Slow Flowers Journal Summer 2023 (MEMBER'S EDITION)

BOTANICAL COUTURE

EDITORIAL DIRECTOR

Debra Prinzing

CREATIVE DIRECTOR

Robin Avni

COPY EDITOR

Judith H. Dern

CONTRIBUTORS

April Lemly, Blair Roberts Lynn, and Deborah Mittelman

PHOTOGRAPHERS

A Natural Portrayal Photography, Jill Bader, Niesha Blancas, Cecily Gubitosi, Madeline Isabella, Missy Palacol, Haley Richter, Kirsten Smith, Crystal Whiteaker, Britt Willoughby Dyer

ON THE COVER

As a returning American Flowers Week botanical couture designer, Jennifer Reed of Jennifer Designs Events imagined a model dressed in all white florals -- locally-grown peonies and sweet peas -- and posed her as a timeless female statue, transporting us to a neoclassical garden of the 1920s.

JENNIFER DESIGNS EVENTS

jenniferdesignsevents.com

@jenniferdesignsevents

COVER PHOTOGRAPHER

Haley Richter Photo

haleyrichterphoto.com

@haleyrichterphoto

© 2023 by SLOW FLOWERS JOURNAL and BLOOM Imprint. All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission of the publisher.

dive into summer.

BLOOM Imprint and Slow Flowers Society have lots to celebrate, including American Flowers Week (June 28 to July 4), our eighth annual promotion. At its heart is our botanical couture collection and we love showcasing Slow Flowers' floral artists, farmer florists, and growers as they interpret and express seasons, places, and stories through wearable floral fashions.

Floral design, art, and craft come together in two stories featuring our members. Read about Debby Mittelman's Fleurmania, a gathering that elevated Arizona-grown flowers and sparked new interest across the state. BAM in Bloom recently showcased local and U.S.-grown botanicals at the Bellevue Art Museum, one of the Pacific Northwest's important cultural institutions, with nine Slow Flowers members interpreting works of art through flowers. Congratulations to Carlee Donnelly of Goldenrod Floral Design for winning the Viewer's Choice Award! Speaking of awards, BLOOM Imprint and Slow Flowers have received industry recognition for recent projects. Garden Communicators International awarded us the 2023 Silver Laurels Medal in three categories. We were honored for our books "Black Flora" and "Growing Wonder," plus the Fall 2022 issue of "Slow Flowers Journal." These projects are now moving into the Gold Award round to be announced in August.

Enjoy the season!

APRIL LEMLY An artist, illustrator, and former flower farmer based in Los Angeles, California, April earned an MFA in graphic design in 2008 from the Academy of Art University in San Francisco. Her work encompasses branding, print design, painting, and drawing. Her playful illustration techniques depict female characters, animals, and plants, all included in the 2023 American Flowers Week branding. aprillemly.com

BLAIR ROBERTS LYNN. Blair is a Maryland-based floral designer whose business Sweet Blossoms LLC, focuses on green and sustainable practices. She places a high priority on ordering flowers from domestic farms and works to cultivate relationships with as many local farmers as possible. She composts all organic waste and recycles at least 75 percent of all materials used in her studio. All Sweet Blossom designs are foam free. Blair has been featured in Slow Flowers Journal, Washingtonian Magazine, and Florist’s Review. sweetblossomsllc.com.

DEBORAH MITTELMAN. Debby is a floral designer, photographer, and owner of Phoenix-based MiViva Designs and founder of the Fleurmania workshop. She has earned her AzMF designation as an Arizona Certified Master Florist. She is a member of the Slow Flower Society, the Arizona State Florists Association, and is the first Arizona member of Chapel Designers. mivivadesigns.com fleurmania.com

MISSY PALACOL. A Seattle-based portrait and brand photographer, digital marketing expert, speaker, and travel junkie. She teaches people and companies how to capture their authentic visual brand, and how to leverage social and digital media to grow their businesses. In 2014, Missy left her job in corporate marketing and struck out on her own with Missy Palacol Photography, capturing rich and memorable images for individuals, families, events, and brands. missypalacol.com

BOTANICAL COUTURE 2023 summer's bounty. coming down the runway: we present six botanical couture looks featuring seasonal blooms, stylish designs, and inventive expressions of domestic and local flowers.

2023 AMERICAN FLOWERS WEEK ARTIST april lemly.

FLORAL RETREAT cultivating connnection. fleurmania's designers bring wearable flowers to Arizona.

Q: go-to elements for a stunning market bouquet?

From palette and recipe to wraps and branding

Our market bouquets with seasonal flowers are big sellers. One popular summer design features pink lisianthus and creamy white hydrangeas. Customers love its light and romantic palette. We often package market bouquets in a cute brown bag, perfect for a special occasion or birthday gifting. With this bouquet, I include a mini-wrapped bouquet of our farm's lavender as a special token.

TAMMY OSSELAER LITTLE PETAL FARM | INDIANA WEBSITE INSTAGRAM

Pretty in pink and yellow! A fleeting poppy pairs with soft pastel snapdragons, cosmos, and bachelor's buttons, while the lysimachia provides golden touches. When we design, we want customers to enjoy watching flowers evolve over time, which is why we include blooms at different stages of their life -- to be an ever-changing pageant of beauty before their eyes.

RACHEL BURGOON FEATHERS AND FLOWERS WASHINGTON WEBSITE INSTAGRAM

This is my very first year making market bouquets for Sage Mountain Natural Foods in Leavenworth, Washington. I treat my market bouquets as a small preview of what's currently in bloom and to highlight what we grow locally.

LYNN WINDMEYER HOMEPLACE FIELDS | MISSOURI WEBSITE INSTAGRAM

This vibrant bouquet lifts spirits at our Saturday farmers' market. It combines bells of Ireland and hydrangeas just in bud. The verbascum pulls together the purples (Malva ‘Mystic Merlin’, Verbena rigida, phlox) and orange alstroemeria, while ammi adds sparkle and sweet peas provide fragrance.

ELIZABETH VAN EMST

Our signature market wrap is our cornerstone product with each bouquet mindfully designed to capture seasonality and a moment in time from the flower fields. We work hard to grow unique flowers in colors our clients can't get elsewhere, and we focus on high-end design with lots of textures. Our tagline is funky, but funk-free!

FLOWER THIEF FARM | CALIFORNIA WEBSITE INSTAGRAM

LAURA GONZALEZ

SWALLOW'S SECRET GARDEN | CALIFORNIA WEBSITE INSTAGRAM

RECHELLE DAY

FRECKLED BLOOM | OREGON WEBSITE INSTAGRAM

We offer premium seasonal blooms through our Freckled Bloom Flower Club (monthly or bimonthly subscriptions) and for custom orders. Our weekend farm stand features "Freckled Bloom Jars" for $22, each containing the best of our seasonal harvest. When folks are out and about on the weekends, their flowers stay hydrated, and for easy transport, the jars fit perfectly in a car's cup holder. Customers return their recycled containers and vases to support our sustainability efforts.

