Slow Flowers Journal SUMMER 2022: Botanical Couture

AMERICAN FLOWERS WEEK | SUMMER 2022

ALSO IN THIS ISSUE

FLOWER CONFIDENTIAL TURNS 15 TERRA BELLA IS WHERE WE BLOOM

FLOWERS FROM THE HEART

FLORI COGNOSCENTi FOAM FREEDOM

INDUSTRY INSIGHTS REPORT

SPECIAL SECTION

botanical couture

Copyright ©2022 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.

EDITORIAL DIRECTOR Debra Prinzing CREATIVE DIRECTOR Robin Avni COPY EDITOR Brenda Silva IMAGE EDITOR Heather Marino

celebrate.

This debut issue of Slow Flowers Journal, a quarterly digital magazine, is a celebration marking many milestones. In these pages, we celebrate creativity in many forms — in storytelling, floral design, fashion,

CONTRIBUTORS Allison Ellis, Misty Vanderweele, Myriah Towner, Teresa Sabankaya

illustration, and photography. Yet another reason to celebrate is American

PHOTOGRAPHERS Niesha Blancas, Maudie Conrad, Erika Diaz, Kristen Earley, Joanna Fisher, Sally Semonite Green, Rachel Kempker, Missy Palacol

partners, collaborate to outfit live models in floral fashions.

ON THE COVER Bridgerton Bright designed

by Niesha Blancas COVER PHOTOGRAPER Niesha Blancas COVER MODEL Danielle Claybon

Flowers Week and its Botanical Couture collection. This is the seventh year for which Slow Flowers members, flower farmers, florists, and

For the two of us, producing a quarterly magazine signifies a celebration of collaboration, furthering the partnership between Slow Flowers Society and Bloom Imprint.

The creatives featured in this issue are compelled to draw inspiration from nature and connect with our community. Design and art bring deeper layers of meaning to their work.

The topics and subjects within are your conduit to the world of flower farming, floral design, and the sustainability mission of the Slow Flowers Movement. We strive to connect flower-lovers with the producers and artists who supply those blooms. We value local, seasonal, and sustainable flowers above all else, and we work tirelessly as advocates for domestic flowers. It is our hope that this content will further engage you in the world of domestic and local flowers. Welcome!

SLOW FLOWERS JOURNAL

3

Copyright ©2022 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.

EDITORIAL DIRECTOR Debra Prinzing CREATIVE DIRECTOR Robin Avni COPY EDITOR Brenda Silva IMAGE EDITOR Heather Marino

celebrate.

This debut issue of Slow Flowers Journal, a quarterly digital magazine, is a celebration marking many milestones. In these pages, we celebrate creativity in many forms — in storytelling, floral design, fashion,

CONTRIBUTORS Allison Ellis, Misty Vanderweele, Myriah Towner, Teresa Sabankaya

illustration, and photography. Yet another reason to celebrate is American

PHOTOGRAPHERS Niesha Blancas, Maudie Conrad, Erika Diaz, Kristen Earley, Joanna Fisher, Sally Semonite Green, Rachel Kempker, Missy Palacol

partners, collaborate to outfit live models in floral fashions.

ON THE COVER Bridgerton Bright designed

by Niesha Blancas COVER PHOTOGRAPER Niesha Blancas COVER MODEL Danielle Claybon

Flowers Week and its Botanical Couture collection. This is the seventh year for which Slow Flowers members, flower farmers, florists, and

For the two of us, producing a quarterly magazine signifies a celebration of collaboration, furthering the partnership between Slow Flowers Society and Bloom Imprint.

The creatives featured in this issue are compelled to draw inspiration from nature and connect with our community. Design and art bring deeper layers of meaning to their work.

The topics and subjects within are your conduit to the world of flower farming, floral design, and the sustainability mission of the Slow Flowers Movement. We strive to connect flower-lovers with the producers and artists who supply those blooms. We value local, seasonal, and sustainable flowers above all else, and we work tirelessly as advocates for domestic flowers. It is our hope that this content will further engage you in the world of domestic and local flowers. Welcome!

SLOW FLOWERS JOURNAL

3

CONTRIBUTORS

summer.

6

12

65

NEISHA BLANCAS. Niesha is a social media expert based in Fresno, California, and is Slow Flowers Society's social media manager. She formed Fetching Social in 2017 to serve creative clients, including florists and flower farmers, nightlife companies, and the fashion industry. After graduating from Fresno State University, where she studied fashion merchandising and public relations, Niesha found a focus to her passions: social media and flowers. fetchingsocialmedia.com

TERESA SABANKAYA. Teresa founded Bonny Doon Garden Company in Santa Cruz, California, and served as its creative director until closing the floral studio in 2022 to pursue

18

54

departments

features

6 9 12 54 63

18

speaking and writing. She is author of The Posy Book (Countryman Press, 2019). Teresa can be seen throughout the country giving her highly popular book presentations, which always include a demonstration showing audiences they, too, can make a gorgeous posy. teresasabankaya.com

MISTY VANDERWEELE. Misty is a born-and-raised Alaska resident, author, farmer-florist, and community leader who believes flowers are medicine. She has authored nine self-published books, including Flower Power (2017). At All Dahlia'd Up Flower Farm in Palmer, Alaska, which she founded in 2014, Misty grows award-winning blooms and hosts farmto-table dinners in her flower fields. mistyvanderweele.com

MYRIAH TOWNER. Myriah is the founder of Black Farmer Stories, a digital platform and multimedia project that preserves the history, legacy, and agricultural knowledge of Black farmers and ranchers in the U.S. through storytelling.

It increases the knowledge of the general public about these important histories and stories. blackfarmerstories.com

ALISON ELLIS is a Vermont-based floral designer and author of Falling into Flowers: A Step-by-Step Guide to Today's Modern Wedding Business (Wildflower Media, 2020).

She founded realflowerbusiness.com to share step-by-step business training that helps build long-term success, including "Flower Math," which teaches florists how to maximize profit margins. realflowerbusiness.com

4

SLOW FLOWERS JOURNAL

58

FLORI COGNOSCENTI

freedom from foam.

AMERICAN FLOWERS WEEK 2022

botanical couture Presenting the 2022 American Flowers

SLOW FLOWERS HEROES

Week Botanical Couture collection

flower confidential turns 15.

— eight stylish and artistic floral expressions that stimulate curiosity and help to change our relationship with

WHERE WE BLOOM

a simple flower.

terra bella flowers.

FROM THE HEART

the purple dahlia.

65

SPECIAL SECTION: ANNUAL INDUSTRY INSIGHTS

floral reawakening Released earlier this year, for the eighth

FLORA CULTURE

year in a row, Slow Flowers Society looks at

preserving our heritage.

the emerging themes, topics, and categories in the floral marketplace that will

THE BUSINESS OF FLOWERS

influence the coming year.

are you sustainable?

SLOW FLOWERS JOURNAL

5

CONTRIBUTORS

summer.

6

12

65

NEISHA BLANCAS. Niesha is a social media expert based in Fresno, California, and is Slow Flowers Society's social media manager. She formed Fetching Social in 2017 to serve creative clients, including florists and flower farmers, nightlife companies, and the fashion industry. After graduating from Fresno State University, where she studied fashion merchandising and public relations, Niesha found a focus to her passions: social media and flowers. fetchingsocialmedia.com

TERESA SABANKAYA. Teresa founded Bonny Doon Garden Company in Santa Cruz, California, and served as its creative director until closing the floral studio in 2022 to pursue

18

54

departments

features

6 9 12 54 63

18

speaking and writing. She is author of The Posy Book (Countryman Press, 2019). Teresa can be seen throughout the country giving her highly popular book presentations, which always include a demonstration showing audiences they, too, can make a gorgeous posy. teresasabankaya.com

MISTY VANDERWEELE. Misty is a born-and-raised Alaska resident, author, farmer-florist, and community leader who believes flowers are medicine. She has authored nine self-published books, including Flower Power (2017). At All Dahlia'd Up Flower Farm in Palmer, Alaska, which she founded in 2014, Misty grows award-winning blooms and hosts farmto-table dinners in her flower fields. mistyvanderweele.com

MYRIAH TOWNER. Myriah is the founder of Black Farmer Stories, a digital platform and multimedia project that preserves the history, legacy, and agricultural knowledge of Black farmers and ranchers in the U.S. through storytelling.

It increases the knowledge of the general public about these important histories and stories. blackfarmerstories.com

ALISON ELLIS is a Vermont-based floral designer and author of Falling into Flowers: A Step-by-Step Guide to Today's Modern Wedding Business (Wildflower Media, 2020).

She founded realflowerbusiness.com to share step-by-step business training that helps build long-term success, including "Flower Math," which teaches florists how to maximize profit margins. realflowerbusiness.com

4

SLOW FLOWERS JOURNAL

58

FLORI COGNOSCENTI

freedom from foam.

AMERICAN FLOWERS WEEK 2022

botanical couture Presenting the 2022 American Flowers

SLOW FLOWERS HEROES

Week Botanical Couture collection

flower confidential turns 15.

— eight stylish and artistic floral expressions that stimulate curiosity and help to change our relationship with

WHERE WE BLOOM

a simple flower.

terra bella flowers.

FROM THE HEART

the purple dahlia.

65

SPECIAL SECTION: ANNUAL INDUSTRY INSIGHTS

floral reawakening Released earlier this year, for the eighth

FLORA CULTURE

year in a row, Slow Flowers Society looks at

preserving our heritage.

the emerging themes, topics, and categories in the floral marketplace that will

THE BUSINESS OF FLOWERS

influence the coming year.

are you sustainable?

SLOW FLOWERS JOURNAL

5

TJ MCGRATH

FLORI COGNOSCENTI

What is your go-to foam-free design mechanic and WHY? gina lett shrewsberry

blair roberts lynn

hannah morgan

INSPIRATIONS BY GINA

SWEET BLOSSOMS LLC

FORTUNATE ORCHARD

SACRAMENTO, CA

FREDERICK, MD

SEATTLE, WA

inspirationsbygina.com

sweetblossomsllc.com

fortunateorchard.com

@inspirationsbygina

@thesweetblossoms

@fortunate_orchard

My favorite go-to, foam-

My current favorite

My go-to foam-free

free design mechanic

mechanic is chicken

mechanic involves placing

is the “burrito,” a roll

wire in water. I like

chicken wire in shallow

this method because it

trays for creating low-

ensures that the flowers

profile installations. I use

SUZANNE ROTHMEYER

of chicken wire filled with moss. I learned this mechanics technique from

tobey nelson TOBEY NELSON EVENTS & DESIGN | LANGLEY, WA tobeynelson.com, @tobeynelsonevents

For an average-sized centerpiece, my go-to mechanic is chicken wire. I prefer plastic-coated chicken wire because it is gentle on my fingers and the stems, and it lasts longer since it doesn't rust in the vase water.

Susan McLeary during her

have fresh water, and

presentation at the 2021

it allows the stems

Slow Flower Summit. It has

to be placed into the

been a game-changer for me.

made for bricks of floral foam), but I add layers of chicken wire instead and

arrangement and bend

I have one burrito that is almost a year old. I use it

naturally. I love using

again and again and again!

Holly Chapple’s pillow mechanic as an armature

SOURCE: SLOW FLOWERS SUMMIT

for foam-free arch

I like this method because it is zero waste. I can reuse

designs. The pillows are

the mechanic again and again. It also fits with my loose,

perfect for attaching to

gardenesque style and allows me to work in a low,

a structure and creating

horizontal fashion. For larger or vertical arrangements,

affix that with a heavyduty tape grid.I can build

tj mcgrath

an arrangement with

TJ McGRATH DESIGN | PLAINFIELD, N.J.

no visible vessel, giving

tjmcgrathdesign.com @tjmcgrathdesign

For any sized vase and go-to mechanic is

the tabletop or mantel).

over the top of the vase and secure it with either tape,

greenery. Then, you

them in every size available!

twine or bind wire. The pin holder supports vertical

can add reliable flowers

SOURCE: FLORAL GENIUS

SLOW FLOWERS JOURNAL

RACHEL AND MARK PHOTOGRAPHY

stability for other stems.

that can last out of water and use water tubes for delicate flowers.

botanicals are directly connected to the Earth (or

a hair pin holder — I have

stem placements, and the chicken wire provides greater

the impression that the

arrangement, my favorite

a beautiful shape with

I use chicken wire over a pin holder. I layer chicken wire

6

the Oasis trays (ironically

SOURCE: SMITHERS-OASIS

I teach this mechanic in all my private 1:1’s and workshop series “Designing with Local Blooms.”

