sustained UV exposure at sea.

S-coded fabric specified for a charter vessel. A velvet with a solvent-only cleaning code is installed in a high-use saloon. The charter cleaning team uses water-based products as standard. The fabric watermarks and the pile distorts within the first charter season. There is no dry-cleaning service available at the vessel’s typical berth locations.


Responsibility in a Marine Project

Marine specification involves a chain of responsibility that is different from land-based contract work. Understanding who approves what prevents misunderstandings about which party is accountable for compliance.

The interior designer selects materials and is responsible for requesting the correct certificates and confirming that the specification is appropriate for the intended use. The designer is not responsible for testing and cannot self-certify compliance.

The contractor or shipyard installs the materials and is responsible for ensuring that installation follows the configuration under which the materials were tested. Substituting materials without re-testing invalidates the certificate.

The classification society reviews documentation and approves compliance. The classification society’s approval is the operative confirmation that the vessel meets the required standard. A supplier’s claim of compliance, or a designer’s belief that a material is suitable, does not substitute for classification society approval.

The flag state authority, which for UK and Red Ensign Group flagged vessels is the MCA, enforces the regulation and can require inspection at any time. Final responsibility for the vessel’s compliance sits with the flag state and the vessel owner, not the designer or supplier.


Which Vessels Require IMO Fire Certification

The IMO’s fire safety requirements apply to international commercial ships under the International Convention for the Safety of Life at Sea (SOLAS). In practice, the framework extends to large commercial yachts and superyachts used for charter or commercial purposes, as well as passenger vessels and cruise ships.

In the United Kingdom, the relevant regulatory authority is the Maritime and Coastguard Agency (MCA). Under the MCA Large Commercial Yacht Code (LY3), vessels of 24 metres in length and above used for commercial purposes, including charter, must comply with fire safety requirements through the LY3 code and the applicable classification society, with those requirements referencing the IMO Fire Test Procedures Code. Similar requirements generally apply across Red Ensign Group registries under equivalent yacht codes, though the specific provisions of individual registries such as the Cayman Islands or Isle of Man should be confirmed separately for any project outside direct MCA jurisdiction.

Private yachts not used for commercial purposes are not subject to the same mandatory requirements, though many owners and designers specify to IMO standards voluntarily for safety and resale value reasons. When in doubt about whether a specific vessel falls within scope, the classification society managing the vessel’s certification or the flag state authority should be consulted before specifying fabric.


The IMO 2010 FTP Code

The IMO 2010 Fire Test Procedures Code, adopted by Resolution MSC.307(88), is the definitive framework for fire testing of materials used on international vessels. It replaced the earlier 1996 FTP Code and has been mandatory for new vessels since 2012. The code comprises eleven parts, each covering a specific type of material or application.

For interior designers specifying soft furnishing fabrics, three parts are directly relevant. Part 7 governs vertically suspended textiles and films, which covers curtains, drapes, and hanging textiles. Part 8 governs upholstered furniture, which covers seating, sofas, and upholstered panels. Part 9 governs bedding components, which covers mattresses, pillows, blankets, and bedspreads. Each part uses different ignition sources and pass criteria. A certificate for one part does not confer compliance with another. A fabric certified to Part 7 for curtains is not automatically certified for use as upholstery under Part 8.


IMO FTP Code Part 8: Upholstered Furniture

Part 8 is the most relevant standard for interior designers specifying seating, sofas, headboards, and any upholstered surface on a commercial vessel. The test assesses whether a fabric and filling composite resists ignition and flame propagation when exposed to the ignition sources most likely to occur onboard.

The test uses two ignition sources applied to a test rig assembled from the actual cover fabric and filling materials to be used in the finished piece. The cigarette test places a lit cigarette at the junction between the seat and the back of the test assembly. The assembly must show no progressive smouldering after one hour. The burner tube test applies a propane flame for 20 seconds at the same junction. No flaming or progressive smouldering is permitted to continue for more than 120 seconds after the flame is removed.

