Modern Elegance & Calla Lilies Wedding at Château d’Arcelot

The morning began in the château's period rooms, natural light from tall windows catching the sparkle of Emilia's La Sève gown as she sat in a gilded chair during makeup. The dress itself became a recurring motif throughout the day: structured puff sleeves, a dramatic open back, and fabric that shifted between opaque and sheer depending on the angle. Margot Voisin styled her hair in a soft updo with loose side bangs framing the face. Final touches by Atelier Lilac, earrings catching light in a gilded mirror, rings by L'Atelier Joaillier resting in their box. Across the château, Anthony adjusted his Blandin & Delloye black velvet suit, the rich texture of the fabric setting the monochrome tone from the first frame.

Rows of chairs faced the château's lake, where a floral arch of white blooms and greenery by Atelier Augustine marked the ceremony space. The aisle was lined with clusters of white flowers and ornamental grasses, their loose quality echoing the surrounding parkland. Emilia and Anthony exchanged vows beneath the arch with the water stretching behind them. The moments Kelly Dujardin captured moved naturally: clasped hands during the vows, a dip kiss as the ceremony closed, and an unposed embrace from behind at the altar. The open-air setting and late spring light softened the formality of the gestures.

The portrait series moved between the château's stone interiors and its grounds. On the grand staircase, Emilia and Anthony leaned into each other against worn stone, their expressions soft. A kiss on the cheek framed by the entrance doorway. Then the vintage car sequences: Anthony seated inside while Emilia stood at the open door, the pair leaning against the bonnet with the full facade behind, and a close shot through the window with the leather interior adding warmth to the monochrome palette. Walking hand in hand through the formal gardens, they moved at the unhurried pace the gravel paths and clipped hedging seemed to set. The groom's velvet suit held its own in close-up, silk bow tie catching the light. Throughout, Kelly Dujardin balanced tight details with wider compositions that let the scale of the Historic Monument speak.

The dinner table was set in the formal garden with the château's facade rising behind it. White steel chairs by Options Lyon created a clean line against the green, and Anaïs Giangrande replaced conventional centrepieces with clusters of moss and white blooms that built rhythm through texture rather than height. Crystal glassware sat alongside refined silverware and minimalist menu cards by Two Made One Studio. As evening fell, candles warmed the moss-and-white palette. Emilia and Anthony raised champagne coupes for a toast, and plated courses by Mickael Iachini were served against fading light and stone walls. The celebration closed with a champagne glass tower, the cascading tiers catching the last daylight, the château's facade reflected in the crystal. A classic French celebration moment, delivered with quiet precision.

The stationery programme by Two Made One Studio set the graphic tone: minimalist typography on ivory card stock, arranged in flatlays alongside jewellery and a single stem that bridged the printed and the organic. One frame in black and white stripped the composition to pure form. The floral programme by Atelier Augustine centred on sweet peas and calla lilies, their light, unstructured quality carrying through from the ceremony arch to the bouquet resting on the vintage car's leather seat. Aerial views of the car revealed its floral decoration from above, dark paint against white blooms. At the table, menu cards sat beside silverware, plated courses were presented with the same care as the wider design, and the champagne tower and dessert tables by Mickael Iachini anchored the far end of the reception. Personalised wedding favours closed the loop, a small finishing touch that completed the editorial's attention to detail.