SOURCE: FLORAL GENIUS

SOURCE: HOLLY CHAPPLE FLOWERS SLOW FLOWERS JOURNAL

7

TJ MCGRATH

FLORI COGNOSCENTI

What is your go-to foam-free design mechanic and WHY? gina lett shrewsberry

blair roberts lynn

hannah morgan

INSPIRATIONS BY GINA

SWEET BLOSSOMS LLC

FORTUNATE ORCHARD

SACRAMENTO, CA

FREDERICK, MD

SEATTLE, WA

inspirationsbygina.com

sweetblossomsllc.com

fortunateorchard.com

@inspirationsbygina

@thesweetblossoms

@fortunate_orchard

My favorite go-to, foam-

My current favorite

My go-to foam-free

free design mechanic

mechanic is chicken

mechanic involves placing

is the “burrito,” a roll

wire in water. I like

chicken wire in shallow

this method because it

trays for creating low-

ensures that the flowers

profile installations. I use

SUZANNE ROTHMEYER

of chicken wire filled with moss. I learned this mechanics technique from

tobey nelson TOBEY NELSON EVENTS & DESIGN | LANGLEY, WA tobeynelson.com, @tobeynelsonevents

For an average-sized centerpiece, my go-to mechanic is chicken wire. I prefer plastic-coated chicken wire because it is gentle on my fingers and the stems, and it lasts longer since it doesn't rust in the vase water.

Susan McLeary during her

have fresh water, and

presentation at the 2021

it allows the stems

Slow Flower Summit. It has

to be placed into the

been a game-changer for me.

made for bricks of floral foam), but I add layers of chicken wire instead and

arrangement and bend

I have one burrito that is almost a year old. I use it

naturally. I love using

again and again and again!

Holly Chapple’s pillow mechanic as an armature

SOURCE: SLOW FLOWERS SUMMIT

for foam-free arch

I like this method because it is zero waste. I can reuse

designs. The pillows are

the mechanic again and again. It also fits with my loose,

perfect for attaching to

gardenesque style and allows me to work in a low,

a structure and creating

horizontal fashion. For larger or vertical arrangements,

affix that with a heavyduty tape grid.I can build

tj mcgrath

an arrangement with

TJ McGRATH DESIGN | PLAINFIELD, N.J.

no visible vessel, giving

tjmcgrathdesign.com @tjmcgrathdesign

For any sized vase and go-to mechanic is

the tabletop or mantel).

over the top of the vase and secure it with either tape,

greenery. Then, you

them in every size available!

twine or bind wire. The pin holder supports vertical

can add reliable flowers

SOURCE: FLORAL GENIUS

SLOW FLOWERS JOURNAL

RACHEL AND MARK PHOTOGRAPHY

stability for other stems.

that can last out of water and use water tubes for delicate flowers.

botanicals are directly connected to the Earth (or

a hair pin holder — I have

stem placements, and the chicken wire provides greater

the impression that the

arrangement, my favorite

a beautiful shape with

I use chicken wire over a pin holder. I layer chicken wire

6

the Oasis trays (ironically

SOURCE: SMITHERS-OASIS

I teach this mechanic in all my private 1:1’s and workshop series “Designing with Local Blooms.”

SOURCE: FLORAL GENIUS

SOURCE: HOLLY CHAPPLE FLOWERS SLOW FLOWERS JOURNAL

7

SLOW FLOWERS HEROES BY TERESA SABANKAYA

amy stewart.

I met Amy Stewart on a Saturday morning Santa Cruz, California, while working at my little flower shop on Pacific Avenue. I had just finished setting up the display out on the sidewalk and contemplating my stock. It was what I call "shoulder season" in my garden, that time in a garden when some blooms were finishing and producing seed pods, and others were coming into their prime, but not there yet. It was a suitable time to introduce a few fun botanical alternatives to blooms, and on that day, I brought in some sweet silene seed heads. Those little whimsical bubbles dancing in the breeze caught Amy’s eye and ignited our conversation. She made a comment that she had never seen anything like it, and that was my cue for a friendly conversation with this lady with a Texas accent just like mine.

We talked flowers and gardens for a while before she shared she was writing a book about the floral industry, and asked to interview me for its pages. She said to me then, "I think you’re doing something really unique and different here, and I like it."

Amy planned to travel to Ecuador, Holland, Miami, and every other place that played a role in the industry. She was working on a book, or exposé, about the flower business and explore where the U.S. stands in the landscape and how folks like me — a small independent florist — fit in to it.

At the time, I didn’t really think I was doing anything all that special. I was simply following my old-fashioned, environmentally friendly heart. The year was 2004, and Bonny Doon Garden Co. was already five years into the business of growing boutique blooms and selling from a little kiosk in downtown Santa Cruz. I went into the retail florist business PHOTOGRAPHY BY TERRENCE MCNALLY

knowing I wanted to carve out a niche for a new way of growing,

8

SLOW FLOWERS JOURNAL

buying, and selling flowers. I didn’t know if I had a market for what I was doing or not, but I was bound and determined to

FLOWER CONFIDENTIAL TURNS 15 Flower Confidential is an aroundthe-world, behind-the-scenes look at the flower industry and how it has sought — for better and worse — to achieve perfection.

This truly was a book ahead of its time. When Amy Stewart wrote about the huge machine that relies on cheap floral imports, she started a conversation that resonated with me and with so many others — it was a dialogue I wanted to join. She inspired me to continue seeking out and telling the stories of American flowers and the people who grow and design with them, and that led to the formation of the Slow Flowers Society and all of its programs.

- Debra Prinzing Slow Flowers Society FLOWER CONFIDENTIAL The Good, the Bad, and the Beautiful in the Business of Flowers Algonquin Books, 2007 YOU CAN FIND AMY'S BOOK AT AMYSTEWART.COM

source locally grown flowers and organic flowers (if possible).

"Sustainable" was not a word in the flower business, or even in agriculture at the time. To be honest, I was thoroughly

SLOW FLOWERS JOURNAL

9

SLOW FLOWERS HEROES BY TERESA SABANKAYA

amy stewart.

I met Amy Stewart on a Saturday morning Santa Cruz, California, while working at my little flower shop on Pacific Avenue. I had just finished setting up the display out on the sidewalk and contemplating my stock. It was what I call "shoulder season" in my garden, that time in a garden when some blooms were finishing and producing seed pods, and others were coming into their prime, but not there yet. It was a suitable time to introduce a few fun botanical alternatives to blooms, and on that day, I brought in some sweet silene seed heads. Those little whimsical bubbles dancing in the breeze caught Amy’s eye and ignited our conversation. She made a comment that she had never seen anything like it, and that was my cue for a friendly conversation with this lady with a Texas accent just like mine.

We talked flowers and gardens for a while before she shared she was writing a book about the floral industry, and asked to interview me for its pages. She said to me then, "I think you’re doing something really unique and different here, and I like it."

Amy planned to travel to Ecuador, Holland, Miami, and every other place that played a role in the industry. She was working on a book, or exposé, about the flower business and explore where the U.S. stands in the landscape and how folks like me — a small independent florist — fit in to it.

At the time, I didn’t really think I was doing anything all that special. I was simply following my old-fashioned, environmentally friendly heart. The year was 2004, and Bonny Doon Garden Co. was already five years into the business of growing boutique blooms and selling from a little kiosk in downtown Santa Cruz. I went into the retail florist business PHOTOGRAPHY BY TERRENCE MCNALLY

knowing I wanted to carve out a niche for a new way of growing,

8

SLOW FLOWERS JOURNAL

buying, and selling flowers. I didn’t know if I had a market for what I was doing or not, but I was bound and determined to

FLOWER CONFIDENTIAL TURNS 15 Flower Confidential is an aroundthe-world, behind-the-scenes look at the flower industry and how it has sought — for better and worse — to achieve perfection.

This truly was a book ahead of its time. When Amy Stewart wrote about the huge machine that relies on cheap floral imports, she started a conversation that resonated with me and with so many others — it was a dialogue I wanted to join. She inspired me to continue seeking out and telling the stories of American flowers and the people who grow and design with them, and that led to the formation of the Slow Flowers Society and all of its programs.

- Debra Prinzing Slow Flowers Society FLOWER CONFIDENTIAL The Good, the Bad, and the Beautiful in the Business of Flowers Algonquin Books, 2007 YOU CAN FIND AMY'S BOOK AT AMYSTEWART.COM

source locally grown flowers and organic flowers (if possible).

"Sustainable" was not a word in the flower business, or even in agriculture at the time. To be honest, I was thoroughly

SLOW FLOWERS JOURNAL

9

SLOW FLOWERS HEROES BY TERESA SABANKAYA

disappointed with what florists were offering to the marketplace

that just up HWY 1 from me was Don Garibaldi, one of the

then. All I saw were stiff, out-of-a-box roses that never opened

country's only growers of heirloom Italian violets. Reading Flower

their hearts up to us. Or, snapdragons that looked and felt like

Confidential for the first time was an epiphany. It was like each

2 x 4 pieces of lumber, and arrangements laden with baby’s-

page anchored my beliefs and made me proud of what I was doing.

breath and leather-leaf fern and inserted, leaves and all, into

And at the end of the book, I felt inspired, sad, motivated, and

standard glass vases. I wanted to offer billowing, earthy, organic,

loved all at the same time.

fragrant, romantic floral arrangements displayed in beautiful

Flower Confidential changed our industry forever. It’s as simple as that.

vessels. At that time, there were little to no local and organic flowers to be found. It wasn’t possible for me to grow them all myself and finding local flowers was entirely different back then; I realized early on that if I wanted my business to survive I would

Amy shed a light on our flower industry, we can now source local,

need to actively search to find local growers or any small farm or

organic, and sustainably grown flowers for our floral enterprises.

backyard specialty crop grower that would sell to me.

The everyday flower consumer can easily look at labels and know where that bunch of tulips comes from, and even the method in

Eventually, word got around that I was looking to buy locally

which they were grown.

grown flowers. One day, a lady pulled up to my kiosk with the backseat of her car filled with buckets of sweet peas from her

What Amy wrote about my business was an enormous pat on the

garden. Wonderful! Little by little, other small independent

back and a warm hug. There were times I thought I had lost my

specialty growers began to approach me with their flowers.

mind trying to educate every single person who bought even a

This was not a quick process, but rather, several long years.

solitary bloom from me, as I told the story of where that flower came from and what went into growing it. Finally, someone

Meanwhile, Amy and I had kept up our correspondence. She would

recognized, and then brought to light what I was and still am

call me occasionally with a few questions for her book, and I would

trying to do, and in such a dynamic way. It was an honor to be

share more about how things were going in the flower shop. Then

included in this book, and especially alongside her narrative of

one day in 2007, a package arrived in the mail from Algonquin

19th Century florists who did things the way I do. It is because

Books and inside was a paperback book titled Flower Confidential.

of this feature, I feel I can more easily leave my own mark in the

Could this be it? The book? I was excited to see what she wrote,

world, and for that I am so very thankful.

to say the very least, and of course I wanted to get to ‘my part’ as By writing Flower Confidential, Amy made us all look at the

quickly as possible. But I could not get past the title of the book, and especially that subtitle, The Good, the Bad, and the Beautiful

ephemeral beauty of flowers in a unique way. Now, we seek a

in the Business of Flowers. I sat and contemplated that title and

SLOW perspective in a world full of speed and haste, thankfully.

subtitle and thought this is going to be GOOD — and it was.

And now we honor a flower-grower and designer, or nowadays we call it a farmer-florist; either way — and we celebrate backyard

Amy writes with such charm, humor, and wit that you forget you are learning about the breeding, growing, and the selling

OTHER BOOKS BY AMY WORTH A LOOK

of flowers. The book is chock-full of industry enigmas; all the technicalities became understandable to me, and I met some amazing people with heartwarming and mind-blowing stories

10

YOU CAN FIND AMY'S BOOKS AT: AMYSTEWART.COM

garden-grown blooms, as well as commercial greenhouse-grown blooms cultivated with thought and care for our environment, for our workers, our economy and personal well-being. What Amy did with this book changed our minds for the better, and put into our hands the knowledge and tools that inspired the origins of our

along the way. Who knew there was so much that went into

community, while also empowering us to change directions not

breeding a flower? And in a lab at that? I was delighted to learn

only as businesses, but also as consumers.

SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

11

SLOW FLOWERS HEROES BY TERESA SABANKAYA

disappointed with what florists were offering to the marketplace

that just up HWY 1 from me was Don Garibaldi, one of the

then. All I saw were stiff, out-of-a-box roses that never opened

country's only growers of heirloom Italian violets. Reading Flower

their hearts up to us. Or, snapdragons that looked and felt like

Confidential for the first time was an epiphany. It was like each

2 x 4 pieces of lumber, and arrangements laden with baby’s-

page anchored my beliefs and made me proud of what I was doing.

breath and leather-leaf fern and inserted, leaves and all, into

And at the end of the book, I felt inspired, sad, motivated, and

standard glass vases. I wanted to offer billowing, earthy, organic,

loved all at the same time.

fragrant, romantic floral arrangements displayed in beautiful

Flower Confidential changed our industry forever. It’s as simple as that.

vessels. At that time, there were little to no local and organic flowers to be found. It wasn’t possible for me to grow them all myself and finding local flowers was entirely different back then; I realized early on that if I wanted my business to survive I would

Amy shed a light on our flower industry, we can now source local,

need to actively search to find local growers or any small farm or

organic, and sustainably grown flowers for our floral enterprises.

backyard specialty crop grower that would sell to me.

The everyday flower consumer can easily look at labels and know where that bunch of tulips comes from, and even the method in

Eventually, word got around that I was looking to buy locally

which they were grown.

grown flowers. One day, a lady pulled up to my kiosk with the backseat of her car filled with buckets of sweet peas from her

What Amy wrote about my business was an enormous pat on the

garden. Wonderful! Little by little, other small independent

back and a warm hug. There were times I thought I had lost my

specialty growers began to approach me with their flowers.

mind trying to educate every single person who bought even a

This was not a quick process, but rather, several long years.

solitary bloom from me, as I told the story of where that flower came from and what went into growing it. Finally, someone

Meanwhile, Amy and I had kept up our correspondence. She would

recognized, and then brought to light what I was and still am

call me occasionally with a few questions for her book, and I would

trying to do, and in such a dynamic way. It was an honor to be

share more about how things were going in the flower shop. Then

included in this book, and especially alongside her narrative of

one day in 2007, a package arrived in the mail from Algonquin

19th Century florists who did things the way I do. It is because

Books and inside was a paperback book titled Flower Confidential.

of this feature, I feel I can more easily leave my own mark in the

Could this be it? The book? I was excited to see what she wrote,

world, and for that I am so very thankful.

to say the very least, and of course I wanted to get to ‘my part’ as By writing Flower Confidential, Amy made us all look at the

quickly as possible. But I could not get past the title of the book, and especially that subtitle, The Good, the Bad, and the Beautiful

ephemeral beauty of flowers in a unique way. Now, we seek a

in the Business of Flowers. I sat and contemplated that title and

SLOW perspective in a world full of speed and haste, thankfully.

subtitle and thought this is going to be GOOD — and it was.

And now we honor a flower-grower and designer, or nowadays we call it a farmer-florist; either way — and we celebrate backyard

Amy writes with such charm, humor, and wit that you forget you are learning about the breeding, growing, and the selling

OTHER BOOKS BY AMY WORTH A LOOK

of flowers. The book is chock-full of industry enigmas; all the technicalities became understandable to me, and I met some amazing people with heartwarming and mind-blowing stories

10

YOU CAN FIND AMY'S BOOKS AT: AMYSTEWART.COM

garden-grown blooms, as well as commercial greenhouse-grown blooms cultivated with thought and care for our environment, for our workers, our economy and personal well-being. What Amy did with this book changed our minds for the better, and put into our hands the knowledge and tools that inspired the origins of our

along the way. Who knew there was so much that went into

community, while also empowering us to change directions not

breeding a flower? And in a lab at that? I was delighted to learn

only as businesses, but also as consumers.

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WHERE WE BLOOM BY DEBRA PRINZING PHOTOGRAPHY BY MISSY PALACOL

terra bella flowers.

Slow Flowers Journal introduces a new series inspired by BLOOM Imprint's

first title, Where We Bloom: Thirty-Seven Intimate, Inventive, and Artistic Studio Spaces Where Floral Passions Find a Place to Blossom.

Twenty years ago, Melissa Feveyear's first flower shop was called The Pleasure Garden, and it was housed inside a vintage, 18-foot Airstream trailer with a blue-and-white striped canopy parked in Seattle's Greenwood-Phinney Ridge neighborhood. "Every morning, I would pull open the canopy and put out my buckets of flowers," she says. "I had a little workstation inside, and even a flower cooler."

In 2006, Melissa spotted a neighborhood flower shop for sale on Craigslist and bought it, renaming it Terra Bella Flowers. Since then, she has always leased storefronts on the west side of the pedestrian-friendly Greenwood Avenue — three different spaces

This is a welcoming escape from everyday pressures, great or miniscule. Indeed, one's metabolism slows down markedly upon entering. ranging from 900-square-feet up to the current location, double Terra Bella's previous space just next door. "When this location became available in 2019, it was a wonderful opportunity for us to have everything in one location, including storage, and to add more gifts, a lot more plants, offer classes, and hold private events," she explains.

Melissa has witnessed a shift in customers' understanding and embrace of her mission. "I wanted to focus as much as possible on organic and locally grown flowers and shift away from the conventional wire-service model of the shop I had purchased," she says. "Early on, there was a lot of me trying to justify

12

SLOW FLOWERS JOURNAL

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WHERE WE BLOOM BY DEBRA PRINZING PHOTOGRAPHY BY MISSY PALACOL

terra bella flowers.

Slow Flowers Journal introduces a new series inspired by BLOOM Imprint's

first title, Where We Bloom: Thirty-Seven Intimate, Inventive, and Artistic Studio Spaces Where Floral Passions Find a Place to Blossom.

Twenty years ago, Melissa Feveyear's first flower shop was called The Pleasure Garden, and it was housed inside a vintage, 18-foot Airstream trailer with a blue-and-white striped canopy parked in Seattle's Greenwood-Phinney Ridge neighborhood. "Every morning, I would pull open the canopy and put out my buckets of flowers," she says. "I had a little workstation inside, and even a flower cooler."

In 2006, Melissa spotted a neighborhood flower shop for sale on Craigslist and bought it, renaming it Terra Bella Flowers. Since then, she has always leased storefronts on the west side of the pedestrian-friendly Greenwood Avenue — three different spaces

This is a welcoming escape from everyday pressures, great or miniscule. Indeed, one's metabolism slows down markedly upon entering. ranging from 900-square-feet up to the current location, double Terra Bella's previous space just next door. "When this location became available in 2019, it was a wonderful opportunity for us to have everything in one location, including storage, and to add more gifts, a lot more plants, offer classes, and hold private events," she explains.

Melissa has witnessed a shift in customers' understanding and embrace of her mission. "I wanted to focus as much as possible on organic and locally grown flowers and shift away from the conventional wire-service model of the shop I had purchased," she says. "Early on, there was a lot of me trying to justify

12

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the expense of using local flowers. We also had to work past stereotypes that local flowers were shorter-lived."

Her old-new, early-1900s space might easily become Terra Bella's forever home, because it is spacious enough to function as a mercantile for gifts, cards and paper products, bath goods and candles, local pottery, and house plants galore, as well as a wine shop and a production studio that doubles as a classroom for workshops and events. "I could have given this shop a modern twist, but there's something just so romantic here, something timeless," she says.

It feels like a Victorian conservatory inspired by "The Pleasure Garden," Melissa's first business name, with floor-to-ceiling glass windows that flank both sides of the front doorway. The Old World character comes from wood flooring, soft green walls, and original moulding around the ceiling. Comfortable vintage chairs and loveseats are upholstered in velvet. Branches and foliage and ferns festoon the space, specimen plants are displayed under glass

This store invokes what you would envision a classic flower shop to be. cloches, and the cooler reveals a plethora of flower choices.

Melissa has procured used fixtures from other retailers, but laughingly adds, "Generally, I'll find something on the side of the road and just repaint it."

Melissa and her husband, Martin Feveyear, built wood shelving with cast-iron brackets on either side of the sales counter, perfect for more plants and containers. And, of course, there is an iron bed filled with succulents. "It's our plant bed," Melissa points out.

Obtaining a retail wine license and stocking a selection from regional wineries allows Terra Bella to offer bottles as add-ons to flower orders. Wine is also the perfect pairing for the Wine and Design workshops. The series is popular, attracting returning students for sessions named Peonies and Prosecco; Roses and Rosé; and Drinks and Dahlias. Each 2 1/2-hour class includes tools, florals, and supplies. Area winemakers participate by pouring the tastings for students, and Terra Bella provides the appetizers and inspiration.

"Each class also has a historical theme, so in the fall, we design 14

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15

the expense of using local flowers. We also had to work past stereotypes that local flowers were shorter-lived."

Her old-new, early-1900s space might easily become Terra Bella's forever home, because it is spacious enough to function as a mercantile for gifts, cards and paper products, bath goods and candles, local pottery, and house plants galore, as well as a wine shop and a production studio that doubles as a classroom for workshops and events. "I could have given this shop a modern twist, but there's something just so romantic here, something timeless," she says.

It feels like a Victorian conservatory inspired by "The Pleasure Garden," Melissa's first business name, with floor-to-ceiling glass windows that flank both sides of the front doorway. The Old World character comes from wood flooring, soft green walls, and original moulding around the ceiling. Comfortable vintage chairs and loveseats are upholstered in velvet. Branches and foliage and ferns festoon the space, specimen plants are displayed under glass

This store invokes what you would envision a classic flower shop to be. cloches, and the cooler reveals a plethora of flower choices.

Melissa has procured used fixtures from other retailers, but laughingly adds, "Generally, I'll find something on the side of the road and just repaint it."

Melissa and her husband, Martin Feveyear, built wood shelving with cast-iron brackets on either side of the sales counter, perfect for more plants and containers. And, of course, there is an iron bed filled with succulents. "It's our plant bed," Melissa points out.

Obtaining a retail wine license and stocking a selection from regional wineries allows Terra Bella to offer bottles as add-ons to flower orders. Wine is also the perfect pairing for the Wine and Design workshops. The series is popular, attracting returning students for sessions named Peonies and Prosecco; Roses and Rosé; and Drinks and Dahlias. Each 2 1/2-hour class includes tools, florals, and supplies. Area winemakers participate by pouring the tastings for students, and Terra Bella provides the appetizers and inspiration.

"Each class also has a historical theme, so in the fall, we design 14

SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

15

a Victorian centerpiece," Melissa says. "The dahlia class is midcentury focused, and we'll try and find some earthenware pots for those. The Roses and Rosé class is more about the Rococo period. History is really important to me, and I love to share my knowledge of the history of floral design through the ages, such as in our classes where students recreate the style of florals they see in paintings by the Dutch masters."

The workshops also showcase the expertise of Terra Bella's employees, such as a frequent Ikebana class taught by Kyoko Hasegawa, a knowledgeable team member. Sustainable design mechanics factor into all the courses. "Our mechanics are sustainable — so no floral foam," she points out. "We use wood

BACK IN THE DAY Terra Bella Flowers is a pioneering floral business that was devoted to a slow and seasonal mission long before other florists adopted a similar approach. More than a decade after Melissa was featured in The 50 Mile Bouquet, she continues to walk the talk and embodies her sustainable values in the operation of Terra Bella Flowers.

It's no surprise to learn Melissa was a founding member of the innovative farmer-owned flower cooperative, Seattle Wholesale Growers Market, when it opened in 2011.

Today, thanks to years of education, she notices more consumer mindfulness about their purchases of goods, including flowers. Melissa's early efforts to source organically grown flowers once attracted clients with chemical sensitivities and chefs who needed edible flowers for their cocktails or recipes. Now, she leads with her beautiful aesthetic and the underlying message of seasonality and sourcing.

excelsior occasionally, but another material I really love is angel vine, which is stiffer, and you can create these beautiful nests and weave the flowers through it." She assures customers and students that the entire arrangement can be composted once it has been enjoyed. For those who don't wish to keep their vase, Terra Bella has a clever "Recycle with Us" program: "Bring this vase back for a $5 gift card. We'll take the card pick and box too," reads the label that goes out with deliveries.

Like an open-concept restaurant where diners view the chef preparing meals, Terra Bella's production counters are not hidden.