The test is a composite test. The cover fabric and the filling foam must both be present and both must be the materials that will actually be used in the finished installation. A certificate issued for a specific fabric over a specific foam is valid only for that combination. If the foam specification changes, the certificate is no longer valid for the new assembly.

Where topical FR treatment has been applied to a fabric before testing, Part 8 may require pre-conditioning including repeated cleaning cycles, particularly for topically treated fabrics. This is more demanding than the pre-conditioning used in many land-based standards, and it means that a topically treated fabric must demonstrate that its FR properties survive the cleaning conditions used onboard the vessel.


IMO FTP Code Part 7: Vertically Supported Textiles

Part 7 applies to curtains, drapes, and any other fabric suspended vertically onboard a vessel. The test involves two ignition modes applied to a vertically suspended fabric specimen: a surface ignition with a propane flame applied perpendicular to the fabric surface for five seconds, and an edge ignition with the flame applied to the bottom edge of the fabric for fifteen seconds.

To pass, the fabric must not show an afterflame time greater than five seconds, must not burn through to any edge of the specimen, must not ignite cotton wool placed below the specimen to catch flaming droplets, must not exhibit an average char length exceeding 150mm, and must not show a surface flash propagating more than 100mm from the ignition point.

Part 7 is the maritime equivalent of BS 5867 Part 2 Type B for land-based contract curtains. The test principles are similar but the standards are not legally interchangeable. A BS 5867 certificate does not satisfy the IMO Part 7 requirement.


IMO FTP Code Part 9: Bedding Components

Part 9 covers mattresses, pillows, blankets, quilts, and bedspreads on commercial vessels. The test uses a cigarette ignition source and a propane flame applied to the bedding assembly. No progressive smouldering or flaming ignition is permitted. This standard is relevant for yacht designers specifying guest cabin bedding on commercial charter vessels.


BS 5852 Crib 5 and IMO Part 8: Not Interchangeable

This is the most commercially significant point in the guide. BS 5852 Crib 5 and IMO FTP Code Part 8 are not legally interchangeable standards. A fabric with a full BS 5852 Crib 5 certificate, regardless of how stringent that test is, cannot be used on a commercial vessel in place of an IMO Part 8 certificate. Classification societies and the MCA explicitly do not accept BS or EN standards as alternatives to IMO certification for vessels within scope.

The technical reason is that the two tests use different ignition sources, different test rigs, different pass criteria, and different pre-conditioning requirements. The IMO Part 8 test does not include the large wooden crib ignition source used in Crib 5. It uses a cigarette and a propane flame. The Crib 5 crib uses a larger ignition source, but the tests are not directly comparable in terms of severity — they assess different aspects of fire behaviour in different configurations. What matters is that the legal basis for each standard is entirely separate.

If a fabric has been tested to BS 5852 Crib 5 for land-based contract use, it must be independently tested to IMO FTP Code Part 8 for marine commercial use. The same fabric may well pass both, but it must be tested to both to hold both certificates.


The MCA Large Commercial Yacht Code and MGN 580

For UK-flagged and Red Ensign Group vessels under the MCA Large Commercial Yacht Code, the relevant guidance is Marine Guidance Note 580 (MGN 580), which governs the equivalence of topical FR treatment to inherently fire-retardant materials onboard these vessels.

The practical implication of MGN 580 is as follows. Where a fabric is not inherently fire retardant, the topical FR treatment must be applied and certified in accordance with MCA-recognised procedures, typically involving approved or verified treatment providers overseen by a recognised organisation or classification society. The treatment must be tested to the relevant parts of the 2010 IMO FTP Code, including the pre-conditioning requirements. Treatment carried out without recognition under MGN 580, or tested to BS or EN standards rather than IMO standards, is not accepted as compliant.