TO SEE MORE STUNNING MARKET BOUQUETS FROM SLOW FLOWERS MEMBERS CLICK HERE.

We make wrapped bouquets weekly for a favorite local café, a wonderful way to use flowers that don’t fit a wedding design color palette. Using “leftovers” results in color combinations I would not intentionally choose, but I’m always surprised at how well the bouquets turn out.

JACKY SURBER

ALPENGLOW GARDENS | CALIFORNIA WEBSITE INSTAGRAM

Our successful market bouquets mix textures, different foliages, feathery touches, ruffles, and spikes, the variety always prompting customer questions. I also make sure the focal flowers sit up high in the bouquet -- key to perceived value.

BRIANA BOSCH BLOSSOM AND BRANCH | COLORADO WEBSITE INSTAGRAM

Organically grown in the Rocky Mountains

shane connolly.

shane connolly & co. | london, england

Shane Connolly is a renowned floral designer and ambassador for sustainable floristry. His clients range from prominent institutions like the Victoria & Albert Museum, the Royal Academy of Arts, and the National Portrait Gallery, to a veritable who's who of the great and the good of British life.

He is perhaps best known for his public work for The Royal Family. His most recent commission was the Coronation of Their Majesties The King and The Queen in Westminster Abbey in May 2023. He also designed the flowers for their marriage at Windsor Castle in 2005, and for the wedding of the Prince and Princess of Wales in 2011.

Shane has approached all these iconic moments with the same respect for nature, season, and setting. Everything is thoughtful, in all senses of the word. Shane has designed events in countries as diverse as the United States and India, and always with the same aim: to leave the smallest footprint behind and be led by what is local and available. Shane works with the Royal Horticultural Society to improve sustainability in floristry in their annual shows, and he is also a judge at RHS Chelsea. He has written five books and teaches his approach to flower design all over the world.

In 2019, Debra Prinzing visited Shane at his studio in London's North Kensington district and recorded Episode 403 of the Slow Flowers Podcast, which originally aired May 29, 2019. This Q&A is condensed and edited from that conversation:

SFJ: Can you give me a snapshot of Shane Connolly & Co. and the scope of your studio?

SC: Gosh, sometimes it feels like it's a cottage industry and sometimes it feels like it's international; sometimes it feels like a tiny company and sometimes it feels big. I wish someone would have told me when I was 16 how exciting my life in flowers would be. And I'm glad that no one told me how little money you actually make from it; but honestly, the excitement has outweighed

SHANE CONNOLLY IN SEATTLE SEPTEMBER 29-30, 2023

Slow Flowers Society presents two days of sustainable floral design lecture, design demonstrations, and a floral design workshop.

Advance registration is recommended to the public lecture. Advance registration is required for the workshop.

MAKE RESERVATIONS AND ORDER TICKETS HERE

SEPTEMBER 29, 2023

Lecture, Design Demonstration, and Book-Signing Event

2 P.M. LECTURE

$45 per person

Lecture + signed copy of A Year in Flowers

$70 per person

SEPTEMBER 30, 2023

Floral Design Intensive Workshop

10 a.m. to 4 p.m. ALL-DAY WORKSHOP

$749

($649, Slow Flowers Members)

Refreshments, lunch, flowers, vessels, and supplies provided

Includes photography + signed copy of A Year in Flowers

everything. When I first started, I thought I would be doing parties and weddings with flowers, but I never thought it would lead me to giving talks, writing books, and traveling. I can't believe that I've been asked to so many places to meet and talk with people about flowers.

SFJ: The initial way I learned of you was from your mission and having a brand related to British-grown flowers and sustainability.

SC: I would be very happy to take that description!

SFJ: Designing the flowers for the wedding of the Prince and Princess of Wales gave you a special opportunity to talk about local flowers.

SC: That's what they wanted, and it was completely natural and organic -- I didn't

see it as an unusual approach because I was basically doing what I had always done.

SFJ: What is your typical approach to designing wedding or event flowers?

SC: It begins with the client. I want the client to be happy and feel like they have led the process so that when the party or wedding actually happens, they think, "I feel at home; I feel comfortable." As the designer, you really have to get the ego out of it.

SFJ: There are so many in the industry who have a look or a signature style and it doesn't sound like that's your approach.

SC: Well, if someone said to me, "I want my event or wedding to be full of flowers and really colorful," that's not exactly my personal preference (I love things to have an airiness about them), but I can also think, what flower

looks good massed together at that time of year? In the autumn it might be hydrangeas heaped in bowls. And what if we added pears and medlar fruits on the stem? That approach gives the clients the really, rich intense look that they wanted.

SFJ: Sometimes clients get locked into a specific flower though, right?

SC: The best thing would be to say, "Let's decide on a color and leave the rest to me." But increasingly, because of social media, that's harder because people want us to work from photographs.

SFJ: We loved your story of how you first started working with flowers. It seems as if you fell down the rabbit hole of loving flowers versus going into a formal educational program?

SC: Yes, completely. Now-a-days, you would call it an internship or an apprenticeship.

SFJ: Do you think that path explains why you're so focused on seasonality, and also, maybe the greener, pre-1950s techniques before floral foam?

SC: I did use foam in the past, but I never liked it. I never liked the touch or the smell. I don't know why I didn't think there were ecological issues around its use, for years, none of us did.

SFJ: What is your preferred foam-free mechanic now?

SC: I use chicken wire or the right container with water.

SFJ: What about all the floral arches and floral walls that seem to be engineered with foam?

SC: Back in the day, before flower walls and the obligatory archway over the church door for photography, you would do a nice display of plants on either side of the church door, which I still think is quite beautiful. Yet today, so many people want the floral arch for an Instagram photo opportunity.

SFJ: But how do you create an archway of flowers? What is your technique?

SC: It depends on the budget! I receive so many messages that begin with, "It's all very well for you, but I have a budget." We have constraints, like every designer. We do not have "Money is no object" thrown at us, ever. I never have had that situation in 30 years!

SFJ: Do you think that is because flowers often have to get in line behind the caterer or the dress -- and you're further down the pecking order when it comes to the wedding budget?

SC: I would say yes, 90 percent of the time, you are. Yet, I always say that it's not "just flowers." We are creating an ambience; we're creating a mood, and the fact that it's a beautiful, transient thing that might only last for four hours or for the length of a meal . . . that's part of its beauty. For those four hours, the guests are immersed in nature, and they have an homage to the world of nature in front of them, along with delicious food and delicious wine. Sometimes, the budget becomes the obsession.

And I think the look or the mood you want to create should be the obsession.

SFJ: Back to creating a floral arch ...

SC: If there is a budget, you can have a metal structure made by a welder, which then could be covered with chicken wire. Everything can be fed into buckets filled with water and you can use water tubes for extra things. It's important to develop relationships with growers and ask them, "What could you grow or what do you have?" We did a party where I created an archway with potted hornbeam trees that could later be planted in the garden. For another event, we used flowering shrubs grown on tripod structures, planted in big urns on either side of a doorway. Why does something like that have to meet in the middle?!