Customers see florists designing and they are often inspired to ask for something similar. "It used to make me very nervous, because I like to be behind the scenes," Melissa admits. "But now I love providing that interactive experience that invites people to see what we're doing."

This is a welcoming escape from everyday pressures, great or miniscule. Indeed, one's metabolism slows down markedly upon entering. "Our focus is community-based, and we are in a wonderfully supportive neighborhood. We want to be the retail flower shop that people can come into and literally stop and smell the roses," Melissa says. "So many flower shops have closed down over the years, and we want to provide this sensory experience.

I want people to feel like they are coming through a forest of filtered trees into the light. It's a little moment of solace when someone walks through the doors."

TERRABELLAFLOWERS.COM | @TERRABELLAFLOWERS

16

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a Victorian centerpiece," Melissa says. "The dahlia class is midcentury focused, and we'll try and find some earthenware pots for those. The Roses and Rosé class is more about the Rococo period. History is really important to me, and I love to share my knowledge of the history of floral design through the ages, such as in our classes where students recreate the style of florals they see in paintings by the Dutch masters."

The workshops also showcase the expertise of Terra Bella's employees, such as a frequent Ikebana class taught by Kyoko Hasegawa, a knowledgeable team member. Sustainable design mechanics factor into all the courses. "Our mechanics are sustainable — so no floral foam," she points out. "We use wood

BACK IN THE DAY Terra Bella Flowers is a pioneering floral business that was devoted to a slow and seasonal mission long before other florists adopted a similar approach. More than a decade after Melissa was featured in The 50 Mile Bouquet, she continues to walk the talk and embodies her sustainable values in the operation of Terra Bella Flowers.

It's no surprise to learn Melissa was a founding member of the innovative farmer-owned flower cooperative, Seattle Wholesale Growers Market, when it opened in 2011.

Today, thanks to years of education, she notices more consumer mindfulness about their purchases of goods, including flowers. Melissa's early efforts to source organically grown flowers once attracted clients with chemical sensitivities and chefs who needed edible flowers for their cocktails or recipes. Now, she leads with her beautiful aesthetic and the underlying message of seasonality and sourcing.

excelsior occasionally, but another material I really love is angel vine, which is stiffer, and you can create these beautiful nests and weave the flowers through it." She assures customers and students that the entire arrangement can be composted once it has been enjoyed. For those who don't wish to keep their vase, Terra Bella has a clever "Recycle with Us" program: "Bring this vase back for a $5 gift card. We'll take the card pick and box too," reads the label that goes out with deliveries.

Like an open-concept restaurant where diners view the chef preparing meals, Terra Bella's production counters are not hidden.

Customers see florists designing and they are often inspired to ask for something similar. "It used to make me very nervous, because I like to be behind the scenes," Melissa admits. "But now I love providing that interactive experience that invites people to see what we're doing."

This is a welcoming escape from everyday pressures, great or miniscule. Indeed, one's metabolism slows down markedly upon entering. "Our focus is community-based, and we are in a wonderfully supportive neighborhood. We want to be the retail flower shop that people can come into and literally stop and smell the roses," Melissa says. "So many flower shops have closed down over the years, and we want to provide this sensory experience.

I want people to feel like they are coming through a forest of filtered trees into the light. It's a little moment of solace when someone walks through the doors."

TERRABELLAFLOWERS.COM | @TERRABELLAFLOWERS

16

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botanical couture OF LEAF AND FLOWER, A FESTIVAL OF FLORAL FASHIONS

In 2015, Slow Flowers Society launched American Flowers Week (June 28-July 4) as an annual advocacy, education and outreach campaign to promote domestic and locally grown flowers. The project encourages flower-farmers, floral designers, flower enthusiasts and gardeners alike to share photographs of their blooms across social media with the hashtag #americanflowersweek.

Elevating local flowers and communicating the many reasons to support domestic floral agriculture and sustainable floristry are at the heart of the campaign.

According to the 2022 National Gardening Survey, research sponsored by the Slow Flowers Society, 65 percent of Americans say it is very or somewhat important that the flowers they purchase are local (up from 58 percent in the 2021 survey). These numbers are trending up!

Sharing red-white-and-blue bouquets to commemorate Independence Day celebrations, is one way to woo the eye of the beholder. When the cutting garden is transformed into floral fashions, viewers can't help but respond to the unexpected and unforgettable beauty of botanical couture.

18

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botanical couture OF LEAF AND FLOWER, A FESTIVAL OF FLORAL FASHIONS

In 2015, Slow Flowers Society launched American Flowers Week (June 28-July 4) as an annual advocacy, education and outreach campaign to promote domestic and locally grown flowers. The project encourages flower-farmers, floral designers, flower enthusiasts and gardeners alike to share photographs of their blooms across social media with the hashtag #americanflowersweek.

Elevating local flowers and communicating the many reasons to support domestic floral agriculture and sustainable floristry are at the heart of the campaign.

According to the 2022 National Gardening Survey, research sponsored by the Slow Flowers Society, 65 percent of Americans say it is very or somewhat important that the flowers they purchase are local (up from 58 percent in the 2021 survey). These numbers are trending up!

Sharing red-white-and-blue bouquets to commemorate Independence Day celebrations, is one way to woo the eye of the beholder. When the cutting garden is transformed into floral fashions, viewers can't help but respond to the unexpected and unforgettable beauty of botanical couture.

18

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SLOW FLOWERS JOURNAL

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AMERICAN FLOWERS WEEK 2022 DESIGN BY XENIA D'AMBROSI + NATALIE COLLETTE PHOTOGRAPHY BY SALLY SEMONITE GREEN

PAYING HOMAGE TO THE EASTERN BLUEBIRD, A SONGBIRD WITH DISTINCTIVE PLUMAGE AND GLORIOUS TAIL FEATHERS

take flight.

Botanical artists Xenia D'Ambrosi of Sweet Earth Co. and Natalie Collette of The Gardenist were drawn to a charming winged character as inspiration for their tribute to American Flowers Week. “The bluebird is the state bird of New York,” Xenia points out. “However, what really spurred my interest was seeing these birds at my farm. It was a direct result of the annuals and perennials we were planting, specifically with a focus on biodiversity and sustainability. As a result, there have been more pollinators here, and in particular, bluebirds.”

In the past, Xenia designed floral headpieces and other wearables for the Eco-Chic Fashion Show in her hometown of Pound Ridge, New York. "It had whet my appetite and I wanted to create more than a headpiece," she explains. "I started thinking about the bluebird concept. For three years I pieced it together, little by little." Natalie, who lives just 30 minutes from Xenia across the state line, in Norwalk, Connecticut., was an ideal collaborator. After meeting several years ago, the women discovered their similarities as farmer-florists who offer garden design services with cut-flower growing and floral design.

FLORAL PALETTE Delphinium, bachelor's button, and snapdragons from CamFlor Inc. (California); muscari from The Gardenist (Connecticut); local hyacinth from East Coast Wholesale (Connecticut); and dried amaranth and miscanthus from Sweet Earth Co. (New York) DESIGNERS Xenia D'Ambrosi, Sweet Earth Co., sweetearthco.com, @sweetearthco; Natalie Collette, The Gardenist, thegardenistgallery.com, @the_gardenist MODEL Ryan Matthew, Ryan Matthew Interiors, ryanmatthewinteriors.com, @ryanmatthewinteriors MAKEUP Xenia D'Ambrosi and Natalie Collette PHOTOGRAPHY Sally Semonite Green LOCATION Ward Pound Ridge Reservation, Pound Ridge, New York

Like Xenia, Natalie is a collector of nests, so she immediately liked the project's bluebird theme. With a television production background, Natalie wasn't daunted. "I've done a bit of set design for some television productions. The need to work well under pressure is clearly similar to what floral designers face — thinking on your feet in a fast-paced setting with a timeline!"

Natalie and Xenia sketched out their concept, choosing blue annuals and spring-flowering bulbs to echo real feathers and 20

SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

21

AMERICAN FLOWERS WEEK 2022 DESIGN BY XENIA D'AMBROSI + NATALIE COLLETTE PHOTOGRAPHY BY SALLY SEMONITE GREEN

PAYING HOMAGE TO THE EASTERN BLUEBIRD, A SONGBIRD WITH DISTINCTIVE PLUMAGE AND GLORIOUS TAIL FEATHERS

take flight.

Botanical artists Xenia D'Ambrosi of Sweet Earth Co. and Natalie Collette of The Gardenist were drawn to a charming winged character as inspiration for their tribute to American Flowers Week. “The bluebird is the state bird of New York,” Xenia points out. “However, what really spurred my interest was seeing these birds at my farm. It was a direct result of the annuals and perennials we were planting, specifically with a focus on biodiversity and sustainability. As a result, there have been more pollinators here, and in particular, bluebirds.”

In the past, Xenia designed floral headpieces and other wearables for the Eco-Chic Fashion Show in her hometown of Pound Ridge, New York. "It had whet my appetite and I wanted to create more than a headpiece," she explains. "I started thinking about the bluebird concept. For three years I pieced it together, little by little." Natalie, who lives just 30 minutes from Xenia across the state line, in Norwalk, Connecticut., was an ideal collaborator. After meeting several years ago, the women discovered their similarities as farmer-florists who offer garden design services with cut-flower growing and floral design.

FLORAL PALETTE Delphinium, bachelor's button, and snapdragons from CamFlor Inc. (California); muscari from The Gardenist (Connecticut); local hyacinth from East Coast Wholesale (Connecticut); and dried amaranth and miscanthus from Sweet Earth Co. (New York) DESIGNERS Xenia D'Ambrosi, Sweet Earth Co., sweetearthco.com, @sweetearthco; Natalie Collette, The Gardenist, thegardenistgallery.com, @the_gardenist MODEL Ryan Matthew, Ryan Matthew Interiors, ryanmatthewinteriors.com, @ryanmatthewinteriors MAKEUP Xenia D'Ambrosi and Natalie Collette PHOTOGRAPHY Sally Semonite Green LOCATION Ward Pound Ridge Reservation, Pound Ridge, New York

Like Xenia, Natalie is a collector of nests, so she immediately liked the project's bluebird theme. With a television production background, Natalie wasn't daunted. "I've done a bit of set design for some television productions. The need to work well under pressure is clearly similar to what floral designers face — thinking on your feet in a fast-paced setting with a timeline!"

Natalie and Xenia sketched out their concept, choosing blue annuals and spring-flowering bulbs to echo real feathers and 20

SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

21

AMERICAN FLOWERS WEEK 2022

adding dried flowers to depict chest plumage. They discussed how to build wings and a headpiece and how to attach botanicals to the costume. "It came together in layers," Natalie explains.

"We spent hours and hours and used over 400 stems of delphinium to create the wings." Adds Xenia, "We wanted to keep to a simple blue palette, adding drama with repeat flowers and various textures."

They tapped Xenia’s friend, Ryan Matthew, an interior designer and event planner, as their model. He donned a blue bodysuit as his base garment and added black leggings and boots to emulate bird legs. Natalie and Xenia constructed a hood-like floral headpiece and created the wings, body feathers, and tail components in sections using wire, glue, and needle-andthread mechanics. "We made five distinct floral pieces, with close to 700 individual stems of flowers," they explained.

"WE ENVISIONED THE DELPHINIUM AS THE BIRD'S LONGER FEATHERS. THE CAPE DRAPED IN THE FRONT AND OVER RYAN’S BACK SO WHEN HE LIFTED HIS WINGS, ALL YOU SEE ARE BLUE FLOWERS." Natalie relied on her sewing and patternmaking skills to fabricate five "capes" and "aprons" of varying shapes. A cape with folded edges created sleeves for Ryan’s arms, allowing him to move the "wings." Another apron-like piece was formed with hardware cloth tied around his waist to suggest the bird's white feathers, which emerged beneath the rounded bluebird "chest" — an apron covered in dried amaranth and miscanthus grass.

"We wanted Ryan to be able to move in a certain way, lifting the wings as if he's about to take off and fly," Xenia explains.

The designers and model met up with their photographer at Ward Pound Ridge Reservation, a 4,000-acre nature preserve in New York's Westchester County. They knew that the forested location was ideal for photographing their botanical bluebird but were thrilled when they stumbled upon a large-scale metal sculpture of a bird nest on site. The remote New York location, with deciduous and evergreen trees and dappled sunlight, allowed their narrative to unfold: A bluebird in his environment.