Inherently fire-retardant materials, meaning fabrics whose fire resistance is a property of the fibre rather than an applied coating, must comply with the relevant 2010 IMO FTP Code standards directly, without the additional treatment approval requirement. This is a significant practical advantage for inherently fire-resistant fabrics on marine projects.

BS and EN standards, including BS 5852 Crib 5, are not accepted as equivalents for compliance with IMO requirements for vessels within the scope of MGN 580. This has been the case since the original MCA guidance came into effect in 2012 and was reinforced by the MGN 580 amendment effective from January 2020.


Inherent vs Topical FR for Marine Projects

The distinction between inherent and topical fire resistance carries greater practical weight in marine specification than in land-based contract work, for three reasons.

First, the pre-conditioning requirement. IMO Part 8 requires ten full cleaning cycles before fire testing of topically treated fabrics. A fabric whose treatment begins to degrade after several cleaning cycles may pass the test at the point of certification but perform less well in service on a vessel where cleaning is frequent. An inherently fire-resistant fabric is not subject to the same degradation risk through cleaning.

Second, the treatment supply chain. MGN 580 requires that topical FR treatment is applied by an MCA-approved provider. The number of such approved providers in the UK is limited. Specifying an inherently fire-resistant fabric removes the requirement to source and commission an approved treatment provider and reduces the risk of certification delays.

Third, the documentation chain. Marine projects operated by classification societies involve rigorous documentation review. An inherently certified fabric with a single clear test certificate is simpler to document than a topically treated fabric requiring a Declaration of Conformity from the treatment provider alongside the test certificate from an IMO-approved laboratory.


Marine Environmental Considerations Beyond Fire

Fire certification is the primary regulatory requirement for marine fabric specification, but the marine environment introduces additional performance considerations that do not arise in land-based contract work.

UV exposure. A superyacht in the Mediterranean or Caribbean receives sustained, intense UV exposure, particularly in deck-level saloons and cockpit areas with large glazed panels. Upholstery fabrics in these locations need a light fastness grade of at least 6 to ISO 105-B02, and specialist outdoor-rated fabrics should be considered for any semi-outdoor or cockpit application. For full guidance on light fastness grades, see our light fastness and Blue Wool Scale guide.

Deck and cockpit fabric: solution-dyed acrylic. For fully exposed deck-level seating, cockpit cushions, and flybridge upholstery, solution-dyed acrylic is the standard specification. The dye is incorporated into the fibre during extrusion rather than applied to the surface, producing light fastness grades of 7 to 8 to ISO 105-B02 that interior upholstery fabrics cannot match. Solution-dyed acrylic is also water-repellent, mould and mildew resistant, and dimensionally stable under repeated wetting and drying — essential properties for fabric exposed to salt spray, rain, and constant humidity variation. For covered deck areas and enclosed cockpits where direct weathering is reduced, outdoor-rated faux leather offers a more premium aesthetic alongside comparable UV and moisture resistance. For the full specification of outdoor and semi-outdoor fabric applications including the parallel requirements for hotel terraces, see our outdoor terrace and semi-outdoor fabric guide.

Salt air and humidity. The marine environment accelerates degradation of certain fabric finishes and dye systems. Salt air can cause colour shift in some fabrics over time. High humidity below deck creates conditions that can encourage mould growth on natural-fibre fabrics if ventilation is inadequate. Synthetic fabrics and PVC or PU faux leathers are generally more resistant to these conditions than natural-fibre upholstery fabrics.

Cleaning agents. Vessels in charter service use commercial cleaning products that may be more aggressive than standard hotel housekeeping products. Confirm the cleaning regime with the captain or vessel manager before specifying and ensure the fabric’s cleaning code is compatible. Fabrics coded S, meaning solvent-only cleaning, can be difficult to maintain in a charter environment where professional dry cleaning services are not always accessible.

Weight and drape. In sailing yachts, fabric weight can occasionally be a minor consideration for curtains and lightweight furnishings, primarily for racing or performance sailing vessels rather than large motor yachts or superyachts where this is rarely a practical factor.


