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Imprimerie du Marais

@imprimeriedumarais

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L’Art du Possible since 1971
Print & Production House
Paris – London – New York – Geneva
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New York Fashion Week | We are proud to have been working with @toteme for several years. This season, we crafted the minimalistic SS26 invitation, unveiled on September 15th at the iconic Pool Room of the Seagram Building. Technic: black hot foil on a fabric envelop, die-cut, letterhead embossed and hot-foiled Design: @toteme Production: @imprimeriedumarais Photos of the invitation: @louisvictorinmichel Runway photos: @toteme #fashionweek #toteme #ss26 #invitation #imprimeriedumarais #hotfoil #print #printdesign by @imprimeriedumarais
PFW @rabanne | SS25 Invitation Printing: silkscreen, foiling & debossing Production: @imprimeriedumarais Photos of the invitation: @mickaelllorca #pfw #rabanne #imprimeriedumarais #invitation #runway #silkscreen #foil #debossing #savoirfaire by @imprimeriedumarais
Adding a new reference to the range, @monasterymade keeps the packaging exactly what it is: one medallion, silver in relief, brown board. The Flora Botanical serum now joins the family in a deep brown. Since 2023, the packaging designed by @creech_studio has carried a botanical line with restraint, and the Athena medallion does most of that work. The silver foil is pressed into relief on brown board with a gloss lamination, so the medallion rises from the surface. The sleeves are made like two piece cases with a drawer, closer to a keepsake than a box. The first versions were matte. The uncoated board is now covered with a gloss lamination, which gives each sleeve the same shine and presence as the precious bottles inside. Creech’s work for the brand has been recognized by the ADC Awards in 2023 (Monastery Packaging), 2024 (Packaging Refresh) and 2025 (Monastery Everything Box, Merit). Awarded packaging is rare on our press, and we enjoy working on this one with the Monastery team. Client: @monasterymade Design: @creech_studio Print and finishing by Imprimerie du Marais Techniques: silver foil in relief on uncoated textured board Photo: @louisvictorinmichel ©Imprimerie du Marais (1) · Images 2–5: @creech_studio #ImprimerieduMarais #HotFoil #Embossing #BeautyPackaging #SavoirFaire by @imprimeriedumarais
Opening a grand Empire salon in New York calls for an invitation with the same presence. The opening book for the New York showroom of Féau Boiseries, a house we hold so dear. We printed it on an extra gloss stock, and the contrast with the deep navy of the envelope and the book’s background is striking. It is an immersion in the space that leaves only one wish: to RSVP yes, then keep the invitation on your desk as a promise of the beautiful creations it will inspire. Client @feauboiseries Photos : @louisvictorinmichel #FeauBoiseries #ImprimerieDuMarais #NewYork #Invitation #Print #TheArtOfHosting by @imprimeriedumarais
Every year around this time, the presses make room for wishes. Over the years, our ateliers have given wishes a body: foils that catch the light, embossings you read with your thumb, colours chosen to feel like a season. Holiday greetings, Lunar New Year, and many other ways of saying the same simple thing, each one sent from Paris to be opened somewhere else. Come take a look at our archives in Paris, London and New York. by @imprimeriedumarais
A press pass for Robert Combas, a few days before Art Basel opens. He paints colours that argue with each other, and an invitation for his show has to carry that argument without smoothing it over. For Good Vibrations at @stroukgallery, the curator came to our meeting with the original artwork. Our litho colours were checked against the real piece, then against a Cromalin proof. Our prepress atelier went through them. Then came the press pass, the calibration of our presses, and printing started after this colour engineering. The front is the artwork, full bleed, and nothing else. The back cover turns to blue paper with a gloss screen print, glued to build up thickness. Tilt the card and the gloss catches the light. Client: @stroukgallery Print and finishing by Imprimerie du Marais #RobertCombas #GoodVibrations #StroukGallery #ArtBasel #LuxuryPrint #LimitedEdition #ImprimerieduMarais by @imprimeriedumarais
Grafikmagazin has given our 2026 Swatch Book a place in its latest issue. Our thanks to their team, whose pages give paper, print and finishing real room. We are glad the book found its way there. Our Swatchbook from this year is a handcrafted series of cards, conceived with London studio @Made_Thought and made from raw @gmundpaper. Its haptics come from two gestures. Deep multi-level embossing sculpts deliberate shadows into the sheet, and hot foil stamping catches the light on the surface. Each page is a close study of grain, weight and micro-precision. For us the feature has a German thread running through it. We have created pieces for Rimowa, we have shared decades of craft with Gmund in Bavaria, and we recently received a Gmund Award. Seeing the Swatch Book in print, in this magazine, follows naturally from that. We designed it as a working tool for studios planning upcoming editions, wine packaging and brand identities. It is meant to be judged in the hand. The full article is in the latest issue. Link in bio. by @imprimeriedumarais