"We wanted that golden hour for photography," says Xenia. The woodland grass glowed, and just as they were leaving, the clouds rolled away and the sun came out, allowing the photographer to capture those magical, golden field shots. “This was a beautiful, creative release for everyone involved," the designers say.

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AMERICAN FLOWERS WEEK 2022

adding dried flowers to depict chest plumage. They discussed how to build wings and a headpiece and how to attach botanicals to the costume. "It came together in layers," Natalie explains.

"We spent hours and hours and used over 400 stems of delphinium to create the wings." Adds Xenia, "We wanted to keep to a simple blue palette, adding drama with repeat flowers and various textures."

They tapped Xenia’s friend, Ryan Matthew, an interior designer and event planner, as their model. He donned a blue bodysuit as his base garment and added black leggings and boots to emulate bird legs. Natalie and Xenia constructed a hood-like floral headpiece and created the wings, body feathers, and tail components in sections using wire, glue, and needle-andthread mechanics. "We made five distinct floral pieces, with close to 700 individual stems of flowers," they explained.

"WE ENVISIONED THE DELPHINIUM AS THE BIRD'S LONGER FEATHERS. THE CAPE DRAPED IN THE FRONT AND OVER RYAN’S BACK SO WHEN HE LIFTED HIS WINGS, ALL YOU SEE ARE BLUE FLOWERS." Natalie relied on her sewing and patternmaking skills to fabricate five "capes" and "aprons" of varying shapes. A cape with folded edges created sleeves for Ryan’s arms, allowing him to move the "wings." Another apron-like piece was formed with hardware cloth tied around his waist to suggest the bird's white feathers, which emerged beneath the rounded bluebird "chest" — an apron covered in dried amaranth and miscanthus grass.

"We wanted Ryan to be able to move in a certain way, lifting the wings as if he's about to take off and fly," Xenia explains.

The designers and model met up with their photographer at Ward Pound Ridge Reservation, a 4,000-acre nature preserve in New York's Westchester County. They knew that the forested location was ideal for photographing their botanical bluebird but were thrilled when they stumbled upon a large-scale metal sculpture of a bird nest on site. The remote New York location, with deciduous and evergreen trees and dappled sunlight, allowed their narrative to unfold: A bluebird in his environment.

"We wanted that golden hour for photography," says Xenia. The woodland grass glowed, and just as they were leaving, the clouds rolled away and the sun came out, allowing the photographer to capture those magical, golden field shots. “This was a beautiful, creative release for everyone involved," the designers say.

24

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AMERICAN FLOWERS WEEK 2022 DESIGN BY LISA LARSEN PHOTOGRAPHY BY ERIKA DIAZ

A MOD 1960S MINI-DRESS COMPOSED OF PETALS, LEAVES AND FLOWERS, EVOKES A SHAG SHIFT STYLED WITH TWIGGY-INSPIRED LASHES AND A FLORAL PILLBOX HAT

flower flutter.

Sunborn Gardens' Lisa Larsen is a farmer-florist and partner with her husband, Hans Larsen, in their family's Wisconsin flower farm and design studio. Sunborn has a long history in cut-flower growing, founded 46 years ago by Hans' mother, Carol Larsen. Admittedly, Lisa married into the family business and initially had no interest in leaving Milwaukee for Mt. Horeb.

She explains, "When Hans first had the idea to take over his mother’s flower farm, I was skeptical. I was about to move my entire life to a new place and become a farmer? I eventually found myself helping in the design studio and it was there I found my calling. I had studied fine arts in college and was set on becoming a teacher, but through long days at the workbench creating art by using flowers as my medium, I was hooked."

"All the elements and principles of design I once studied were being applied on a daily basis and I wanted more, more, more!

I apprenticed with my mother-in-law for a few years, learning all I could. I now run the design studio with a small, incredibly talented staff, producing weddings almost every weekend. I am

FLORAL PALETTE Dusty Miller, hellebores, muscari, and tulips from Sunborn Gardens (Wisconsin); Larkspur and scabiosa from CamFlor Inc. (California) DESIGNER Lisa Larsen, sunborngardens.com, @sunborngardens MODEL Ali Thomas, @heyheyitsalij HAIR/MAKEUP Chelsea, B Beauty Bar, @b.beautybarwi PHOTOGRAPHY Erika Diaz Photography, erikadiazphoto.com, @erikadiazphoto LOCATION Sunborn Gardens, Mount Horeb, Wisconsin

constantly inspired by what is growing all around me. There really is nothing better than a fresh-cut local stem."

This year, in anticipation of opening their first Sunborn Gardens shop, Lisa thought it would be fun to participate in American Flowers Week's call for botanical couture floral fashions. "When our shop opens this summer, we are going to offer domestic and 26

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AMERICAN FLOWERS WEEK 2022 DESIGN BY LISA LARSEN PHOTOGRAPHY BY ERIKA DIAZ

A MOD 1960S MINI-DRESS COMPOSED OF PETALS, LEAVES AND FLOWERS, EVOKES A SHAG SHIFT STYLED WITH TWIGGY-INSPIRED LASHES AND A FLORAL PILLBOX HAT

flower flutter.

Sunborn Gardens' Lisa Larsen is a farmer-florist and partner with her husband, Hans Larsen, in their family's Wisconsin flower farm and design studio. Sunborn has a long history in cut-flower growing, founded 46 years ago by Hans' mother, Carol Larsen. Admittedly, Lisa married into the family business and initially had no interest in leaving Milwaukee for Mt. Horeb.

She explains, "When Hans first had the idea to take over his mother’s flower farm, I was skeptical. I was about to move my entire life to a new place and become a farmer? I eventually found myself helping in the design studio and it was there I found my calling. I had studied fine arts in college and was set on becoming a teacher, but through long days at the workbench creating art by using flowers as my medium, I was hooked."

"All the elements and principles of design I once studied were being applied on a daily basis and I wanted more, more, more!

I apprenticed with my mother-in-law for a few years, learning all I could. I now run the design studio with a small, incredibly talented staff, producing weddings almost every weekend. I am

FLORAL PALETTE Dusty Miller, hellebores, muscari, and tulips from Sunborn Gardens (Wisconsin); Larkspur and scabiosa from CamFlor Inc. (California) DESIGNER Lisa Larsen, sunborngardens.com, @sunborngardens MODEL Ali Thomas, @heyheyitsalij HAIR/MAKEUP Chelsea, B Beauty Bar, @b.beautybarwi PHOTOGRAPHY Erika Diaz Photography, erikadiazphoto.com, @erikadiazphoto LOCATION Sunborn Gardens, Mount Horeb, Wisconsin

constantly inspired by what is growing all around me. There really is nothing better than a fresh-cut local stem."

This year, in anticipation of opening their first Sunborn Gardens shop, Lisa thought it would be fun to participate in American Flowers Week's call for botanical couture floral fashions. "When our shop opens this summer, we are going to offer domestic and 26

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AMERICAN FLOWERS WEEK 2022

locally grown flowers only. What better project to celebrate our new adventure than with American-grown fashion?"

Lisa's mood board reveals her influences: A 1960s fashion model wearing a sleeveless, melon-orange shift adorned with shaggy feathers; illustrations of women in pillbox hats a la Jackie Kennedy; and a black-and-white portrait of British style icon Twiggy, with her dark, dramatic eye makeup.

With Wisconsin's flower season just getting started in May, Lisa planned to use a combination of dried flowers from Sunborn Gardens and fresh flowers from American Flowers Week sponsors CamFlor Inc. As it turned out, she harvested plenty of spring-flowering bulbs and a few hellebores from Sunborn's greenhouses, adding dried dusty Miller and the California stems.

She started with a thrift shop find as the base garment, and worked with a tailor's dress form to give the garment its body shape. "I attached hundreds of pieces of dried dusty Miller to the fabric, layer by layer," she explains. "Some of the leaves face up; others reveal the underside, and the alternating placement creates a wonderful texture. Dried dusty Miller has much more dimension than its just-picked, fresher leaves."

"WHEN OUR SHOP OPENS, WE ARE GOING TO OFFER DOMESTIC AND LOCALLY GROWN FLOWERS ONLY. WHAT BETTER PROJECT TO CELEBRATE OUR NEW ADVENTURE THAN WITH AMERICAN-GROWN FASHION?" Lisa tucked in dozens of pale blue muscari blossoms to the bodice, emulating bangles that peek between the silvery dusty Miller. White scabiosa flower heads cloak the dress's formfitting side panels. For the miniskirt's flirty hemline, she added overlapping stems of white California-grown larkspur, the long stalks with delicate blooms adding movement. A collar of vivid vermillion tulips looks like the chunky jewelry of the era.

Lisa wanted two styling options and photographed the model with her dark hair and straight bangs unadorned, as well as in a 1960s pillbox, with its flat crown, upright sides, and no brim or veil. She attached tulip and hellebore flowers heads around the felt base to create a cheeky botanical pillbox.

The styling continues with graphic eye makeup reminiscent of Twiggy, including vibrant blue shadow, black eyeliner, and layers of mascara. The petal "lashes" add whimsy in keeping with the dreamy floral fantasy.

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locally grown flowers only. What better project to celebrate our new adventure than with American-grown fashion?"

Lisa's mood board reveals her influences: A 1960s fashion model wearing a sleeveless, melon-orange shift adorned with shaggy feathers; illustrations of women in pillbox hats a la Jackie Kennedy; and a black-and-white portrait of British style icon Twiggy, with her dark, dramatic eye makeup.

With Wisconsin's flower season just getting started in May, Lisa planned to use a combination of dried flowers from Sunborn Gardens and fresh flowers from American Flowers Week sponsors CamFlor Inc. As it turned out, she harvested plenty of spring-flowering bulbs and a few hellebores from Sunborn's greenhouses, adding dried dusty Miller and the California stems.

She started with a thrift shop find as the base garment, and worked with a tailor's dress form to give the garment its body shape. "I attached hundreds of pieces of dried dusty Miller to the fabric, layer by layer," she explains. "Some of the leaves face up; others reveal the underside, and the alternating placement creates a wonderful texture. Dried dusty Miller has much more dimension than its just-picked, fresher leaves."

"WHEN OUR SHOP OPENS, WE ARE GOING TO OFFER DOMESTIC AND LOCALLY GROWN FLOWERS ONLY. WHAT BETTER PROJECT TO CELEBRATE OUR NEW ADVENTURE THAN WITH AMERICAN-GROWN FASHION?" Lisa tucked in dozens of pale blue muscari blossoms to the bodice, emulating bangles that peek between the silvery dusty Miller. White scabiosa flower heads cloak the dress's formfitting side panels. For the miniskirt's flirty hemline, she added overlapping stems of white California-grown larkspur, the long stalks with delicate blooms adding movement. A collar of vivid vermillion tulips looks like the chunky jewelry of the era.

Lisa wanted two styling options and photographed the model with her dark hair and straight bangs unadorned, as well as in a 1960s pillbox, with its flat crown, upright sides, and no brim or veil. She attached tulip and hellebore flowers heads around the felt base to create a cheeky botanical pillbox.

The styling continues with graphic eye makeup reminiscent of Twiggy, including vibrant blue shadow, black eyeliner, and layers of mascara. The petal "lashes" add whimsy in keeping with the dreamy floral fantasy.

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AMERICAN FLOWERS WEEK 2022 DESIGN BY NIESHA BLANCAS PHOTOGRAPHY BY NIESHA BLANCAS + ANA QUINATA

SHE'S A "DIAMOND OF THE GARDEN," FIT FOR A FASHIONABLE TEA PARTY WITH ALL THE ROYALS

bridgerton bright.

For the second year, our Slow Flowers Society social media manager (and resident fashionista) Niesha Blancas of Fetching Social Media has designed a floral look reflecting her own style.

"As I typically do when searching for inspiration, I scrolled Pinterest to look at runway collections from the 1990s and 2000s and found some interesting silhouettes," she says. "I liked the abstract-looking ones, especially for botanical couture. I feel like you can get away with a lot of drama." Niesha knew that Carlos Cardoza, CamFlor Inc.'s sales representative, was going to ship her a "surprise box" of California-grown flowers and foliage. She hoped for several bunches of acuba — the glossy, golden-flecked broadleaf evergreen, also known as Japanese laurel — because those leaves factored prominently in the two futuristic bodysuits she designed and fabricated for American Flowers Week 2021.

