Mylands Flanders Grey No.110: a neutral inspired by Low Countries stoneware

Colours that shift with the light possess a quiet authority that louder shades can never match. Mylands’ Flanders Grey No.110 is precisely this kind of paint: a neutral with barely perceptible green and black undertones that recall the weathered mineral quality of historic Low Countries stoneware, refusing to settle into any single identity as the day moves through the room.

Colours that shift with the light possess a quiet authority that louder shades can never match. Mylands’ Flanders Grey No.110 is precisely this kind of paint: a neutral with barely perceptible green and black undertones that recall the weathered mineral quality of historic Low Countries stoneware, refusing to settle into any single identity as the day moves through the room.

The distinction lies in how Mylands has formulated it. Applied in Marble Matt Emulsion across walls and ceiling, the matte surface absorbs light rather than reflecting it, allowing the undertones to reveal themselves gradually. Morning brings out the green; afternoon emphasises the warmth beneath. The finish itself is achieved through mineral pigmentation rather than matting agents, a choice that preserves depth and light-scattering properties that standard flat paints cannot replicate.

In the setting Mylands showed, a sofa scattered with cushions in sand, sage, terracotta and cream read with clarity against the walls. The colour does not announce itself; instead it creates a foundation upon which other elements can breathe and each textile maintains its own presence without competition from the ground.

The name reflects Mylands’ method: rooted in place and heritage, yet entirely liveable and contemporary. Historic stoneware from Flanders in present-day Belgium and the Netherlands developed distinctive grey and brown palettes through centuries of utilitarian ceramic production. Potters in these regions worked with local clays that naturally contained iron oxide and other minerals, creating vessels whose colours shifted between grey, taupe and green depending on kiln temperature and firing conditions. These historical precedents shaped European taste for restrained, mineral-toned interiors well into the twentieth century, a lineage that Mylands’ founder William Mylands began documenting when he established the company in 1884.

Mylands was founded in 1884 by William Mylands, a paint maker in Norwood, South London, and has remained family-owned since. The company built its reputation on historically informed colour research and formulations developed through direct engagement with architects, designers and conservators working on period properties across Britain. The paint house’s archive contains thousands of colour samples gathered from buildings dating back centuries, a resource that informs every contemporary release. Flanders Grey No.110 sits within that tradition: a colour born from research rather than trend.

Flanders Grey No.110 is available in the Marble Matt Emulsion finish and other formulations from Mylands’ full paint range, which includes over 250 colours in multiple finishes. Mylands’ emulsion paints are mixed to order at the company’s South London studio, allowing for precise colour matching and custom formulation. Samples are available for testing on walls before committing to full coverage. Paint and colour cards are available through Mylands’ website and selected stockists, and the company operates a colour consultation service for those selecting shades for specific interiors.

The Marble Matt Emulsion finish that carries Flanders Grey No.110 is formulated for interior walls and ceilings, offering a wipeable surface with low VOC (volatile organic compounds) content. Mylands’ emulsion paints are mixed to order at the company’s South London studio, allowing for precise colour matching and custom formulation. The matte finish itself is achieved through mineral pigmentation rather than matting agents, preserving depth and light-scattering properties that standard flat paints cannot replicate.

Historic stoneware from the Low Countries, particularly from Flanders in present-day Belgium and the Netherlands, developed distinctive grey and brown palettes through centuries of utilitarian ceramic production. Potters in these regions worked with local clays that naturally contained iron oxide and other minerals, creating vessels whose colours shifted between grey, taupe and green depending on kiln temperature and firing conditions. These historical precedents shaped European taste for restrained, mineral-toned interiors well into the twentieth century.

Mylands’ full paint range includes over 250 colours available in multiple finishes: Marble Matt Emulsion for walls, Eggshell for woodwork, and specialist formulations for exterior use and restoration work. The company supplies to private clients, architects, conservation specialists and the National Trust, and operates a colour consultation service for those selecting shades for specific interiors. Paint and colour cards are available through Mylands’ website and selected stockists, with samples available for testing on walls before committing to full coverage.

Imagery courtesy of Mylands (@mylands_london).