The envelope opens as flower does, its rounded wings folding back one after another until the card comes into view. For the Spring-Summer 2027 show of @isabelmarant, the paper is translucent and finely textured, so the pale wash of yellow and blue on the card inside is already half visible through it. The collection began with 1960s photographs of women bathed in successive layers of vaporous light, and its daywear borrows 1930s lingerie in translucent pinks, greens and corals. Sheer paper is the nearest thing a printer has to a layer of light, and here it behaves like a garment: it veils, it reveals, it settles over what it holds. Inside, white screenprint carries the logo and the line Défilé Été 2027, printed so pale that it seems to belong to the wash. A fine cord crosses the card from edge to edge with a single faceted stone at its centre, a different colour for each invitation. On the envelope, a thin line of gold foil lifts the Isabel Marant name just enough to catch the light as the paper turns. Lift the card and the bracelet comes with it. Client: @isabelmarant Print and façonnage by Imprimerie du Marais Techniques: Veiled textured paper, pale white screenprint, a thread of gold foil Photo: @louisvictorinmichel ©Imprimerie du Marais #ImprimerieduMarais #FoilStamping #Silkscreen #ParisFashionWeek #FrenchCraftsmanship #MadeInParis by @imprimeriedumarais
Acid Magazine and Hard Sun For the launch of Acid Magazine No8 at @stockholmsurfboardclub, Bidart, France. Printing @imprimeriedumarais by @imprimeriedumarais
A showroom stands for five days in January. A book is what stays in the hand afterwards. On’s FW26 book is arranged like the showroom itself: ground floor first, with the performance collections, then the first floor and the lifestyle ones, where Zendaya and FKA twigs come last. The floor plans are printed pale on charcoal, with looping lines drawn through the rooms, and some of the pages are translucent GSK sheets, so a page is half read before it is turned. The cover is metallised, with a round window cut through it. Through the opening the On mark shows faintly, like something seen in a reflection. The title is blind embossed, with no ink to carry it, so it appears only when the light crosses the surface. Inside, everything is ink, and the metal stays on the cover. Turn one of the translucent sheets slowly and the next page arrives through it before the sheet has finished moving. Photos : @louisvictorinmichel #ImprimerieduMarais #BlindEmbossing #DieCut #BookBinding #FrenchCraftsmanship #PrintDesign by @imprimeriedumarais
The book retraces, in six stages, the creation of the graphic identity of WpointM, the second album from French rapper Tiakola, and every production choice serves that sequence. The interior pages are Fedrigoni GSK tracing paper at 90 g, which lets a page be turned and seen through at the same moment. The cover detaches. Remove it and the creative research behind the project is exposed, which means the book holds both its result and its origins, and the reader decides whether to keep them together. It was designed by studio BFDIP @bf_dip and printed in 100 numbered copies, with the process photographed in our atelier in Cité Griset. For a brand book that needs to show its working, a translucent stock is the first thing to test. It settles how much to reveal before any layout is fixed. Design: BFDIP @bf_dip Print and façonnage by Imprimerie du Marais Photos: @bf_dip / @louisvictorinmichel ©Imprimerie du Marais by @imprimeriedumarais
Milan, September 2026. Onitsuka Tiger and Andrea Pompilio navigate the city through a physical compass, tying the brand’s urban pulse and cinematic heritage directly to its community. The invitation unfolds into a map, guiding guests through Milan to the Energy Station and the key addresses of the week. Dark, heavy cover stock shields quiet monochrome imagery within, anchored by vibrant yellow accents. Dense pigment rests upon the deep surface, turning a seasonal guide into a tactile keepsake designed for the pocket and the journey ahead. Across centuries and maps, paper remains the true instrument of explorers—the physical threshold through which a house invites its audience to step inside its geography and inhabit its world. Client: Onitsuka Tiger Creative Direction: Andrea Pompilio Production: Imprimerie du Marais, Paris Technique: offset printing, folded, duplexed Photography: @louisvictorinmichel #ImprimerieduMarais #OnitsukaTiger #AndreaPompilio #FrenchCraftsmanship #SavoirFaire #PrintArchitecture #LuxuryStationery #MilanFashionWeek #PaperCulture #MadeInParis by @imprimeriedumarais

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