A fall wedding suite rooted in an 18th century Italian wallpaper.
This suite started with a wallpaper.
An 18th century Italian floral, to be specific — and once I found it, every other decision fell into place around it. That's how I work. Find the anchor, then build outward. It's the same instinct I carried over from nearly two decades in interior design.
The pattern is rich and saturated, so digital printing was the only real option. No other method captures that kind of color depth and detail.
Because the floral is doing so much, the typography needed to hold its own without overwhelming it. I landed on letterforms with bold strokes and delicate flourishes — enough weight to stand beside the pattern, with just enough romance to keep it from feeling heavy.
I love mixing stripes and florals. Always have. So the main invitation gets a soft stripe, subtle enough to add texture without competing with the border. Then the envelope liner shifts things again with an art deco pattern, a little bolder, a little more structured. Three patterns total, and they all work together because they're playing different roles.
The outer envelopes stay completely neutral. Cream, simple, quiet. When you have this much going on, you need somewhere for the eye to rest.
The velvet ribbon was an easy call for an October wedding. Olive green, tactile, seasonal. It ties the suite together literally and visually. The vow books use the same art deco liner pattern and the same ribbon so the whole collection feels like it belongs to itself.
Each piece was designed to layer. That's what gives it a collected feeling.