SFJ: You've often been asked to speak and write about floral design and your philosophy of flowers. What inspiration can you share?

SC: We recently went to Barcelona and, of course, the architect Gaudi is associated with Barcelona. One of the things he said really struck me: "If you want to be original, you need to get back to the origin." That inspires the questions fundamental to my work: What is the origin of flowers? Why do we bring flowers inside? We bring them inside because we want to see nature, I think. Why do we give flowers to someone who's just had a baby or whose mother has just died?

It's a fundamental reason for having flowers. The next question is: Where do flowers come from? They come from a garden or a field, and they come from nature. If you detach too much from that, then you might as well use fluffy cushions on your table. To me, people want to be moved by nature and to be moved by the beauty of nature, not by my cleverness, if it exists.

SFJ: It seems that you have always been oriented to the garden and the seasons.

SC: Maybe in the past 10 years and certainly in the past five years, suddenly (the garden) is the thing, but it's always the way I approached things. I used to be slightly puzzled by people who got really excited by wanting peonies in December in England.

SFJ: Thank you so much for your leadership in conversations around sustainable practices, Shane. Your voice has inspired so many of us.

SC: I appreciate what Rita Feldmann of the Sustainable Floristry Network says: "How can you be doing something that is supposed to glorify nature if it's actually working against and in spite of nature?" I've found that getting older suddenly makes me more confident. You suddenly think, "I feel strongly and I don't really care what people think if I speak out loudly about it."

SHANE CONNOLLY WEBSITE INSTAGRAM

SUM M E R 'S B O U N T Y

We've gathered a fresh crop of floral fashions

IN 2015, SLOW FLOWERS INTRODUCED AMERICAN FLOWERS

Week, inviting flower lovers, gardeners, growers, and designers across the country to share their red-white-and-bluish blooms during June 28- July 4th. The promotion celebrates domestic flower farming and engages people everywhere with local botanicals. The hashtag #americanflowersweek encourages flower fans to follow and enjoy the campaign's beauty and floral diversity. Since 2016, when American Flowers Week debuted its annual botanical couture collection with Susan McLeary's red-white-and-blue floral Afro, we have commissioned more than 50 wearable looks, each one created by our member designers and flower farmers. Read on to enjoy this year's Haute Couture Harvest!

AMERICAN FLOWERS WEEK 2023

DESIGN BY TARA FOLKER

PHOTOGRAPHY BY MADELINE ISABELLA

FLORALS GIVE MENSWEAR AN UPGRADE

A DRAMATIC DEPARTURE FROM THE TRADITIONAL boutonnière or floral pocket square, this exaggerated look is Tara Folker's modern idea of botanical menswear. "I wanted to take things to an extreme and play around with building a floral lapel," she says. About half of the ingredients came from Tara's Splints & Daisies garden, located northwest of Philadelphia. The Rustic Bunch, a Slow Flowers member, and Riverside Blooms also contributed design elements.

Grape hyacinths, daffodils, anemones, poppies, hellebores, along with flowering forsythia, plum, and magnolia branches, appear to "grow" from the left lapel of the model's honey brown velvet jacket, extending far above his torso and head. "A smaller floral accent on the right sleeve balances this out," Tara notes. She inserted layers of branches, stems, and blooms, which are held in place by small pieces of chicken wire stitched onto the garment to create a base mechanic. The vivid spring-blooming palette includes a cluster of bright orange flowers of the Fritillaria imperialis -- creating a jolt of joy.

DESIGN + CONCEPT: Tara Folker, Splints & Daisies, splintsanddaisies.com, @splintsanddaisies PHOTOGRAPHY: Madeline Isabella, @madeline.isabella FLOWER SOURCES: Splints & Daisies, @splintsanddaisies, The Rustic Bunch, @therusticbunch, Riverside Blooms, @riversideblooms MODEL: Kris Boston VENUE: Splints & Daisies garden, Lancaster, Pennsylvania, @splintsanddaisies

BOTANICAL COUTURE 2023

DESIGN BY JENNIFER REED

PHOTOGRAPHY BY HALEY RICHTER

thE ROMANCE OF PEONIES

A LONG-FORGOTTEN HISTORIC GARDEN IGNITED

Jennifer Reed's imagination for her contribution to this year's American Flowers Week collection. Owner of Jennifer Designs, based in Mullica Hill, New Jersey, the floral artist told how the Crowninshield Garden at Hagley Museum in Wilmington, Delaware, inspired her. "I envisioned a sculptural and statuesque botanical couture design to emulate the feel of the 1920s neoclassical garden," she explained. "I drew from the story of this garden's original owner, Louise Evelina Dupont Crowninshield, an American heiress, historic preservationist, and philanthropist. Louisa was influenced by her travels to Rome, and she established her garden with replicas of the architectural features she saw there."

DESIGN + CONCEPT: Jennifer Reed, Jennifer Designs Events, jenniferdesignsevents.com; @jenniferdesignsevents

FLOWER SOURCES: Owlet Farms, Pilesgrove, New Jersey, @owletfarms; CamFlor Inc., Watsonville, California, @camflorinc; Muth Family Farm, Williamstown, New Jersey, @muthfamilyfarm MODEL: BrookeG. @brookeitlist

PHOTOGRAPHY: Haley Richter, Haley Richter Photo, @haleyrichterphoto

HAIR + MAKEUP: Jessica Saint Beauty @jessicasaintbeauty and Toni Burke @toniburke_muah

VENUE: Hagley Museum, Wilmington, Delaware, @hagleymuseum

TABLE STYLING: Shannon Wellington @shannonwellingtonweddings

DESIGN ASSISTANCE: Jennifer Bender @thisholidayhouse

BOTANICAL COUTURE 2023

DESIGN BY JENNIFER REED

PHOTOGRAPHY BY HALEY RICHTER

Created as an intentional "ruin," the garden includes cascading layers of Italianate pools, columns, statuary, and colonnades, built in the early 20th century, but crafted to appear weathered by time. Through local horticulture contacts, Jennifer received permission to photograph her botanical look in the gardens, even though they are still being restored and not open to the public. "I thought this was the perfect location for my wearable floral creation, worn by a model who looked like an ancient sculpture dressed in all-white florals," she said. "We painted her hair and body to match the white flowers, creating the illusion of a statue."

Farms of Pilesgrove, New Jersey, Jennifer fashioned her garment to emulate the fluid drape of a silk gown.

Other ingredients included peppercress, larkspur, snapdragons, delphiniums, dusty miller, and ornamental wheat, all of which added textural details to the monochromatic white palette.