"I knew I had to have the speckles," she jokes. "That was my favorite element last year and, no surprise, it's going to be my signature now."

FLORAL PALETTE Ornamental kale, scabiosa, statice, veronica, goedetia, and acuba from CamFlor Inc. (California) DESIGNER Niesha Blancas, Fetching Social Media, fetchingsocialmedia.com, @fetchingsocial DESIGN ASSISTANCE Cathy Blancas, Ana Quinata MODEL Danielle Claybon HAIR/MAKEUP Danielle Claybon PHOTOGRAPHY Niesha Blancas and Ana Quinata LOCATION Private garden, Fresno, California

The resulting garment for this year is a floral-covered short strapless gown which is worn with a floating hoop skirt — part Marie Antoinette and part futuristic gal with heavy influences from a couture gown in Oscar Carvallo's Fall 2014 runway collection. Niesha also borrowed from Bridgerton, Netflix's popular period drama from Shonda Rhimes, based on Julia Quinn's bestselling series. "Once I binge-watched Bridgerton, I just fell in love with the costuming and I couldn't get it out of

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AMERICAN FLOWERS WEEK 2022 DESIGN BY NIESHA BLANCAS PHOTOGRAPHY BY NIESHA BLANCAS + ANA QUINATA

SHE'S A "DIAMOND OF THE GARDEN," FIT FOR A FASHIONABLE TEA PARTY WITH ALL THE ROYALS

bridgerton bright.

For the second year, our Slow Flowers Society social media manager (and resident fashionista) Niesha Blancas of Fetching Social Media has designed a floral look reflecting her own style.

"As I typically do when searching for inspiration, I scrolled Pinterest to look at runway collections from the 1990s and 2000s and found some interesting silhouettes," she says. "I liked the abstract-looking ones, especially for botanical couture. I feel like you can get away with a lot of drama." Niesha knew that Carlos Cardoza, CamFlor Inc.'s sales representative, was going to ship her a "surprise box" of California-grown flowers and foliage. She hoped for several bunches of acuba — the glossy, golden-flecked broadleaf evergreen, also known as Japanese laurel — because those leaves factored prominently in the two futuristic bodysuits she designed and fabricated for American Flowers Week 2021.

"I knew I had to have the speckles," she jokes. "That was my favorite element last year and, no surprise, it's going to be my signature now."

FLORAL PALETTE Ornamental kale, scabiosa, statice, veronica, goedetia, and acuba from CamFlor Inc. (California) DESIGNER Niesha Blancas, Fetching Social Media, fetchingsocialmedia.com, @fetchingsocial DESIGN ASSISTANCE Cathy Blancas, Ana Quinata MODEL Danielle Claybon HAIR/MAKEUP Danielle Claybon PHOTOGRAPHY Niesha Blancas and Ana Quinata LOCATION Private garden, Fresno, California

The resulting garment for this year is a floral-covered short strapless gown which is worn with a floating hoop skirt — part Marie Antoinette and part futuristic gal with heavy influences from a couture gown in Oscar Carvallo's Fall 2014 runway collection. Niesha also borrowed from Bridgerton, Netflix's popular period drama from Shonda Rhimes, based on Julia Quinn's bestselling series. "Once I binge-watched Bridgerton, I just fell in love with the costuming and I couldn't get it out of

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AMERICAN FLOWERS WEEK 2022

my brain," she admits. In the series, Queen Charlotte chooses a favored "diamond" among the season's debutantes. Naturally, Niesha calls her creation "Diamond of the Garden."

Bridgerton's costume designer Ellen Mirojnick told Vogue that she looked at the Regency period in London for silhouettes and shapes but drew from today's fashions for her color palettes.

Niesha takes a similar approach, echoing Bridgerton's ball gowns with décolletage, vivid fabrics and patterns, and opulent jewelry. Her dress design has three sections: a strapless mini, a see-through hoop skirt, and an exaggerated bow at the back.

Starting with a $2 thrift-store dress, Niesha glued petals, leaves and stems to create an abstract ombré brocade, transitioning from purple to pink to white flowers that encircle the dress. She found a way to incorporate almost everything CamFlor sent her.

"I used the kale stems on the bodice, as boning on a corset," she says. "I’ll be honest, it was a difficult, but I'm so grateful for the challenge because I loved how it turned out."

"I LOVE THE CONTRADICTION OF SOFT AND HARD, SO WE HAVE A DRESS OF SMALL, DAINTY FLOWERS WORN BY A MODEL WHO'S OOZING IN CONFIDENCE, BOLD ATTITUDE, AND A WHOLE LOT OF SASS." Niesha also found the hoop skirt at her local thrift store.

She used it as a see-through overskirt, revealing the floral mini-dress underneath. It took hours to attach what felt like thousands of green leaves onto the surface and underside of each hoop and strap, and admittedly, Niesha's mother's backyard shrubbery was sacrificed in the process. Her mom, Cathy Blancas, lent further support, shaping a large bow from chicken wire and covering it in fabric. To this Niesha glued layers of the speckled acuba foliage, overlapping the leaves to emphasize their pointed tips.

What makes this look even more successful is the model, Danielle Claybon, who embodies many of the ladies of Bridgerton, with the heavy-on-pearl and hot pink styling, including hot pink elbow-length opera gloves and heels. "I told Danielle to bring the attitude for the photos," Niesha explains.

With pearls around the neck and wrists, the final royal touch is the pearl tiara, which was Niesha's own, saved from her quinceañera 15 years ago, an early nod to her style sensibility.

"I wanted her to be a cool girl, the cool girl of the ball with an unapologetic style. She felt like a representation of me."

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AMERICAN FLOWERS WEEK 2022

my brain," she admits. In the series, Queen Charlotte chooses a favored "diamond" among the season's debutantes. Naturally, Niesha calls her creation "Diamond of the Garden."

Bridgerton's costume designer Ellen Mirojnick told Vogue that she looked at the Regency period in London for silhouettes and shapes but drew from today's fashions for her color palettes.

Niesha takes a similar approach, echoing Bridgerton's ball gowns with décolletage, vivid fabrics and patterns, and opulent jewelry. Her dress design has three sections: a strapless mini, a see-through hoop skirt, and an exaggerated bow at the back.

Starting with a $2 thrift-store dress, Niesha glued petals, leaves and stems to create an abstract ombré brocade, transitioning from purple to pink to white flowers that encircle the dress. She found a way to incorporate almost everything CamFlor sent her.

"I used the kale stems on the bodice, as boning on a corset," she says. "I’ll be honest, it was a difficult, but I'm so grateful for the challenge because I loved how it turned out."

"I LOVE THE CONTRADICTION OF SOFT AND HARD, SO WE HAVE A DRESS OF SMALL, DAINTY FLOWERS WORN BY A MODEL WHO'S OOZING IN CONFIDENCE, BOLD ATTITUDE, AND A WHOLE LOT OF SASS." Niesha also found the hoop skirt at her local thrift store.

She used it as a see-through overskirt, revealing the floral mini-dress underneath. It took hours to attach what felt like thousands of green leaves onto the surface and underside of each hoop and strap, and admittedly, Niesha's mother's backyard shrubbery was sacrificed in the process. Her mom, Cathy Blancas, lent further support, shaping a large bow from chicken wire and covering it in fabric. To this Niesha glued layers of the speckled acuba foliage, overlapping the leaves to emphasize their pointed tips.

What makes this look even more successful is the model, Danielle Claybon, who embodies many of the ladies of Bridgerton, with the heavy-on-pearl and hot pink styling, including hot pink elbow-length opera gloves and heels. "I told Danielle to bring the attitude for the photos," Niesha explains.

With pearls around the neck and wrists, the final royal touch is the pearl tiara, which was Niesha's own, saved from her quinceañera 15 years ago, an early nod to her style sensibility.

"I wanted her to be a cool girl, the cool girl of the ball with an unapologetic style. She felt like a representation of me."

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AMERICAN FLOWERS WEEK 2022 DESIGN BY LINDA SPRADLIN + NAN MATTESON PHOTOGRAPHY BY MAUDIE CONRAD

CINCINNATI IS NICKNAMED THE QUEEN CITY, INSPIRING A PAIR OF OHIO FLOWER-FARMERS TO CELEBRATE WITH A FLORAL-ADORNED MONARCH

her majesty.

Friends and flower-farmers Linda Spradlin of In the Garden Flower Farm in Seven Mile, Ohio, and Nan Matteson of Queen City Flower Farm in Cincinnati, looked to themselves and their "Queen of the West" Cincinnati hometown for inspiration.

"We thought, let's show an older, wiser woman, because she's still very capable," explains Linda, who served as lead designer.

"Even though she has a few wrinkles, she's accomplished a lot

FLORAL PALETTE Bunny tail and explosion grass, ornamental kale, scabiosa, cornflower, paper daisies, leucadendron and artichoke leaves, from CamFlor Inc. (California); wild-foraged grasses from In the Garden Flower Farm (Ohio); button mums, aspidistra foliage and carnations, sourced from Cincinnati Wholesale Florist.

DESIGNERS Linda Spradlin, @inthegardenflowerfarm.com and Nan Matteson, @queencityflowerfarm MODEL Linda Spradlin PHOTOGRAPHER Maudie Conrad, @mcphotographybymaudieconrad LOCATION In the Garden Flower Farm, Seven Mile, Ohio

of things and can still have fun and be glamorous.”

Their fashion cue came from both current and historical events.

"Queens are in the zeitgeist right now," Nan says. "Queen Elizabeth just had her Jubilee, and there’s a Broadway musical called 'Six,' about the six queens married to Henry VIII." Linda agreed to model their regal garment, prompting Nan to play the role of "lady in waiting." Working from a costume pattern, Nan stitched the bodice, adding sheer fabric sleeves and fashioning the collar from screen door mesh. She and Linda embellished the bodice with a mix of flower heads.

Cuffs of ornamental grass tie around Linda's wrists and echo lace details found in another historic illustration. A chicken wire-shaped skirt is clad in aspidistra "ribbons" topped with fluffy carnations to suggest ruffles. Regal accoutrements include a scepter, royal orb, and botanical crown. Adds Linda, "Anyone who lasts this long deserves a crown."

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AMERICAN FLOWERS WEEK 2022 DESIGN BY LINDA SPRADLIN + NAN MATTESON PHOTOGRAPHY BY MAUDIE CONRAD

CINCINNATI IS NICKNAMED THE QUEEN CITY, INSPIRING A PAIR OF OHIO FLOWER-FARMERS TO CELEBRATE WITH A FLORAL-ADORNED MONARCH

her majesty.

Friends and flower-farmers Linda Spradlin of In the Garden Flower Farm in Seven Mile, Ohio, and Nan Matteson of Queen City Flower Farm in Cincinnati, looked to themselves and their "Queen of the West" Cincinnati hometown for inspiration.

"We thought, let's show an older, wiser woman, because she's still very capable," explains Linda, who served as lead designer.

"Even though she has a few wrinkles, she's accomplished a lot

FLORAL PALETTE Bunny tail and explosion grass, ornamental kale, scabiosa, cornflower, paper daisies, leucadendron and artichoke leaves, from CamFlor Inc. (California); wild-foraged grasses from In the Garden Flower Farm (Ohio); button mums, aspidistra foliage and carnations, sourced from Cincinnati Wholesale Florist.

DESIGNERS Linda Spradlin, @inthegardenflowerfarm.com and Nan Matteson, @queencityflowerfarm MODEL Linda Spradlin PHOTOGRAPHER Maudie Conrad, @mcphotographybymaudieconrad LOCATION In the Garden Flower Farm, Seven Mile, Ohio

of things and can still have fun and be glamorous.”

Their fashion cue came from both current and historical events.

"Queens are in the zeitgeist right now," Nan says. "Queen Elizabeth just had her Jubilee, and there’s a Broadway musical called 'Six,' about the six queens married to Henry VIII." Linda agreed to model their regal garment, prompting Nan to play the role of "lady in waiting." Working from a costume pattern, Nan stitched the bodice, adding sheer fabric sleeves and fashioning the collar from screen door mesh. She and Linda embellished the bodice with a mix of flower heads.

Cuffs of ornamental grass tie around Linda's wrists and echo lace details found in another historic illustration. A chicken wire-shaped skirt is clad in aspidistra "ribbons" topped with fluffy carnations to suggest ruffles. Regal accoutrements include a scepter, royal orb, and botanical crown. Adds Linda, "Anyone who lasts this long deserves a crown."