What to Ask Your Fabric Supplier

When specifying for a commercial marine project, ask the following questions of any fabric supplier before ordering samples.

Does the fabric hold an IMO FTP Code Part 8 certificate for upholstered furniture? If so, which foam was used in the test, and is that foam available for the project? If the certificate was obtained with a specific foam that is not available or not appropriate for the project, the certificate may not cover the actual installation.

For curtain fabrics, does the fabric hold an IMO FTP Code Part 7 certificate? If it requires treatment, is the treatment provider MCA-approved under MGN 580 for UK-flagged vessels?

Is the fabric inherently fire resistant or does it require topical treatment? If it requires topical treatment, is there an MCA-approved treatment provider available, and what is the lead time for treatment and certification?

What is the fabric’s light fastness grade to ISO 105-B02? For use in sun-exposed areas on a superyacht, this is as important as the fire certificate.

What cleaning code does the fabric carry and is it compatible with the cleaning products used on the vessel?


Kothea Fabrics for Marine Applications

Kothea’s Faux Leather 3 (a high-specification PVC leather — for a full comparison of PVC, PU and silicone leather types see our faux leather types compared guide) achieves in excess of 100,000 Martindale rubs with a Crib 5 fire rating and a wipe-clean surface compatible with marine cleaning regimes. Its PVC-based construction offers good resistance to humidity and salt air. For commercial marine projects requiring IMO Part 8 certification, the fabric would need to be independently tested to that standard with the specific foam to be used in the installation. Contact Kothea to discuss this requirement for a specific project.

Mohair velvet from Kothea achieves Martindale rub counts of 80,000 to 100,000 — for guidance on rub count requirements see our Martindale rub test guide — and carries independently certified Crib 5 passes achieved without topical treatment on the tested ranges. For private yacht use where IMO certification is not a mandatory requirement, mohair velvet is an appropriate specification for interior saloon seating. For commercial vessels requiring IMO Part 8 certification, independent testing to the IMO standard with the specific foam to be used would be required.

For any marine project with specific IMO certification requirements, contact Kothea to discuss the certification status and testing options for the relevant ranges before specifying.


Frequently Asked Questions

Does BS 5852 Crib 5 certification qualify a fabric for use on a commercial yacht?

No. BS 5852 Crib 5 and IMO FTP Code Part 8 are separate standards with different test methodologies and different legal bases. Classification societies and the MCA do not accept BS 5852 as an equivalent to IMO FTP Code Part 8 for vessels within the scope of SOLAS or the MCA Large Commercial Yacht Code. A fabric specified for commercial marine use must hold an independent IMO FTP Code Part 8 certificate obtained from an IMO-approved laboratory. A Crib 5 certificate from land-based contract testing does not substitute for this.

What is the IMO FTP Code Part 8 test for upholstered furniture?

IMO FTP Code Part 8 tests upholstered furniture assembled from the actual cover fabric and filling to be used in the finished piece. Two ignition sources are applied at the junction between the seat and the backrest: a smouldering cigarette, after which no progressive smouldering is permitted after one hour, and a propane burner flame applied for 20 seconds, after which no flaming or progressive smouldering is permitted for more than 120 seconds. Where the fabric has been topically treated with FR chemicals, the assembly must undergo ten full cleaning cycles before the fire test is conducted. The certificate is valid only for the specific fabric and filling combination tested.

What is MGN 580 and when does it apply?

MGN 580 is a Marine Guidance Note issued by the Maritime and Coastguard Agency that governs topical FR treatment as an equivalent to inherently fire-retardant materials on UK and Red Ensign Group flagged vessels certified under the MCA Large Commercial Yacht Code. It requires that FR treatment is applied by an MCA-approved treatment provider monitored by a Notified Body, and that the treatment is tested to the relevant parts of the 2010 IMO FTP Code. BS and EN standards are explicitly not accepted as equivalents under MGN 580. It has applied since 2012 and was updated by amendment effective January 2020.

