A Sicilian Veil and Midday Sun at Château La Beaumetane

The team used Château La Beaumetane's existing stone entrance as the ceremony altar, without building a freestanding backdrop. The two substantial pillars were covered asymmetrically with white flowers and greenery. Anthuriums, roses, asparagus fern and ruscus climbed around the stone, leaving the centre open to the landscape beyond.

Wooden chairs formed the aisle in front, while draped fabric and a hanging crystal chandelier added a softer layer against the architecture. The scale of the flowers mattered here: small arrangements would have disappeared against the height and weight of the entrance, so the greenery was allowed to climb the pillars and follow their existing shape.

This is also where the strong midday light shows most directly. The pale stone, white flowers and open sky are all caught in full spring sun, not the softer light of late afternoon.

Audrey wore a voluminous gown by Lolette with an embroidered cathedral veil, styled with a distinctly Sicilian influence. The veil held much of the detail, extending behind the gown and adding pattern against the restrained green-and-white setting.

Her beauty look followed the same stronger fashion direction: softly curled hair, luminous skin and a bold red lip. Marc wore a suit by Izac.

Together, their styling brought a more formal European reference into the Provençal setting, a departure from the loose, minimal bridal looks more common at outdoor weddings in the South of France.

Camille Lopez moved away from the ceremony installation to use the château itself. Audrey and Marc were photographed descending the stone staircase, standing along its balustrade, and together on an antique loveseat beneath the flower-covered entrance.

Movement runs through the sequence: the staircase gave them somewhere to walk, and the loveseat returned them to the ceremony setting without repeating the earlier photographs. Stone, lace and tailoring hold their own in these closer frames, alongside the wider Provençal setting.

The welcome area included two specific details: a tiered silver coupe stand for champagne and a spread of Calissons d'Aix. The chrome display was decorated with white roses, on a smaller scale than the ceremony installation. The traditional almond-shaped sweets brought an Aix-en-Provence reference into the setting.

A separate photo-call area combined draped fabric with a suspended crystal chandelier, while olive-toned linen and single floral stems dressed the smaller cocktail tables. The Calissons returned later as wedding favours at dinner.

The reception moved outdoors beneath the trees, where a long table was set under crystal chandeliers suspended overhead. The green-and-white palette continued, but the floral treatment became lower and looser than at the ceremony.

White roses and broad green foliage ran through the centre of the table, between crystal glassware and vintage-inspired candle holders. Draped linens added another layer of green, while the chandeliers brought a formal, indoor-dining reference to the outdoor table.

Some of these photographs were captured on Kodak Portra 400 film. Calissons d'Aix appeared again at the table, this time folded into the favours.

The design stayed disciplined around two colours. White roses, anthuriums and greenery established the palette at the ceremony, then continued through the bouquet, the cocktail styling and the reception flowers without a change in tone for dinner.

At the table, vintage-inspired pieces and crystal glassware were combined with delicate stationery and a dark green table runner embroidered with guest names, turning a seating detail into part of the table itself.

The table isn't monochrome. Different greens come through foliage, fabric and the landscape around it, while white repeats through roses, stationery and linens. Candle holders, crystal and the chandeliers supply the decorative detail without adding another colour.

The smaller bridal and stationery details each had their own frame. Beaded heels were photographed among white flowers and greenery, stationery was paired with sunglasses and a folding fan, and the menu card was photographed on film beside white flowers.

One handwritten note reads "To my husband." The gown itself was draped across an antique chair, the embroidered train caught separately from the rest of the styling.

These frames use the same materials as the larger settings: lace, white flowers, greenery and paper.

Château La Beaumetane is a Provençal estate near Aix-en-Provence. Its stone architecture runs through the whole editorial, not just as a background. The entrance became the ceremony altar, the main staircase carried the portraits, and stone terraces and lawns held the reception. Trees gave the structure the chandeliers were suspended from above dinner.

Photographer Camille Lopez has her own advice for couples choosing a venue: "Choose a venue that already carries character and architectural identity." The team put that into practice directly: an existing entrance became the ceremony backdrop, the portraits used its staircase and balustrade, and the midday sun was photographed straight on.

The result draws from a small set of recurring elements: green-and-white flowers, strong spring light, historic stone, formal fashion and a handful of regional details.