Due to the garden's hills and multiple levels, this floral look had to be more than pretty. "I've learned that if you want a model to walk in a floral garment, it needs to be comfortable," she added. "This dress is actually made with four different panels, and each is attached to a belt at the waist. When we moved locations, there were four of us who walked with

Using 330 stems of 'Bowl of Cream' and 'Gardenia' peonies and 40 stems of sweet peas, all grown by Owlet

THE CROWNINSHIELD GARDEN AT HAGLEY MUSEUM AND LIBRARY WEBSITE

The Garden is named for its designers: Louise du Pont Crowninshield and her husband, Francis (“Frank”) Boardman Crowninshield. The Crowninshields were the last residents of the Dupont family home at Eleutherian Mills—part of Hagley Museum since 1958.

The Crowninshields began designing the garden in the 1920s, after Louise’s father, Henry Algernon du Pont, bought Eleutherian Mills (the area encompassing the historic home and garden) from the Dupont Company in 1923. In their garden, they attempted to recreate replicas of architectural features they had seen on their travels in Rome. It was intentionally designed to appear aged and worn by time.

The Crowninshield Garden is unique among American garden landscapes. In its current form, it is a maintained ruin of a 1920s ruin garden, built on top of the industrial ruins of a 19th century gun powder factory. It is a ruin within a ruin with a ruin.

Brooke, our model, by holding onto the panels."

BOTANICAL COUTURE 2023

DESIGN BY JENNIFER REED PHOTOGRAPHY BY HALEY RICHTER

Sections of lightweight plastic mesh form each of the skirt sections, "flowered" by Jennifer and a design assistant. They inserted hundreds of peonies into small openings in the mesh material, taping individual stems in place on the back side of the skirt panels. Larkspur covers a contrasting section in the skirt, creating the look of lace, while a braided cord crosses the model's bare back adding feminine detailing.

Jennifer made a separate peony-and-sweet-pea shawl to wrap around the shoulders, and also attached peonies and sweet peas to a metal headband for the model's crown.

Jennifer and photographer Haley Richter posed their peonygarbed model in many places throughout the extensive garden landscape to reflect its unique architectural vignettes and destinations. Their visual story honors the alluring garden's original owner, an heiress to the Dupont fortune. Shannon Wellington brought the faux ruins to life, creating a table laden with flowers, candles, and platters of food. "She styled it in the spirit of a roaring twenties party that might have originally taken place here," Jennifer said.

These images, photographed at an iconic American garden, narrate the best of American Flowers Week. The story is told via a classical garment that celebrates quintessential American-grown peonies, designed and made by a gifted floral artist.

BOTANICAL COUTURE 2023

DESIGN AND PHOTOGRAPHY

BY NIESHA BLANCAS

TU TIEnES MI coRAzoN

SLOW FLOWERS SOCIETY'S SOCIAL MEDIA MANAGER

Niesha Blancas is not a florist or a grower, but she is a fashionista, having graduated from California State University Fresno with a B.S. degree in Fashion Merchandising. Niesha brings both talent and heart to her floral fashion this year, her third contribution to American Flowers Week's botanical couture collection.

The strapless full-length gown, an upcycled Jessica McClintock prom dress that Niesha thrifted for $2, features a bodice covered in sunflower petals that flows into a flared skirt embellished with flower heads -- strawflowers, pincushion proteas, yarrows, sunflowers, and craspedia Billy balls. Pointed flames are outlined by deconstructed yarrow and yellow-orange sunflower petals. "This dress easily weighed 40 pounds," Niesha says, laughing. Fortunately, her friend Irys Jazmin Flores was up for the modeling assignment.

Niesha's inspiration was highly personal, as she revisited childhood memories of growing up in a small Fresno community called Calwa. "I lived there until I was in sixth grade. My late father was born and raised in Calwa; my grandma had her house there." For the photography venue, Niesha chose the Calwa playground where she remembered

DESIGN + CONCEPT + PHOTOGRAPHY: Niesha Blancas, Fetching Social Media, fetchingsocialmedia.com, @fetchingsocial FLOWER SOURCES: CamFlor Inc., Watsonville, California, @camflorinc MODEL: Irys Jazmin Flores HAIR + MAKEUP: Irys Jazmin Flores VENUE: Calwa Park, Fresno, California, calwarecreation.org DESIGN ASSISTANCE: Ana Quinata, @anaquinata

climbing an iconic rocket ship play structure as a kid.

"This year's theme is an homage to my childhood and my love of Chicano culture, which my dad introduced me to while growing up. Calwa is populated by many Hispanic farm workers, and I wanted to give this place my love."

The love is symbolized by a Corazón (Heart), which Niesha displays as the Sacred Heart, created with red alstroemeria petals layered over a heart-shaped piece of chicken wire. Its "flames" are made with green acuba foliage, a botanical element that has also appeared in Niesha's previous botanical couture looks. "I intended for my dress to bring life back into this dull community and serve as the heart of this neighborhood that I love," she explained. "It was important to use bright and colorful flowers, especially yellow ones to convey my concept."

This stunning gown gains authenticity from Niesha's styling, prop selection, and accessory choices. "The sacred heart reflects the Chicano heritage, but so does the lowrider car, which I knew I wanted for my photography," she notes. To locate the car, she put out the call and a friend's brother who is involved in California car culture helped her find and borrow "Purple Haze," a dazzling magenta Cadillac, completely suited with gold-rimmed wheels and custom detailing. "I could not have envisioned a more perfect car for this photoshoot, especially when it comes down to the littlest details."

Accessories are also a nod to her Chicano culture, from the model's Ray Bans, the oversized bamboo hoops and gold jewelry, to the pair of Nike Cortez sneakers. "Before heading to our photoshoot location in Calwa, we stopped at the local corner market for some last-minute props. I brainstormed many different Mexican snacks and settled for two of my go-tos -- a Mandarin Jarrito and Flamin' Hot Cheetos. Once we finished with the photo shoot, we realized we had forgotten to incorporate them. But then my model started snacking on them, and I realized how truly perfect they were for my story." Of course, as both designer and photographer, she captured that perfect moment on camera.

DESIGN AND PHOTOGRAPHY BY NIESHA BLANCAS

BOTANICAL COUTURE 2023

DESIGN BY BLAIR LYNN

PHOTOGRAPHY BY KIRSTEN SMITH PHOTOGRAPHY

CUTTING GARDEN COUTURE

BLAIR ROBERTS LYNN IS AN EXPERIENCED WEDDING and event florist whose feminine, two-piece floral ensemble expresses her affection for seasonal and local flowers.

Her friends Sarah Daken and Tom Precht contributed flowers from their Grateful Gardeners farm in Maryland, and then also invited Blair and photographer Kirsten Smith to use their farm's fields as the photography setting. Blair cut mop head hydrangeas from her own garden to fashion a delicate bandeau top covered in tiny florets. A full-length skirt is finished with hydrangea foliage and ostrich ferns at the waist, while Annabelle hydrangeas form a ruffle at the hips and Limelight hydrangeas trim the hem and flirty slit.

A medley of pink and orange botanicals covers the remaining skirt silhouette, including bold bands of marigolds and a floral pattern of vibrant lisianthus, celosia, sunflowers, and snapdragons. Dinner plate dahlias dance across this colorful floral background to finish the look. "I feel passionately about local flowers, and I loved being able to highlight what Tom and Sarah are growing at Grateful Gardeners," she said.