Does a curtain fabric certified to BS 5867 qualify for marine use?

No. BS 5867 Part 2 Type B is the UK land-based standard for contract curtains. IMO FTP Code Part 7 is the marine equivalent for vertically suspended textiles. The test principles are broadly similar but the standards are not legally interchangeable. A curtain fabric for a commercial vessel must hold an IMO FTP Code Part 7 certificate from an IMO-approved laboratory.

Is mohair velvet suitable for yacht interiors?

For private yachts where IMO certification is not a mandatory requirement, mohair velvet is suitable for interior saloon seating and is a common specification choice in superyacht design. Its durability of 80,000 to 100,000 Martindale rubs, natural fire-resistant properties, and aesthetic qualities make it well suited to high-end marine interiors. For commercial charter vessels requiring IMO FTP Code Part 8 certification, independent testing to the IMO standard with the specific foam to be used in the installation would be required. Confirm the certification requirement with the flag state authority or classification society before specifying.

What light fastness grade should I specify for a superyacht in the Mediterranean?

For interior saloon areas with large glazed panels and significant sun exposure, specify a minimum of ISO 105-B02 grade 6. For semi-outdoor or cockpit seating areas, specify grade 7 to 8 and use specialist outdoor-rated fabrics rather than standard interior upholstery fabric. Superyachts in Mediterranean and Caribbean deployment receive sustained and intense UV exposure, and the light fastness specification is as commercially significant as the fire certification for fabric longevity. For full guidance see our light fastness guide.

What is the difference between IMO Part 7, Part 8, and Part 9?

IMO FTP Code Part 7 applies to vertically suspended textiles such as curtains and drapes. Part 8 applies to upholstered furniture including seating, sofas, and upholstered panels. Part 9 applies to bedding components including mattresses, pillows, and blankets. Each part uses different ignition sources and pass criteria. A certificate for one part does not confer compliance with another. A fabric must be tested independently under each part applicable to its intended use onboard the vessel.


For hotel and hospitality fabric specification, see our hotel fabric specification guide.

For guidance on which fabrics are unsuitable for outdoor and semi-outdoor environments including yacht deck areas, see our when not to use velvet guide.

A downloadable yacht interior fabric specification checklist is available as a PDF: Yacht Interior Fabric Specification Checklist (PDF).

For the surface spread of flame standard applicable to wall lining materials, see our BS 476 Part 7 guide.

For hotel terrace and semi-outdoor fabric specification — covering the same fabric types used in yacht deck applications — see our outdoor terrace fabric specification guide.

To discuss fabric specification for a yacht or marine project, contact Kothea directly.

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How to Improve the Look of a Work Area While Thinking About Safety

woman at a computerWhen a team of tradesmen are hired to carry out work on on a commercial building, it’s important to not only think about the design and desired result, but about the health and safety of the employees who will later work in the building too. Whether it’s the look of a car garage, a car park, an office block or a factory that needs improving, there are a number of considerations that need to be factored in…

 

Fire safety

Fire is a health and safety hazard for every business, which means that fire proofing is essential in a work space. Firstly, you should think about the soft furnishings in your work space: carpets, curtains, fabric blinds and fabric chairs can be highly flammable, so why not try using fire retardant fabric sprays on these materials? Also, fire doors should be fitted in the premises or standard doors should at least be coated with a layer of fire resistant paint.

 

Smoke detectors, fire extinguishers and fire alarms must be installed to ensure that the work space complies with the government’s health and safety regulations too, and if a sprinkler system is being installed, it will need planning into the refurbishment at the appropriate point.

 

Finally, a re-designed work space might look the part, but if it doesn’t contain an adequate number of emergency exit points at suitable positions, the design won’t be good enough. Make sure that exit routes are plentiful and properly signposted.


