How the 2026 Collection Takes Shape — A Glimpse Behind the Scenes at Magnolias on Silk

For the 2026 collection, we intentionally sought out this moment. We wanted to create atmospheres that endure — timeless, yet sharpening the aesthetic identity of our brand. From this process emerged two independent yet interconnected concepts: La Mer du Soir and Rêve du Rivage. Two worlds, each with its own quiet, precise, and considered attitude — and yet shaped by the same underlying vision.

EVERY COLLECTION BEGINS WITH A MOMENT OF STILLNESS.

In this blog article, we offer a behind-the-scenes look at the Reference Masterclass 2025 — at how an idea evolves into two collections shaped by lines, light, and the belief that thoughtful design is timeless.

Both collections were developed as the creative foundation for the annual Reference Masterclass. — a multi-day workshop in the South of France that brings together photographers, videographers, florists, wedding planners, and selected industry professionals.

For the past three years, we have been partnering with the Reference Masterclass to create table worlds that open space for creativity and offer aesthetic impulses that resonate far beyond the moment. For the 2025 edition, two collections emerged — developed in close collaboration with Stephanie from WEP in Provence and Laetizia from Floresie — shaped equally by their perspective on Provence and by our own distinctive aesthetic.

Collection La Mer du Soir

Collection Rêve du Rivage

LA MER DU SOIR – AN ATMOSPHERE TAKES SHAPE

It all began with the location itself — Coquillade: the light moving across the hills, the gentle interplay of stone, greenery, and open landscape, the understated refinement of the estate. From this calm, natural strength, we developed our first design ideas.

At first, inspired by the name Coquillade — “little shell” — we explored moss installations and organic shell-like forms. But after the first drafts, we sensed that this direction, while beautiful, leaned too much into trends. It didn’t reflect the timelessness we were looking for.

So we reduced. We searched for materials that endure, for textures that speak on their own. The velvet tablecloth in a deep anthracite shade became one of the first building blocks. Cotton velvet — warm and tactile — settles over the table like a soft evening sky.

To this, we added moss-green linen napkins — a fresh, clear accent, like seaweed carried to shore by gentle waves.

The setting was complemented by the Taormina collection from Costa Nova, whose lively glaze evokes the softness of waves as they wash onto the sand, giving the arrangement a subtle sense of movement. The Gustave cutlery by Sabre introduced a touch of ivory-toned elegance — a quiet nod to the sheen of a shell, without slipping into anything overtly maritime.

LA MER DU SOIR is our interpretation of a design shaped by lines — by architectural calm, clear proportions, and a natural light that reveals each material in its truest quality. It is a concept that doesn’t need to be loud to make an impact.

WHY WE DESIGN: CLARITY, TIMELESSNESS, INTENTION

Developing a collection means taking a stance.
We don’t design around trend colours or passing aesthetics.
We design collections the way we shape atmospheres — consciously, precisely, and with a perspective that spans years, not months.

This is why every draft is measured against three questions:

• Is it timeless?
• Is it aesthetically clear?
• Does it hold up — emotionally and in its design language?

This attitude forms the foundation of our sustainable approach to event design. Not as a marketing idea, but as a conviction. You can feel it in LA MER DU SOIR — in every decision, from material to colour.

We design with the ambition that a setting should feel relevant not only today, but also five years from now. 

Timelessness, to us, is not a coincidence but a consciously crafted state: reduced, clear, structured. At the same time, every collection must evoke emotion — quietly rather than loudly, through atmosphere rather than effects.

Our material choices follow this principle. We look for textures with character, yet without dominance. For colours that create harmony rather than compete for attention. This approach protects a moment from short-lived trends and gives it relevance — both aesthetically and emotionally.

RÊVE DU RIVAGE – LIGHTNESS IN FORM AND COLOR

The second collection, RÊVE DU RIVAGE, inspired by Château La Tour Vaucros, opens an entirely different world. If LA MER DU SOIR was born in the expanse of the Luberon, this concept is a summer morning in Provence. Pastel, bright, airy, feminine. Romantic, fresh, “gardeny,” as the moodboard so aptly describes it.

Pistachio-colored stripes — drawn softly across linens and stationery — bring a gentle, wave-like movement to the table.

Butter yellow, peach, and dusty rose blend like quiet watercolor washes. Blooms that appear as if they’ve just opened in the first light of the day.

For this table, we chose the Rosa collection by Costa Nova. Its blossom-like rim, reminiscent of unfurling petals, adds a soft, feminine elegance to the overall composition.

The Sobor cutlery by Herdmar introduces a sculptural note through its gently twisted handles — distinctive yet understated. A refined accent that underscores the feminine character of the arrangement.

RÊVE DU RIVAGE speaks of those moments when one dreams of a day in a Provençal garden.

It takes up the language of movement: lines that flow, turn, or remain still. They appear throughout the concept like a gentle rhythm, holding the design together without ever demanding attention.

THE ATTITUDE BEHIND OUR COLLECTIONS

Whether LA MER DU SOIR or RÊVE DU RIVAGE — both collections arise from the same design ethos: the desire not merely to make spaces beautiful, but to give them meaning. Not decoration for the sake of effect, but design that moves something within the people who encounter it.

Timelessness over spectacle — this idea shapes both collections and connects them at their core.

The development of our 2026 collections is more than an aesthetic project. It is a process shaped by decisions, by light and materiality — and by the willingness to discard, refine, or rethink ideas.

At the same time, it is an invitation to view event désign  differently: less as decoration, more as atmosphere. Less as a concept, more as a mood.

And it offers a glimpse into our way of working: how much time we spend finding the right mood; how we explore materials not only visually, but through touch; how we shift proportions, rebalance colours, and rework entire setups when they don’t feel atmospherically aligned.

For us, design means making decisions that do not push themselves to the forefront — yet leave a subtle, lasting impression.