DESIGN + CONCEPT: Blair Lynn, Sweet Blossoms, www.sweetblossomsllc.com, @thesweetblossoms FLOWER SOURCES: Dahlias, Lisianthus, Marigolds, Celosia, Ostrich Fern, Snapdragons, Hydrangea, Grateful Gardeners, @grateful_gardeners; Hydrangea blooms and foliage, Sweet Blossoms, @thesweetblossoms PHOTOGRAPHY: Kirsten Smith Photography, @kirstensmithphotography MODEL: Tanya Ferrell

HAIR + MAKEUP: Tanya Ferrell VENUE: Grateful Gardeners Farm, Poolesville, Maryland, @grateful_gardeners

DESIGN BY SARAH WAGSTAFF

PHOTOGRAPHY BY CECILY GUBITOSI PHOTOGRAPHY

fLOWERS IN HIS HAIR

SARAH WAGSTAFF OF SUOT FARM AND FLOWERS

wanted to flip the script on who wears flowers and so she recruited her husband Keith Chaplin, their 8-year-old son Huck Chaplin, and Steve Hayes, a willing friend, to model her creations for a American Flowers Week celebration.

Dressing adult men and a younger boy with botanicals reminds Sarah of Peter Pan and Captain Hook. "Remember when Pan comes back to Neverland after he becomes a grownup and has forgotten how to be childlike? That's a story within us all," she says. "I wanted to remember and recognize the child within each of us, especially in men.

Sarah wanted to attach flowers to every part of Steve's body -- his head, shoulders, neck, chest, back, arms, wrists, fingers, and legs. The botanical headpiece, a sunray shape, extends around neck and shoulders, covers his shirt, and fills the chest pocket. She used eyelash adhesive to glue flowers to his skin and wrapped his shoulders and arms with a 20-foot-floral boa fabricated from cedar boughs, tulips, peonies, and other cuts from her farm

For her son Huck, whose interest in the project peaked when photographer Cecily Gubitosi encouraged him to take

DESIGN + CONCEPT: Sarah Wagstaff, SUOT Farm & Flowers, @suotfarm

DESIGN ASSISTANCE: Olivia Yates O'Donnell, FloravoreNW, @floravorenw

PHOTOGRAPHY: Cecily Gubitosi Photography, @cecilygubitosiphotography

FLOWER SOURCES: SUOT Farm & Flowers, Tulips, peonies, frittilaria, ranunculus, poppies, daffodils, ferns, Spanish blue bells, bleeding heart, alliums, lilac, violas, hellebores, forget-me-nots, grasses, ivy, cedar, clematis, bones/shells MODELS: Steve Hayes, Keith Chaplin, Huck Chaplin

VENUE: SUOT Farm & Flowers, Burlington, Washington, @suotfarm

BOTANICAL COUTURE 2023

DESIGN BY SARAH WAGSTAFF

PHOTOGRAPHY BY CECILY GUBITOSI PHOTOGRAPHY

a few photos with her camera, Sarah devised a floral mohawk headpiece (a nod to Rufio), wrapped his wrists with floral cuffs, and donned his fingers with floral rings. "It's really beautiful to watch him developing this connection with the world of gardens and plants, because I helped to cultivate it, too."

In the final moments of the photo session, which took place at SUOT Farm + Flowers, Sarah's husband Keith agreed to model a floral headpiece and have his beard flowered. "I often feel like flowers are assigned a feminine trait, but they don't have to be gender related," Sarah says. "I really wanted to use male figures leaning into this aspect of botanical couture . . . to show how flowers can be gender bending."

BOTANICAL COUTURE 2023

DESIGN BY NAN MATTESON + LINDA SPRADLIN PHOTOGRAPHY BY JILL BADER

URBAN SECRET GARDEN

DESIGN + CONCEPT:

says Nan Matteson of Queen City Flower Farm, a devoted city gardener. "Pick your city. If you're walking down the street you might get a glimpse of a private garden, seen from an alley or through a gateway." The idea of a pocket garden led Nan Matteson and fellow grower Linda Spralin to create a wrap jacket with two inspirations -- a shawl collar composed of dried botanicals to suggest a 1920s fur-collared woman's coat and a 19th century Japanese firefighter kimono, often, traditionally, only a plain garment with a decorative textile lining. The coat, sewn by Nan from a pattern she adapted, has a sky blue lining against which a spring flower garden is displayed -- a secret border rooted in small, moss-covered bags that provide a water source at the hemline. "I just love the whole concept of a guardian inside the fireman's coat, providing protection even if you didn't know it was there," she says, smiling. Similarly, the flower-lined garment illustrates how much our gardens can provide a sense of comfort and protection -- even if we're the only ones who see them.

Nan Matteson, @queencityflowerfarm and Linda Spradlin, @inthegardenflowerfarm

PHOTOGRAPHY:

Jill Bader, @jillmbader

FLOWER SOURCES:

Collar: Dried amaranthus, craspedia, love-in-the-mist, celosia (plume and crested), scabiosa, gomphrena, spirea, dock, foraged grasses.Secret

Garden: redbud, tulip, bluebell, daffodil, hyacinth, hellebore, columbine, moss. All flowers grown by the designers.

MODEL: Carmen Sanders @Carmen.sanders3

VENUE: Cincinnati Art Museum, . Cincinnati, Ohio, @cincyartmuseum

"THE URGE TO GROW CAN TAKE ROOT ANYWHERE,"

APRIL LEMLY

The 2023 American Flowers Week artwork was created exclusively for Slow Flowers Society by April Lemly, an artist, illustrator, and former flower farmer based in Los Angeles, California.

APRIL IS A LONG-TIME FRIEND OF THE SLOW Flowers Movement who previously owned and operated Kamama Flowers in Sequim, Washington.

AFW: April, can you describe yourself as an artist?

AL: At my core, I'm a creative and I've had the luck to fall in love with many different mediums. And when I fell in love with working with flowers, I was able to say, "Oh, flowers are just another medium for my art."

AFW: Describe your path to becoming an artist.

AL: I had been making art since I was a child. I wanted to be a teacher, so my bachelor's degree had an emphasis on teaching art to elementary-aged children. But I knew I wanted to pursue a master's degree and earned an MFA in graphic design in 2008 at the Academy of Art University in San Francisco.

AFW: We love your style! What inspires you?

AL: I've always been a 'nature child' at heart. I love animals. I love wilderness. Flora and fauna are my muses. They all show up in my work. As long as I keep creating work that I am really passionate about, the joy shows up.

I love bold color, yes, and I'm pretty free with it in personal projects. Of course, when I'm working with a client's branded palette, the project scope always drives the design.

AFW: Tell us about the chapter of your life when you were a farmer-florist.