Asbestos

Commercial buildings (particularly those that were built before the year 2000), are likely to contain asbestos in some form. Asbestos is a highly dangerous material for people to work around, and is especially dangerous for tradesmen or contractors who come into contact with: the fibres from asbestos can settle in lungs, causing asbestosis and mesothelioma.

 

Tradesmen should take care when drilling, removing, cutting or sanding structures in a work space: the materials used for fire protection, insulation or textured coatings often contain asbestos. Contractors should only carry out work involving exposure to asbestos if they’re trained, licensed and insured to handle it.

 

Flooring

The surface of a work space is a very important consideration too. While a work area can be cleaned using chemically appropriate materials to reduce the risk of slips, it might be better to just repair or replace the floor altogether. Use an anti-slip coating on surfaces to help to minimize the risk of trips and falls, or add a layer of coloured anti-slip paint to brighten up a work area while adding decoration, durability and protection.

 

Noise and ventilation

In work areas that become excessively noisy (for instance, where cartridge operated tools or heavy machinery is used) it might be necessary to install barriers or protective screens around equipment or areas where noisy processes are carried out. Also, adequate ventilation is essential for work areas such as car garages, factories or warehouses, or anywhere else chemicals and fumes pose a health hazard.

 

There are many more safety considerations to think about when improving the look of a work area (such as not trailing cables across walkways, ensuring there’s adequate lighting to provide an even lighting level across work areas, and accounting for changes in surface levels using tread markers or other markings), so be sure to work closely with site managers and designers when carrying out refurbishments.

Decorative Hats For Interior Design Details

Featured Image -- 5442
No hat? try an apple instead.

OK it’s a long shot.

Deer antlers were so-2015.

Well, probably more like 2010 when they appeared on many pages in World of Interiors and other similar Interiors magazines

What is going to be the ‘next big thing’ to decorate  your hall or room walls?

My money is on hats.

Hats of all shapes, colours and sizes.

A strange choice perhaps but I reckon the versatility of the hat will lend itself to many Interiors as mini-Isles of inspiration.

1. Kitchen

Obviously here it’s going to be a series of 3 of those large, white chef’s’ hats. They might take up a bit of wall space but there’s an obvious fit. They might get a bit splattered from time to time and lose their pristine whiteness but hey practicality never stopped a good interior designer.

2. Kid’s bedroom

Apologies for any ensuing sexist clichés but the Real Madrid-loving daughter in your life will certainly like  a selection of 5 Real Madrid Supporters’ Club hats adorning here wall. You’d probably have a different one from each of 5 championship-winning year. Have they won 5 times? No idea! Probably. Why 5? Odd numbers are best.

3. The graffiti-covered teenage chill out room

So we all knew, even back in the ’90s, that street graffiti was going to make its way first to loft-type apartments and then to perhaps less well suited residences.

Anyway, maybe now the teens hang out in front of the video consoles in your street-art room.#

Naturally some form of street-related hat is required here, the obvious choice being the humble baseball cap. If you are not american then it probably makes little difference which club it is. New York Yankees are the perennial favorite.

 

 

Spring 2016

Mohair, Cotton and Silk Velvet Textured Upholstery Patterned
Mohair, Cotton and Silk Velvet Textured Upholstery Patterned
Mohair, Cotton and Silk Velvet Textured Upholstery Patterned

New KOTHEA Collections for Spring 2016. Textured upholstery,sumptuous textured weaves, mohair and silk velvets, faux leathers and new colours for our existing Cashmere Throw range. Sampling available on our <home page>.

Spring 2016

Mohair, Cotton and Silk Velvet Textured Upholstery Patterned
Mohair, Cotton and Silk Velvet Textured Upholstery Patterned
Mohair, Cotton and Silk Velvet Textured Upholstery Patterned

New KOTHEA Collections for Spring 2016. Textured upholstery,sumptuous textured weaves, mohair and silk velvets, faux leathers and new colours for our existing Cashmere Throw range. Sampling available on our <home page>.