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A Livingetc report describes preserved-flower resin appearing in furniture, lighting and hospitality interiors, including a Paris herbal infusion house and work by designer Marcin Rusak. The report connects the renewed attention to nostalgia and interest in objects that hold memories, but offers no sales data or evidence that the style is spreading across the wider market.
Preserved flowers set in resin are appearing in a range of interiors and design projects, from the counter of a newly opened Paris herbal infusion house to furniture and lighting by contemporary designers, according to a Livingetc report. The examples point to renewed interest in a material that can display flowers as fixed, visible elements, though the report does not establish how widespread the trend is beyond the projects it highlights.
One featured example is Apoticari’s La Tisanerie, which opened in September in Paris’s Haut-Marais. Founded by Elsa Snakers and described by Livingetc as the city’s first dedicated herbal infusion house, the venue uses a floral-enriched resin bar counter as part of its botanical identity. The report frames the counter as both a functional surface and a prominent design feature.
Other examples include the Gelo side tables, made by Paraforma for Monologue London, and lighting work by Austrian designer Laurids Gallée. The report describes the Gelo pieces as hand-cast resin in varied finishes and colors. It also cites Dutch designer Sabine Marcelis, whose Totem Lights are included in her first solo museum exhibition, “Sabine Marcelis: Light and Color,” scheduled at Zurich’s Museum für Gestaltung from October 30, 2026, to April 4, 2027.
Botanical artist and designer Marcin Rusak is taking his Flora Herbarium Clear Amber 152 work to Salon Art + Design in New York, scheduled for November 4–8 at the Park Avenue Armory. Rusak’s work treats flowers as more than decoration: in a social media post quoted by Livingetc, he described them as possible records of how people related to nature and beauty in their own time.
Why Designers Are Preserving Flowers
The appeal described in the report is partly visual, but designers and observers also connect resin’s permanence to memory and nostalgia. Romain Casella, founder and director of the London- and Geneva-based creative agency MAY, told Livingetc that the material can seem to “freeze time”. In a period he characterized as unstable, he said, a fixed object can feel reassuring.
That quality gives preserved-flower pieces a role beyond a seasonal motif: a table, light or counter can carry a botanical image into everyday use. For readers, the examples show how a single material can connect interior design, hospitality and collectible objects. They do not, however, establish consumer demand, environmental benefits or a market-wide shift. The report documents selected projects and practitioner views, rather than industry sales or survey data.
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From Earlier Resin Designs to Today
Livingetc says floral epoxy resin furniture has roots in the 1940s and was revived in the 1980s. The current attention is presented as a return rather than a new invention, with the report linking it to broader interest in amber-colored interiors and to the publication’s Style Pulse S/S27 forecast, which names “One Decorative Gesture” as a design trend for the year ahead.
The article’s examples come from different settings: a Paris tea and infusion venue, design objects shown through galleries and studios, and work presented at a New York fair. That mix helps explain why the material has become visible to the report’s writer, but it is not a representative survey of studios, shops or buyers. The evidence provided is a set of named projects and attributed opinions.
““Like the mosquito in amber in Jurassic Park, we’re deliberately choosing to freeze time — and there’s something reassuring in that in such unstable times: it doesn’t move; it’s there, still.””
— Romain Casella, founder and director of MAY, speaking to Livingetc
How Broad Is the Resin Revival?
The report does not provide sales figures, production totals or consumer research showing how widely floral resin is being adopted. Its examples establish that the material appears in several named projects, not that it has become common across the design industry or the homes market. The term “everywhere” in the source headline reflects the writer’s observation, not a measured count.
It is also unclear how the featured pieces are made beyond details supplied for particular works, such as the Gelo tables being hand-cast. The source does not give a general account of resin ingredients, durability, repair, disposal or environmental impact. Those questions cannot be answered from the project descriptions and should not be inferred from the material’s appearance.
Upcoming Shows and New Projects
The next dated event in the report is Salon Art + Design, scheduled for November 4–8, 2026, in New York, where Rusak is expected to present Flora Herbarium Clear Amber 152. The report also points to the Museum für Gestaltung’s Marcelis exhibition, opening October 30, 2026, and running through April 4, 2027.
Further projects, exhibitions or sales data could show whether this interest continues beyond the examples featured by Livingetc. For now, the confirmed development is a cluster of visible design and hospitality projects using preserved flowers in resin; the scale and staying power of the revival remain unmeasured.
Key Questions
What is floral resin?
Floral resin refers here to resin objects that incorporate preserved flowers or other botanical material, making the plant elements visible within the finished piece. The report features the material in furniture, lighting and a bar counter.
Where is preserved-flower resin appearing?
Examples in the report include Apoticari’s La Tisanerie in Paris, Paraforma x Monologue London’s Gelo side tables, and lighting and botanical works by designers including Laurids Gallée, Sabine Marcelis and Marcin Rusak.
Is floral resin a new design trend?
Not according to Livingetc, which says floral epoxy resin furniture dates to the 1940s and returned in the 1980s. The current development is described as renewed attention, not the material’s first appearance.
Is the trend widespread?
The report identifies several current projects, but gives no market data or adoption figures. It supports saying that the material appears in the examples cited; it does not establish how common it is across the broader design market.
What upcoming events feature the designers mentioned?
Marcin Rusak’s work is scheduled for Salon Art + Design in New York from November 4–8, 2026. Sabine Marcelis’s “Light and Color” exhibition is scheduled at Zurich’s Museum für Gestaltung from October 30, 2026, to April 4, 2027.
Source: livingetc.com