AL: I was living and working in Portland, Oregon, and my home garden was like a quilt of flowers from all the previous owners -- for example, a rose garden over here and succulent rock garden over these, peonies along the house and so forth. It was beautiful! I was making vases of flowers for friends and family and someone suggested I should grow flowers and design for weddings, kind of as a weekend project. We knew someone who was getting married, so I volunteered -and it kind of blossomed out of that.

A local organization called EcoTrust had a "Meet Your Farmer CSA" event and I signed up for that. I was the only florist there at the time! From that, I gained a half dozen CSA customers and that was really how I got my name out.

AFW: What time period did that cover?

AL: I started Kamama Flowers in 2013 and grew flowers in Portland until 2016. Then, I farmed in Washington for two years after that. Now that I'm in "concrete" Los Angeles, I miss it. The flower farmers and florists I knew and worked with in the Pacific Northwest are part of a wonderful community with so much heart and soul and respect for one another. They share and help one another -- and I don't have that here.

AFW: Great memories of a time when you were more deeply immersed in flowers, right?

AL: Definitely. I was so honored when we started to

discuss working together for the American Flowers Week artwork. I wanted to honor that time (when I grew flowers) and how special it was for me. And even though I don't have that business anymore, I do have such fond memories of that time and I really am grateful for it.

AFW: Your illustration captures that sense of community! The gathering of different growers and their diverse appearances is really symbolic. We're hearing really positive responses!

AL: I wanted it to reflect how society ought to be represented, frankly. I tried to draw some of the people as gender-neutral; I have the hippie guy with the peace sign on his shirt. I'm not really sure who the child belongs to. It was all intentional.

AFW: What was your technique to make this piece?

AL: It is a digital illustration, all done in Procreate. I usually start with some reference imagery. I drew the background and land first; then the people; and then the flowers and the little details. I have to say that the flowers were actually the hardest -- the center bouquet had so many different iterations. But finally, I landed on the sunflowers. Who doesn't love sunflowers?

AFW: Yes, it is the quintessential American flower! And by the way, although this is a two-dimensional drawing, there are layers of texture throughout it!

AL: Even if I'm drawing an owl or a bat, I love texture, so I try to put that in.

AFW: Thank you, so much, April!

PHOTOGRAPHY BY CRYSTAL WHITEAKER

CULTIVATING CONNECTION

Discovering the beauty of locally grown flowers

IN APRIL 2023, FLOWER FARMERS AND FLORISTS GATHERED in the heart of Scottsdale, Arizona, for Fleurmania, a three-day workshop featuring the best of Arizona-grown botanicals. As the event's producer, I developed Fleurmania to promote connection and creativity, inviting Susan McLeary and others to lead sustainable floral design sessions, floral meditations, discussions about finding one's leadership strengths and core values, plus ways to avoid burnout and learning to rest.

Fleurmania had its roots in workshops I have attended in the past and was influenced by my relationships with floral designers, flower farmers, and business experts whose work I value. After

WORKSHOP

Produced by Debby Mittelman, MiViva Designs, mivivadesigns.com @mivivadesigns_florals

INSTRUCTORS

Susan McLeary, @passionflowersue

Crystal Whiteaker, @crystallilycreative

Shanti Rade, @whipstonefarm

Jorday Maney, @thejordanmaney

Heather McFarland, @floralhealingcoaching

MODEL

Chauné Rael-Whitsitt, @sweethoneyrael

attending numerous in-person and online workshops focused on creativity and floral design, my vision for Fleurmania took shape. I wanted to feature Arizona blooms, sustainable mechanics, and supportive relationships. The instructors I invited responded enthusiastically, including Sue McLeary and Arizona flower farmer Shanti Rade of Whipstone Farm. I also invited Jordan Maney, a wedding planner whose work is now focused on anti-racism teaching and coaching in the floral industry and other creative professions. Crystal Whiteaker agreed to photograph the workshop and to lead sessions about aligning one's brand with personal values and purpose. Heather McFarland, a therapistturned-floral-healing-coach, joined the panel to guide attendees in floral meditations for mindful relaxation exercises. And of course, the abundance of seasonal blooms set the stage for a successful event.

I was able to source and buy from multiple businesses who provided a diverse selection of blooms from different corners of Arizona. I wanted the variety because regional climates here range from warm, low desert to cool mountain regions, which create distinct seasonal differences around the state. Tiny, delicate muscari and violas arrived in bud vases alongside dill flowers towering more than five feet high! More than 30 persons attended the afternoon program, which included conversations around forming a collective to bring locally grown flowers to market. For highlights, Sue created a brightly colored spring centerpiece, while Heather led a meditation focused on flowers to honor the work of the many growers who attended.

During the next two days, Sue demonstrated multiple options

On the first day of Fleurmania, growers delivered their freshest springtime blooms to the Clayton House, the workshop venue in old-town Scottsdale.

for sustainable mechanics, such as using dried smilax as a base layer for floral crowns or shaping bullion wire for versatile jewelry styles. Other foam-free mechanics included using chicken wire and Oshun pouches. The designers then selected blooms and used these options to create their own exuberant designs for headpieces and wearable flowers. Chauné Rael-Whitsitt then modeled the individual pieces in the courtyard, photographed by Crystal Whiteaker for each designer's portfolio.

Each attendee also designed a centerpiece, and then collaborated to create two large group installations. The installs were built with reusable steel frames, water buckets, and chicken wire

mechanics. Fortunately, the desert's spring weather was perfect for working outdoors.

For some, Fleurmania was their first immersive, in-person workshop. Others had never before built installations or had their work displayed on a professional model. Everyone was encouraged to have fun and spread their creative wings. Courtney Rosiak-Quinto of Quaintrelle Farms said, “The threeday experience was bursting with creativity, learning opportunities, and knowledge sharing.” As a farmer-florist, she returned home to Santa Cruz, California, feeling confident in her decision to turn down work involving unsustainable practices not in line with her ethos, such as bleaching or spraying materials. She also reported she has reached out to other local

growers for resources as needed for her events, and has initiated a collaborative effort modeled by the growers at Fleurmania.

Holly Lukasiewicz of the District 2 Floral Studio in Omaha, Nebraska, valued our support of many Arizona flower farmers, the sustainability of the event, and the fusion of contemporary topics around various forms of justice pertaining to race, gender, values, and physical rest.

She also appreciated knowing at the end of Fleurmania, materials used in the workshop were donated. For this effort, after breaking down the installations, the group made bouquets for ReBloom, a nonprofit whose volunteers picked up and delivered the fresh arrangements to hospice patients.

FROM LEFT: Lead design instructor Susan McLeary; floral jewelry; Susan with flower farmer Shanti Rade; an all-Arizona grown botanical wearable.

Marin Kees, owner and designer at Phoenix-based Florence and Rose Floral Co., said Fleurmania gave her, “A shift in my career that I've always wanted. To be able to spend a few days in pure magic in all local blooms of Arizona was just the start, but the best part was meeting all the growers behind that magic.”