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AMERICAN FLOWERS WEEK 2022 DESIGN BY HILLARY ALGER PHOTOGRAPHY BY KRISTEN EARLEY

ONCE GROWN AS A FOOD COMMODITY, UPRIGHT AMARANTHUS CRUENTU AND TASSELED A. CAUDATUS ARE VALUED FOR THEIR ORNAMENTAL BEAUTY, INCLUDING WEARABLE FASHIONS WORTHY OF THE RUNWAY

great grains.

For their fourth botanical couture contribution to American Flowers Week, Johnny's Seeds flower specialists Hillary Alger and Joy Longfellow headed straight to the trial gardens where all the magic happens during the year, as they test and evaluate thousands of cut flower and herb varieties.

From late summer to early fall, one of the seed company's star annuals is the amaranth. Johnny's has seven varieties in its catalog, from upright burgundy, coral, and copper forms to the long, trailing options in lime-green and deep red. "They contribute such a nice color palette for fall arrangements," says Hillary, Johnny's floral and herb product manager. Just like flower-farmers, the team plants a succession of amaranth to ensure continual harvest late into the season's first frost.

The amaranth is reminiscent of chenille, a tufted fabric often associated with vintage robes or bedspread. The notion of creating an amaranth coat captured Johnny's Seeds' imagination.

FLORAL PALETTE Maine-grown amaranth and ornamental grasses from Johnny's Seeds, johnnyseeds.com, @johnnys_seeds DESIGNER Hillary Alger, Johnny's Seeds PRODUCTION ASSISTANCE Joy Longfellow, Johnny's Seeds MODELS Kristina Alofaituli and Lindsey Peter PHOTOGRAPHY Kristen Earley, Johnny's Seeds LOCATION Johnny's Trial Gardens, Winslow, Maine

"I had my doubts that amaranth would lend itself to this project or be as beautiful as it came out, because the colors are a little faded," Hillary observes. "But it seems obvious now, because the texture of the flowers and the structure of the plumes are very much like textile fibers."

Hillary and Joy, who manages Johnny's floral trials, harvested hundreds of amaranth stems, keeping them from getting brittle with an occasional spritz of water after drying. "We have a space in a barn here that we use for just drying flowers," Hillary says.

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AMERICAN FLOWERS WEEK 2022 DESIGN BY HILLARY ALGER PHOTOGRAPHY BY KRISTEN EARLEY

ONCE GROWN AS A FOOD COMMODITY, UPRIGHT AMARANTHUS CRUENTU AND TASSELED A. CAUDATUS ARE VALUED FOR THEIR ORNAMENTAL BEAUTY, INCLUDING WEARABLE FASHIONS WORTHY OF THE RUNWAY

great grains.

For their fourth botanical couture contribution to American Flowers Week, Johnny's Seeds flower specialists Hillary Alger and Joy Longfellow headed straight to the trial gardens where all the magic happens during the year, as they test and evaluate thousands of cut flower and herb varieties.

From late summer to early fall, one of the seed company's star annuals is the amaranth. Johnny's has seven varieties in its catalog, from upright burgundy, coral, and copper forms to the long, trailing options in lime-green and deep red. "They contribute such a nice color palette for fall arrangements," says Hillary, Johnny's floral and herb product manager. Just like flower-farmers, the team plants a succession of amaranth to ensure continual harvest late into the season's first frost.

The amaranth is reminiscent of chenille, a tufted fabric often associated with vintage robes or bedspread. The notion of creating an amaranth coat captured Johnny's Seeds' imagination.

FLORAL PALETTE Maine-grown amaranth and ornamental grasses from Johnny's Seeds, johnnyseeds.com, @johnnys_seeds DESIGNER Hillary Alger, Johnny's Seeds PRODUCTION ASSISTANCE Joy Longfellow, Johnny's Seeds MODELS Kristina Alofaituli and Lindsey Peter PHOTOGRAPHY Kristen Earley, Johnny's Seeds LOCATION Johnny's Trial Gardens, Winslow, Maine

"I had my doubts that amaranth would lend itself to this project or be as beautiful as it came out, because the colors are a little faded," Hillary observes. "But it seems obvious now, because the texture of the flowers and the structure of the plumes are very much like textile fibers."

Hillary and Joy, who manages Johnny's floral trials, harvested hundreds of amaranth stems, keeping them from getting brittle with an occasional spritz of water after drying. "We have a space in a barn here that we use for just drying flowers," Hillary says.

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To begin the design process, Hillary found a pair of velvet

AMERICAN FLOWERS WEEK 2022

women's blazers at a discount store. "The velvet was the same color as the copper-colored amaranth," she recalls.

She wanted two distinct coat shapes and the blazers were easily transformed to fit the two models, Kristina and Lindsay, two friends and fellow Johnny's employees. "They both work in shipping in the winter and on the farm here in the summer."

For Kristina's coat, Hillary cut off most of the sleeves and folded them over make a cap. She deconstructed amaranth plumes, treating them like strands of rope. "It's not efficient, but even though it was so much work, I found the process really fun, and it gave me some quiet, 'Zen' time," she says.

"WE WANTED THE OUTFITS TO LOOK MODERN AND EDGY, LIKE SOMETHING THEY WOULD ACTUALLY WEAR." To create the separate "hood" piece, Hillary used a handloom to weave a tapestry-like cloth with more lengths of ropey amaranth and some of the plumes. The flat surface application and contrasting fringed detailing transform a basic blazer.

Amaranth-covered booties complete the styling.

For the second garment, modeled by Lindsay, Hillary used the dark red amaranth to apply dramatic detailing across the back and shoulders. The chunky coat is paired with short-shorts and Ugg-style boots, embellished with layers of dried amaranth.

The benefit of using dried flowers for botanical couture design is that you can work on a piece over many days, or even weeks.

"I have a dress form at home, so I worked on the coats in the evenings," Hillary explains. "Then Joy and I had a couple sessions where we worked together and she also tackled some of the detailed smaller pieces on her own."

Kristen Early, Johnny's staff photographer, met up with the design team and models late one autumn day to document the project. The setting was simply perfect to showcase garments made from seasonal amaranth, traditionally grown as a grain.

Months later, the dried garments are hanging in Hillary's office at Johnny's, including one coat that's still "worn" by her tailor's dress form. "Once it's warm enough for the seeds to germinate, I think it will be fun to take the boots home and put them in my garden. With enough moisture and heat, they might just sprout.

And it could become another art project."

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To begin the design process, Hillary found a pair of velvet

AMERICAN FLOWERS WEEK 2022

women's blazers at a discount store. "The velvet was the same color as the copper-colored amaranth," she recalls.

She wanted two distinct coat shapes and the blazers were easily transformed to fit the two models, Kristina and Lindsay, two friends and fellow Johnny's employees. "They both work in shipping in the winter and on the farm here in the summer."

For Kristina's coat, Hillary cut off most of the sleeves and folded them over make a cap. She deconstructed amaranth plumes, treating them like strands of rope. "It's not efficient, but even though it was so much work, I found the process really fun, and it gave me some quiet, 'Zen' time," she says.

"WE WANTED THE OUTFITS TO LOOK MODERN AND EDGY, LIKE SOMETHING THEY WOULD ACTUALLY WEAR." To create the separate "hood" piece, Hillary used a handloom to weave a tapestry-like cloth with more lengths of ropey amaranth and some of the plumes. The flat surface application and contrasting fringed detailing transform a basic blazer.

Amaranth-covered booties complete the styling.

For the second garment, modeled by Lindsay, Hillary used the dark red amaranth to apply dramatic detailing across the back and shoulders. The chunky coat is paired with short-shorts and Ugg-style boots, embellished with layers of dried amaranth.

The benefit of using dried flowers for botanical couture design is that you can work on a piece over many days, or even weeks.

"I have a dress form at home, so I worked on the coats in the evenings," Hillary explains. "Then Joy and I had a couple sessions where we worked together and she also tackled some of the detailed smaller pieces on her own."

Kristen Early, Johnny's staff photographer, met up with the design team and models late one autumn day to document the project. The setting was simply perfect to showcase garments made from seasonal amaranth, traditionally grown as a grain.

Months later, the dried garments are hanging in Hillary's office at Johnny's, including one coat that's still "worn" by her tailor's dress form. "Once it's warm enough for the seeds to germinate, I think it will be fun to take the boots home and put them in my garden. With enough moisture and heat, they might just sprout.

And it could become another art project."

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AMERICAN FLOWERS WEEK 2022 DESIGN BY CARRIE WILCOX PHOTOGRAPHY BY JOANNA FISHER

1950s AMERICANA MEETS THE BEACH VIBE, COMPLETE WITH PINUP-GIRL STYLING

yellow polka-dot bikini.

Carrie Wilcox lives on the Connecticut shoreline, so when she dreamed up a botanical couture look, she wanted to portray vintage Americana and the beach lover's lifestyle.

Owner of Carrie Wilcox Floral Design based in Milford, Connecticut, Carrie operates a full-service events and wedding studio. For the past two years, she has served as lead floral designer for the First Lady's Luncheon, an annual charity event staged by members of the bipartisan Congressional Club to honor America’s first lady. The program features all U.S.-grown flowers provided by Certified American Grown farms.

Carrie has increasingly come to rely on locally grown flowers.

She is a regular customer of the Connecticut Flower Growers Collective, a regional wholesale flower hub involving more than 25 area specialty cut-flower farms.

Assisted by her lead designer, Tina Ahlberg, Carrie "wanted to design something that hasn't been done before," she explains.

"The 1950s was such a girly time and the two-piece swimsuit is fun, light and happy, which we need right now."

They covered the swimsuit straps with diminutive white paper flowers. Bright yellow Billy balls (Craspedia sp.) appear at the center of each daisy mum, continuing the motif across the shorts and bikini top. Addie Priest, their swimsuit model, is Tina's niece. Thanks to her California upbringing, she pulls off

FLORAL PALETTE Craspedia and paper flowers from CamFlor Inc. (California); Daisy mums and gerbera daisies from local wholesaler.

DESIGNER Carrie Wilcox, Carrie Wilcox Floral Design, carriewilcoxfloraldesign.com, @cwfloraldesign DESIGN ASSISTANCE Tina Ahlberg, Floral Surroundings LLC, floralsurroundingsllc.com, @tinasfloralsurroundings VINTAGE SWIMSUIT Unique Vintage, unique-vintage.com, @uniquevintage MODEL Addie Priest, @addiepriest HAIR/MAKEUP Blow Dry, blowdrysouthport.com, @blowdry_sw PHOTOGRAPHY Joanna Fisher, joannafisher.com, @joanna_fisher LOCATION Connecticut shoreline

the retro look in style, complete with daisy sunglasses and a flowery bathing cap (shown on page 19).

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AMERICAN FLOWERS WEEK 2022 DESIGN BY CARRIE WILCOX PHOTOGRAPHY BY JOANNA FISHER

1950s AMERICANA MEETS THE BEACH VIBE, COMPLETE WITH PINUP-GIRL STYLING

yellow polka-dot bikini.

Carrie Wilcox lives on the Connecticut shoreline, so when she dreamed up a botanical couture look, she wanted to portray vintage Americana and the beach lover's lifestyle.

Owner of Carrie Wilcox Floral Design based in Milford, Connecticut, Carrie operates a full-service events and wedding studio. For the past two years, she has served as lead floral designer for the First Lady's Luncheon, an annual charity event staged by members of the bipartisan Congressional Club to honor America’s first lady. The program features all U.S.-grown flowers provided by Certified American Grown farms.

Carrie has increasingly come to rely on locally grown flowers.

She is a regular customer of the Connecticut Flower Growers Collective, a regional wholesale flower hub involving more than 25 area specialty cut-flower farms.

Assisted by her lead designer, Tina Ahlberg, Carrie "wanted to design something that hasn't been done before," she explains.

"The 1950s was such a girly time and the two-piece swimsuit is fun, light and happy, which we need right now."

They covered the swimsuit straps with diminutive white paper flowers. Bright yellow Billy balls (Craspedia sp.) appear at the center of each daisy mum, continuing the motif across the shorts and bikini top. Addie Priest, their swimsuit model, is Tina's niece. Thanks to her California upbringing, she pulls off

FLORAL PALETTE Craspedia and paper flowers from CamFlor Inc. (California); Daisy mums and gerbera daisies from local wholesaler.

