What We Saw at Paris Design Week 2026

We’ve arrived back in the studio from Paris Design Week and Déco Off, and we both couldn’t wait to share what we saw. We came back with a full notebook, hundreds of photos to sift through, plenty of references and a red wine-coloured tassel we couldn’t resist buying (more on that in another article).

There’s one small caveat.

Although we don't design for clients based on trends, we do like to keep an eye on what’s circulating. It gives us context when we’re advising, presenting and making decisions. Déco Off is invaluable for that. It’s one of the rare places where we can see many beautiful designs in person, all within walking distance of one another, and understand the inspiration behind them.

When we start to see a common thread through different exhibits and showrooms, we want to know what it’s saying about ‘the current moment’. It could be craftsmanship, nostalgia or a reaction. And with clients, it’s exactly the same. 

Somebody might be drawn to a rich tobacco colour, for example. Rather than take it literally, we try to see what they’re drawn to beneath it: maybe it’s the warmth, depth or the glamour. From there, we might choose a different colour that gives the same feeling, but in a completely different way. Or, if it’s suitable, we may end up using tobacco after all.

This is where briefing becomes everything. Asking the right questions early on moves you past the surface level and into something with substance (it’s the thinking behind our Questionnaire Collection templates).

We could talk about this topic for hours, so we’ll write more on it another time. For now, this is simply our edit of what stood out to us in Paris for 2026.

— Lauren and Sharon

The overall palette felt warm and richly layered, offset by creamy whites. Burgundy and chocolate brown continued its presence from Salone del Mobile last year, but appeared noticeably lighter in a tobacco and softer, earth-toned variation. 

Pistachio, emerald green, powdery blush pink, and gold emerged as complementary accents, not as the high-contrast jewel tones associated with the Art Deco period, but in more reserved, contemporary applications. Rather than relying on contrast, the palette was strongly supported by an increased emphasis on texture and tactility. This added visual interest and depth through materiality and surface variation.

Overall, timber was dark with an abundance of walnut, mahogany, and oak, alongside more exotic species such as sucupira and palm wood. These were presented across a range of refined finishes, most notably high-gloss lacquers in black, burgundy, and olive green. Metalwork in lamps, furniture and lighting featured in wrought iron, bronze, and patinated brass. 

Darker marbles and travertine with pronounced veining were used in fireplaces and bathrooms, replacing lighter stone selections. Parchment finishes, alabaster, and curved plaster also featured in shades and wall sconce light fixtures.

Lacquered furniture and scenic, panelled motifs with East Asian-referential detailing featured strongly, often surfacing through the Art Deco revival. It’s a reference with rich cultural history, so it deserves to be handled with intention and research, not reduced to a passing “trend.”

Straw marquetry also featured strongly, reinforcing a continued focus on tactile, artisanal surfaces. Walls remained largely neutral in white or beige, elevated through tactile finishes such as raffia and limewash. These surfaces were layered with decorative elements including tapestry, walnut wall panelling, gold mural wallpapers, and sculptural plaster or stone wall reliefs.

Furniture favoured bold, oversized proportions with a focus on craftsmanship, comfort, and longevity. Sculptural, softly curved sofas in rich fabrics were paired with substantial thick line occasional chairs and dominant coffee tables. Layout was symmetrical with a less is more approach. 

Large-scale lamps, room dividers, and large sculptural pieces completed the overall scale. 

Fabrics were rich and sumptuous, decidedly anything but beige. With a strong emphasis on heritage and craftsmanship, textiles delivered a layered sensory experience through hand-spun raw silk, plush mohair, thick-pile wool velvet, and linen blended with alpaca. Embroidered fabrics felt heirloom-worthy, with tapestries and tapestry-inspired designs strongly referenced. 

Motifs ranged from scrolls, geometric and graphic maze patterns to florals, cosmic designs, cheetah and other animal references. Whilst reminiscent of the Art Deco period, these patterns were reinterpreted with a contemporary, tongue-in-cheek expression. 

Elaborate gold relief wallpaper and murals were seen in floral, animal and geometric pattens along with plain weave grasscloths.

Embellishment extended well beyond window treatments. Fringes continued to appear on sofa and chair bases, whilst tassels were applied to door handles, furniture, lampshades, and cushions. Other wall coverings were richly layered, combining tapestries, carved stone panels.

Large-scale lamps, room dividers, and large sculptural pieces completed the overall scale. 

Savoir-faire: means ‘to know how to do’. This design style is all about making choices with a confident, experienced eye rather than following every trend. Every piece is carefully chosen and arranged so the space feels stylish without force or overdone. 

There’s a clear focus on artisanal, handcrafted pieces designed for longevity. We’ve noticed more hardwearing, sustainable materials—often suitable for both indoor and outdoor use. With many pieces designed on a large scale, the principle of “less is more” continues to benefit the environment.

We’ll be back with more from the studio soon.