Racquel Pleasants is a farmerflorist, an emergency room nurse, and the owner of Rose and Olive in Walla Walla, Washington. She said, “Fleurmania was an enriching workshop, a moment in time where an incredible group came together from all walks of life and connected through the magic of flowers. The experience was healing and life changing with the addition of new lifelong friendships.”

Reflecting on the workshop,

Christina Blodgett of Urban Desert Flora in Phoenix, said, “Fleurmania allowed space for a community joining Arizona farmers and floral artists where there once was none. It was a springboard for the growth of floristry in Arizona and allowed our wonderful community of farmers and floral artists to connect.”

Behind the scenes, I learned that producing multi-day educational workshops is both equally exhausting and exhilarating. As the event organizer, I am most proud to know Fleurmania was a catalyst for what is becoming a vibrant and dynamic local flowers community here in Arizona.

FLEURMANIA WEBSITE INSTAGRAM

BOTANICAL STYLE BY DEBRA PRINZING PHOTOGRAPHY BY MISSY PALACOL

BAM in bloom.

bellevue arts museum | bellevue, washington

Inspired by popular floral exhibitions at art museums around the country, the Bellevue Arts Museum debuted BAM in Bloom in May 2023, its inaugural four-day event combining the power of art with the beauty of nature. Floral arrangements created by 10 floral designers, including nine Slow Flowers Society members, were displayed beside artworks found in the museum's galleries and Forum exhibition spaces.

As BAM's new executive director, E. Michael Whittington had experienced successful floral-and-art events at institutions he previously led, and said he wanted to bring the concept to the greater Seattle area.

"I did this most recently at the Oklahoma City Museum of Art and it has become one of their largest events, one which has since become a significant fundraiser," Whittington said. "An Art in Bloom event provides an entry point for people who love flowers, who love art -and who come to the museum to experience both."

Whittington invited Slow Flowers Society to join BAM in

STEPHANIE DOWNES, VANITA FLORAL

SCREENS: DYLAN NEUWIRTH

"The gesture and vibrance of flowers in conversation with the characteristics of mixed media art and audience is pure purpose as a floral designer. BAM in Bloom was electrifying! The Vanita floral I created for this inaugural exhibition was made to illicit questions from the audience, challenge what are commonly considered 'pretty flowers,' and remind us that nature is micro and macro -- present in the vase and in incomparable scale in the stars."

"I was so excited to be paired with Kehinde Wiley‘s painting. Seeing the painting in person, and then taking in the impressive scale and nuance was such an important part of the experience. In my flower arrangement, I did my best to reflect the color story of Wiley’s painting, the physicality, and perhaps even some of the intensity that his image conveys."

WEBSITE | INSTAGRAM

HANNAH MORGAN, FORTUNATE ORCHARD WEBSITE | INSTAGRAM

KEHINDE WILEY: MARECHA L FLORIANO PEIXOTO II

JON THRONE, COUNTRYSIDE FLORAL AND GARDEN WEBSITE | INSTAGRAM

NICOLA LOPEZ: HALF-LIFE NO. 13

"It's always fun to have an opportunity to take a concept and run with it. In the flower shop or with wedding florals, you don't always have such creative freedom. To be able to take concepts out of my brain and make them come to life is always a relief and allows more creative ideas to be able to bloom."

Bloom as a community partner and encouraged member florists to apply. Interested in making the event as sustainable as possible, he created guidelines based on Slow Flowers' principles, encouraging the use of domestically grown or locally grown floral products. Designers were told no bleached, dyed, or synthetically preserved material and no floral foam would be accepted in the displays.

BAM's mission is to engage its audiences in the power of art, craft, and design, and the museum passionately supports emerging and established artists from the Pacific Northwest, Whittington noted. The 10 floral designers responded to a wide array of art -- photography, painting, textiles, mixed media, and sculpture -- using both floral and botanical ingredients.

"It was a wonderful opportunity to welcome people to BAM and show off the museum and the great works of art in the exhibition, and also to show off the creativity of the artists who were doing floral design," he added. Plans are already taking shape for the 2024 BAM in Bloom and Whittington expects it will again take place in early May. He hopes to expand the number of participating florists and also incorporate some of the museum's courtyard and outdoor spaces. "I just want to blow it out of the ballpark next year."

BELLEVUE ART MUSEUM WEBSITE | INSTAGRAM

WENDY RED STAR: FOUR SEASONS

"Belle Pétale was profoundly honored to have been selected as one of the 10 local designers to participate in the splendid, inaugural BAM in Bloom event! It was a true delight to see The Bellevue Arts Museum welcoming local floral designers to take part in creating an arrangement inspired by a work of art on display, and encouraging sustainability in their designs (which is such an important feature of my floral business). This allowed me the opportunity to showcase my floral skills and floral art interpretation, while representing the mission of The Slow Flowers Society."

LEONARDO DREW: NUMBER 215B

"Being not only a floral artist but also a painter, I am always drawn to an opportunity to interpret another’s artwork. At my first sight of Number 215B, I thought, 'No way! How would I interpret that piece?' However, I found myself so captivated by both its immense stature and my initial strong feelings, I knew it was the only choice. Emotionally, I looked upon this as an exercise in organized chaos. Depicting the textures and outward movement of the piece was most satisfying, as well as figuring out how to create depth with such a neutral and closely-toned color palette."

THERESA RAO, BELLE PÉTALE INSTAGRAM

JEAN LOUISE PAQUIN ALLEN, JUNIPER FLOWERS WEBSITE | INSTAGRAM

PRESTON WADLEY: CODE SWITCHER

"My artist statement: 'Standing on strata, nurtured by stories. Nimble, adaptable, but weary with choices and the pursuit of authenticity. Our substantial warm human bodies tread proudly in the interstices, shuffling in constant negotiation, dancing on soup, rarely resting. We come from tangled layers of past truths, but we can balance here, choosing to see meaning and beauty.' I used moss, driftwood, huckleberry roots, wild bleeding heart, sword ferns, red osier dogwoods, and bright, long-lasting proteas and ranunculus displayed in glass Ehrlenmeyer flasks."

KO KIRK YAMAHIRA

"BAM in Bloom felt like a unique and special opportunity to bring flowers as a medium and type of art to life. I have always dreamed of having my flowers in a museum and this event was really top-notch for florists to be part of. I would absolutely do it again. It was well received and absolutely worth it."

ANNIKA MCINTOSH, HAZEL DESIGNS WEBSITE | INSTAGRAM

CARLEE DONNELLY, GOLDENROD FLORAL DESIGN WEBSITE | INSTAGRAM

ANNE BRADFIELD, ANALOG FLORAL WEBSITE | INSTAGRAM

JAMES LAVADOUR: UNTITLED AND DEEP MOON

"I loved working with such vibrant colors and really diving into all the textures of the design. For my retail and everyday work, I use more foliages. For the BAM piece, it was a true indulgence to create something so decadently flower-rich! I also loved the feeling of being part of the floral community for the show."

