Adam Style is a distinctive form of British Neoclassical design associated principally with the Scottish architect and designer Robert Adam (1728–1792) and his brothers, particularly James Adam. Developed during the second half of the eighteenth century, the style influenced architecture, interiors, furniture, fireplaces, plasterwork, lighting and the decorative arts, becoming one of the defining design languages of the Georgian period.

Robert Adam developed his ideas following extensive study of classical architecture and a Grand Tour of Europe between 1754 and 1758, during which he encountered the architecture and archaeological discoveries of ancient Rome. Rather than simply reproducing classical buildings and ornament, Adam adapted these influences into a lighter, more decorative and distinctly British interpretation of Neoclassicism.

Central to Adam's approach was the idea that an interior should be conceived as a complete decorative scheme. Architecture, ceilings, wall decoration, fireplaces, doors, furniture, carpets and ornamental objects were designed to relate harmoniously to one another. This unified approach distinguished Adam interiors from rooms assembled from independently designed elements.

Adam Style interiors are generally characterised by symmetry, elegant proportions and delicate classical ornament. Decorative schemes frequently employ restrained arrangements of scrolling foliage, swags, husks, urns, paterae, rosettes, medallions, arabesques and classical figures.

The acanthus leaf was another important element within the Adam decorative vocabulary, reflecting the style's roots in classical architecture and ornament. Such motifs were often arranged within carefully balanced compositions rather than used with the heavier sculptural treatment associated with earlier Baroque and Rococo decoration.

Ceilings are particularly characteristic of Adam interiors. Elaborate but finely controlled plasterwork could incorporate ovals, circles, octagons, fans, radiating patterns and delicate painted or modelled ornament. These geometrical compositions were frequently echoed elsewhere within the room.

Colour also played an important role. Adam interiors could employ relatively light and sophisticated palettes including pale blues, greens, pinks, creams and soft stone colours, sometimes combined with gilding and painted classical decoration.