Virginia and Carlos wanted their wedding paper to feel at home in San Miguel de Allende without simply depicting it. They wanted the vibrant city itself to take center stage, with the design feeling less like decoration and more like an extension of its surroundings. We looked beyond the obvious imagery of San Miguel to the qualities of the place itself: sun-bleached stone, plaster walls, carved surfaces and the warmth of the surrounding landscape.
Working within a restrained, monochromatic palette allowed texture to become the visual language. Paper was toned to look like warm, aged stone, while translucent rice paper allowed layers of white and cream to shift subtly from one surface to the next. A tone-on-tone pattern inspired by Otomi folk art appeared in different forms throughout. The details card brought these ideas together through four printing techniques, including a sculpted emboss of the venue that gave the architecture an almost tactile presence.
As those ideas moved into the wedding day, paper gave way to stone. The embossed menus sat beneath etched terracotta place cards, while ceramic table numbers, escort pieces and bar signs brought the colors and textures of San Miguel directly onto the table. Rather than recreating the setting, each material offered another way of experiencing it.
Virginia & Carlos
Institute Allende / san miguel allende
INSTITUTE ALLENDE / SAN MIGUEL ALLENDE
Design: Sophia Goff Events
Photography: The Edges Wed
Paper: Elsa Madeline Design
Venue: Institute Allende
Florals: La Musa de la Flores
Creative Partners
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Design: Sophia Goff Events // Photography: The Edges Wed // Paper: Elsa Madeline Design //
Venue: Institute Allende // Florals: La Musa de la Flores
Virginia and Carlos wanted their wedding paper to feel at home in San Miguel de Allende without simply depicting it. They wanted the vibrant city itself to take center stage, with the design feeling less like decoration and more like an extension of its surroundings. We looked beyond the obvious imagery of San Miguel to the qualities of the place itself: sun-bleached stone, plaster walls, carved surfaces and the warmth of the surrounding landscape.
Working within a restrained, palette allowed texture to become the visual language. Paper was toned to look like warm, aged stone, while translucent rice paper allowed layers of white and cream to shift subtly from one surface to the next. A tone-on-tone pattern inspired by Otomi folk art appeared in different forms throughout. The details card brought these ideas together through four printing techniques, including a sculpted emboss of the venue that gave the architecture an almost tactile presence.
As those ideas moved into the wedding day, paper gave way to stone. The embossed menus sat beneath etched terracotta place cards, while ceramic table numbers, escort pieces and bar signs brought the colors and textures of San Miguel directly onto the table. Rather than recreating the setting, each material offered another way of experiencing it.