BLAISE BOUCHAND, MAISON DE FRANCE INTERIOR DESIGN WEBSITE | INSTAGRAM

JULIE MEHRETU

“My custom floral design interprets the emotions, the colors, and the movements reflected in the painting. It expresses the Katrina hurricane and tornadoes and their devastating aftermath."

PRESTON WADLEY: ABSTRACT TRUTH

"I was so excited to participate in BAM in Bloom! In 2019, I attended Art Alive at the San Diego Art Museum, which is their biggest yearly fundraiser, pairing floral designers with art pieces to interpret. Being able to participate in the first local version of this concept was a true honor! Interpreting the multi-layered art of Preston Wadley was an even further honor. It challenged me to think outside normal design parameters to tell a story in the way he challenges people to 'Listen with Your Eyes.' I hope this is the beginning of a great tradition and that we will see this event grow in the future."

SHARLET DIGGS, SHARLET FLORAL INSTAGRAM

top five.

Slow Flowers Podcast Episodes (April-June 2023)

EPISODE 607 | APRIL 26TH

From botanist to flower farmer with Kate Watters of Arizona’s Wild Heart Farm.

WATCH HERE

EPISODE 609 | MAY 10TH

Falling in love with a country farm and building a life around flowers with Abby Matson of Diddle & Zen.

WATCH HERE

EPISODE 611 | MAY 24TH

A conversation with Julie Remy of Fleuris Studio and Blooms, along with a tour of her prolific cutting garden on Vancouver Island in British Columbia, Canada.

WATCH HERE

EPISODE 613 | JUNE 7TH

Island Flower Growers, a cooperative flower hub serving all of British Columbia’s Vancouver Island, with president Lorna Jackson and market manager Cara Scott

WATCH HERE

EPISODE 614 | JUNE 14TH

Julio Freitas of The Flower Hat designs a spring arrangement and previews his Slow Flowers Summit appearance.

WATCH HERE

a

sustainable studio.

Take a zero- or low-waste approach and you just might save some money!

How often have you delivered a lovely wedding order bursting with gorgeous flowers, only to return to the studio feeling overwhelmed by the amount of trash bags needing to be taken out?

As I've continued to define what I want my company's brand to symbolize, I've become painfully conscious of just how wasteful our gorgeous wedding industry can be. It seems counterintuitive, right? It can be hard to reconcile the amount of beauty we put out into the world with the amount of trash those actions can produce.

Whether you’ve ordered flowers that are shipped to you or receive deliveries from a wholesaler, you’re likely dealing with packing materials, including, but not limited to: boxes, ice packs, packing paper, cellophane or plastic floral sleeves, rubber bands, elastics, or twist ties. Plus, there is no denying the excessive bubble wrap and Styrofoam that accompanies all the hard goods we regularly order. Then, there are the materials for armatures and design mechanics, and the most obvious: all the plant material, stems, leaves, and debris from creating our designs! Have I covered it all?

Adopt these habits to feel better about your studio's footprint.

ONE

Consider using chicken wire or other reusable mechanics to reduce waste.

TWO

Organize your studio with bins to hold all the items you’ll be reusing and recycling.

THREE

If you aren’t already having your recycling and green waste picked up, call your county or municipal recycling center to find out what items they pick up, or whether you need to drop some items at a recycling center. You may also be able to pay a small fee to a private company to have your recycling picked up.

FOUR

Consider using vendors who package their product in recyclable materials or use minimal plastic or Styrofoam.

Order Blair's 11-page digital guide HERE: "How to Run a Sustainable Floral Studio".

SLOW FLOWERS JOURNAL 57

TIPS + TRICKS

Studio." It's available for order on my website.

This sounds like a lot of work, right? I suppose it does. But when you really care about making a difference and changing habits to become more sustainable, it doesn’t feel like such a burden. It's possible to incorporate waste reduction so these practices feel like a natural part of your process.

I believe it's important to have a shift in mindset. Does it require a time commitment? Yes. Will it involve changing the way you operate your business? Yes. BUT.

Once you have systems in place for recycling and reusing the abundance of materials generated by a floral studio, I guarantee it will become second nature.

I've realized that it’s just as important, if not MORE important, to reduce my company’s carbon footprint as it is to create beautiful events for my clients. If the trash bags from my events outweigh the quantity of flowers I use, what sort of impact is my company really having on this planet? I only want to be a part of this industry if I engage in a way that doesn’t require me to take out multiple bags of trash every single week.

With just a few extra steps, and some extra motivation, you can reduce the amount of waste in your floral studio. It helps to first focus on reducing and reusing before thinking about recycling. Most importantly, I've learned that I can always educate myself about how to be more sustainable.

Each time I encounter a new challenge, I know I can modify my methods. When we know better, we can do better.

BONUS

There is a noticeable cost savings when I reuse design mechanics and packing materials. I don’t buy chicken wire often because I use and reuse it. My flower frogs are investments that will last for years. I also don’t buy materials for transporting and delivering flowers because I often reuse boxes and bubble wrap for packing! Anything you can reuse is something you don’t have to buy again -- and this is therefore saving you money!

WEBSITE

A NATURAL PORTRAYAL PHOTOGRAPHY

SLOW FLOWERS MANIFESTO

Slow Flowers aims to reconnect flower consumers and floral professionals with the source of their flowers. We believe that when the origin of all botanical varieties sold to consumers and florists is clearly labeled, we place higher value on local, seasonal, and sustainably-grown florals, used artistically to express beauty.

SLOW FLOWERS COMMITS TO THE FOLLOWING PRACTICES

1. To recognize and respect the seasons by celebrating and designing with flowers when they naturally bloom.

2. To reduce the transportation footprint of flowers and foliage by sourcing as locally as possible.

3. To support flower farmers small and large by crediting them when possible through proper labeling at the wholesale and consumer level.

4. To encourage sustainable and organic farming practices that respect people and the environment.

5. To proactively pursue equity. inclusion. and representation in the floral marketplace. intentionally valuing Black floral professionals and farmers. floral designers, and vendors of Color in our business practices with as much support as we give to environmental sustainability.

6. To eliminate waste and the use of chemical products in the floral industry.

The Slow Flowers Movement puts a priority on sourcing local and domestic flowers

In a way, this also means that we redefine beauty. As a Slow Food chef cooks with what is seasonally available, a Slow Flowers florist designs with what is seasonally available.

BLOOM identifies and develops projects that shine a light on the floral lifestyle, showcasing the stories of floral personalities, creatives, entrepreneurs, farmers, and artisans.

OUR BOOKS FEATURED IN

BOOK DEVELOPMENT + EZINE PUBLISHING

Founded in 2020, BLOOM engages readers to experience a new relationship with flowers, inspiring them to embrace local, seasonal, and sustainable practices. Our publications reveal the voice and vision of our authors and writers, pairing their written narratives with beautiful imagery and strong graphic design concepts. Located in the Pacific Northwest, the company works with a variety of creativies on the development and/or production of books, magazines, and specialty publications.