DESIGNER Carrie Wilcox, Carrie Wilcox Floral Design, carriewilcoxfloraldesign.com, @cwfloraldesign DESIGN ASSISTANCE Tina Ahlberg, Floral Surroundings LLC, floralsurroundingsllc.com, @tinasfloralsurroundings VINTAGE SWIMSUIT Unique Vintage, unique-vintage.com, @uniquevintage MODEL Addie Priest, @addiepriest HAIR/MAKEUP Blow Dry, blowdrysouthport.com, @blowdry_sw PHOTOGRAPHY Joanna Fisher, joannafisher.com, @joanna_fisher LOCATION Connecticut shoreline

the retro look in style, complete with daisy sunglasses and a flowery bathing cap (shown on page 19).

44 SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

45

AMERICAN FLOWERS WEEK 2022 DESIGN BY JENNY M. DIAZ PHOTOGRAPHY BY JENNY M. DIAZ

SHADES OF PINK, LAVENDER, AND BLUE REFLECT CALIFORNIA'S BRILLIANT SKY IN A FLORAL FROCK WORN BY THE DESIGNER'S MOTHER

purple pastoral.

To create a floral experience to celebrate her mother, Jill Moore, designer Jenny Moore Diaz crafted a feminine botanical dress with a fitted bodice and handkerchief hemline."I am turning 40 this year, and I remember my mom telling me that she found her passion for running and hiking when she turned 40," Jenny recalls. "She inspires me, and I wanted to honor her with this project."

Jenny is Slow Flowers Society's longtime graphic designer, who has created two botanical couture looks for past American Flowers Week celebrations, both modeled by "real women" and photographed by Jenny. In discussing her palette with Carlos Cardoza of CamFlor Inc., which donated the flowers, she asked for shades of purple and blue. "I knew those colors would flatter my mom and look great with her complexion," she says.

Flat flower heads (scabiosa and bachelor's button), petals (godetia) and leaves (ornamental cabbage) form a color-block pattern on the bodice. Lavender sprigs adorn the shoulder straps. For the skirt, Jenny chose long-stem flowers like larkspur, limonium, statice, and dianthus, plus vining sweet peas. The flower heads face downward toward the hemline,

DESIGN ASSISTANCE Jim Moore MODEL Jill Moore

Photography took place on the 20-acre property where Jenny

HAIR/MAKEUP Jill Moore

foothills. "The grasses, the trees, the sky — together it all felt like the perfect setting for a woman who loves to hike and who loves nature," Jenny says.

SLOW FLOWERS JOURNAL

DESIGNER Jenny M. Diaz, jennymdiaz.com, @jennymdiaz

falling into a soft drape with each section of the skirt.

lives with her family in Central California's Sierra Mountains

46

FLORAL PALETTE Bachelor's button, dianthus, godetia, larkspur, lavender, limonium, ornamental cabbage, scabiosa, statice, and sweet peas from CamFlor Inc. (California).

PHOTOGRAPHY Jenny M. Diaz LOCATION Prather, California

SLOW FLOWERS JOURNAL

47

AMERICAN FLOWERS WEEK 2022 DESIGN BY JENNY M. DIAZ PHOTOGRAPHY BY JENNY M. DIAZ

SHADES OF PINK, LAVENDER, AND BLUE REFLECT CALIFORNIA'S BRILLIANT SKY IN A FLORAL FROCK WORN BY THE DESIGNER'S MOTHER

purple pastoral.

To create a floral experience to celebrate her mother, Jill Moore, designer Jenny Moore Diaz crafted a feminine botanical dress with a fitted bodice and handkerchief hemline."I am turning 40 this year, and I remember my mom telling me that she found her passion for running and hiking when she turned 40," Jenny recalls. "She inspires me, and I wanted to honor her with this project."

Jenny is Slow Flowers Society's longtime graphic designer, who has created two botanical couture looks for past American Flowers Week celebrations, both modeled by "real women" and photographed by Jenny. In discussing her palette with Carlos Cardoza of CamFlor Inc., which donated the flowers, she asked for shades of purple and blue. "I knew those colors would flatter my mom and look great with her complexion," she says.

Flat flower heads (scabiosa and bachelor's button), petals (godetia) and leaves (ornamental cabbage) form a color-block pattern on the bodice. Lavender sprigs adorn the shoulder straps. For the skirt, Jenny chose long-stem flowers like larkspur, limonium, statice, and dianthus, plus vining sweet peas. The flower heads face downward toward the hemline,

DESIGN ASSISTANCE Jim Moore MODEL Jill Moore

Photography took place on the 20-acre property where Jenny

HAIR/MAKEUP Jill Moore

foothills. "The grasses, the trees, the sky — together it all felt like the perfect setting for a woman who loves to hike and who loves nature," Jenny says.

SLOW FLOWERS JOURNAL

DESIGNER Jenny M. Diaz, jennymdiaz.com, @jennymdiaz

falling into a soft drape with each section of the skirt.

lives with her family in Central California's Sierra Mountains

46

FLORAL PALETTE Bachelor's button, dianthus, godetia, larkspur, lavender, limonium, ornamental cabbage, scabiosa, statice, and sweet peas from CamFlor Inc. (California).

PHOTOGRAPHY Jenny M. Diaz LOCATION Prather, California

SLOW FLOWERS JOURNAL

47

AMERICAN FLOWERS WEEK 2022 DESIGN BY JEN HINSON PHOTOGRAPHY BY RACHEL KEMPKER

ILLUSTRATOR SHELLEY ALDRICH COVERS THE COUNTRY IN DELICATE, HAND-DRAWN BOTANICALS

a floral map.

The 2022 American Flowers Week branding was created exclusively for Slow Flowers Society by Shelley Aldrich, a painter and illustrator, based in Rancho Palos Verdes, California.

INSPIRED BY THE ARTS & CRAFTS MOVEMENT AND THE FLORAL TEXTILES

Jen Hinson turned to her cutting garden and her relatives' historic gardens to create carefree and naturalistic floral designs for Clara's Garden, a retail flower shop in Mediapolis, Iowa, founded in 2000 by Meredith Hinson, her mother and partner.

While providing the floral decor for a historic home tour in Burlington, Iowa, home of the state's first capitol, Jen was attracted to the classic floral wallpaper of British artist William Morris. His designs feature leaves, vines, and flowers — often against a dark green or black field.

Jen reimagined those prints as a botanical maxi skirt, fashioned with viburnum foliage supported by a wraparound structure of chicken wire. Into this matrix, she inserted just-clipped peonies, roses, and irises, creating a nostalgic floral print.

50

SLOW FLOWERS JOURNAL

She has always enjoyed creative hobbies, but her decision to become self-employed allowed her to study and practice painting. She started with The 100 Day Project in 2018 and has not stopped. Her joyful and playful painting style is still evolving but is always inspired by the natural world.

Like some of our past commissions, we discovered Shelley

FOLLOW HER @shelleyaldrichminimuseum

on Instagram, drawn to her whimsical and lyrical painting

shelleyaldrich.com

technique that depicts botanical patterns, flowers, and gardens,

etsy.com/shop/ShelleyAldrichArt

wildlife, and people.

OF 19TH CENTURY ARTIST WILLIAM MORRIS

garden motif.

ABOUT Shelley is a self-taught artist who began painting four years ago.

She studied Business Administration at the University of Southern California and worked as a financial professional for two decades in the entertainment, technology, and auto industries. In 2014, she quit the corporate world to spend more time at home with her two daughters.

Shelley brainstormed several ideas for an original American FLORAL PALETTE Garden roses, peonies, heirloom iris, and viburnum foliage, harvested from Quail Creek Flower Farm, Mediapolis, Iowa DESIGNER Jen Hinson, clarasgardenia.com, @clarasgardenmepo PRODUCTION SUPPORT Tracy Nelson MODEL Lauren Sieren, @laurensieren HAIR/MAKEUP Lauren Sieren PHOTOGRAPHY Rachel Kempker, kapturedbykempker. mypixieset.com, @kapturedbykempker LOCATION Clara's Garden at Quail Creek Flower Farm

Flowers Week illustration — and the final concept became an utterly charming USA map with red, white, and blue blooms.

The flowers are intended to be playful and familiar, while not literally replicated.

We recently caught up with Shelley for a conversation: Q. How do you describe yourself and your art?

A. I would say my art is playful, bright, and imperfect. Without formal training, I paint and draw using my instinct versus learned techniques. So, it has a childlike simplicity.

Q. How did you develop your unique style and aesthetic?

A. Initially, I wanted to illustrate children's books. If you look at some of my earlier work, you'll see I drew characters. Last November, I started drawing patterns, which felt more natural for me. It was a whole different way of thinking to switch from illustrating a children's story to making surface patterns. It was almost a relief for me to just draw freely and not think about SLOW FLOWERS JOURNAL

51

AMERICAN FLOWERS WEEK 2022 DESIGN BY JEN HINSON PHOTOGRAPHY BY RACHEL KEMPKER

ILLUSTRATOR SHELLEY ALDRICH COVERS THE COUNTRY IN DELICATE, HAND-DRAWN BOTANICALS

a floral map.

The 2022 American Flowers Week branding was created exclusively for Slow Flowers Society by Shelley Aldrich, a painter and illustrator, based in Rancho Palos Verdes, California.

INSPIRED BY THE ARTS & CRAFTS MOVEMENT AND THE FLORAL TEXTILES

Jen Hinson turned to her cutting garden and her relatives' historic gardens to create carefree and naturalistic floral designs for Clara's Garden, a retail flower shop in Mediapolis, Iowa, founded in 2000 by Meredith Hinson, her mother and partner.

While providing the floral decor for a historic home tour in Burlington, Iowa, home of the state's first capitol, Jen was attracted to the classic floral wallpaper of British artist William Morris. His designs feature leaves, vines, and flowers — often against a dark green or black field.

Jen reimagined those prints as a botanical maxi skirt, fashioned with viburnum foliage supported by a wraparound structure of chicken wire. Into this matrix, she inserted just-clipped peonies, roses, and irises, creating a nostalgic floral print.

50

SLOW FLOWERS JOURNAL

She has always enjoyed creative hobbies, but her decision to become self-employed allowed her to study and practice painting. She started with The 100 Day Project in 2018 and has not stopped. Her joyful and playful painting style is still evolving but is always inspired by the natural world.

Like some of our past commissions, we discovered Shelley

FOLLOW HER @shelleyaldrichminimuseum

on Instagram, drawn to her whimsical and lyrical painting

shelleyaldrich.com

technique that depicts botanical patterns, flowers, and gardens,

etsy.com/shop/ShelleyAldrichArt

wildlife, and people.

OF 19TH CENTURY ARTIST WILLIAM MORRIS

garden motif.

ABOUT Shelley is a self-taught artist who began painting four years ago.

She studied Business Administration at the University of Southern California and worked as a financial professional for two decades in the entertainment, technology, and auto industries. In 2014, she quit the corporate world to spend more time at home with her two daughters.

Shelley brainstormed several ideas for an original American FLORAL PALETTE Garden roses, peonies, heirloom iris, and viburnum foliage, harvested from Quail Creek Flower Farm, Mediapolis, Iowa DESIGNER Jen Hinson, clarasgardenia.com, @clarasgardenmepo PRODUCTION SUPPORT Tracy Nelson MODEL Lauren Sieren, @laurensieren HAIR/MAKEUP Lauren Sieren PHOTOGRAPHY Rachel Kempker, kapturedbykempker. mypixieset.com, @kapturedbykempker LOCATION Clara's Garden at Quail Creek Flower Farm

Flowers Week illustration — and the final concept became an utterly charming USA map with red, white, and blue blooms.

The flowers are intended to be playful and familiar, while not literally replicated.

We recently caught up with Shelley for a conversation: Q. How do you describe yourself and your art?

A. I would say my art is playful, bright, and imperfect. Without formal training, I paint and draw using my instinct versus learned techniques. So, it has a childlike simplicity.

Q. How did you develop your unique style and aesthetic?

A. Initially, I wanted to illustrate children's books. If you look at some of my earlier work, you'll see I drew characters. Last November, I started drawing patterns, which felt more natural for me. It was a whole different way of thinking to switch from illustrating a children's story to making surface patterns. It was almost a relief for me to just draw freely and not think about SLOW FLOWERS JOURNAL

51

AMERICAN FLOWERS WEEK 2022 getting a character and environment just right.

Q. When you draw florals, do you work from your imagination?

A. I almost always work from a reference photograph when I draw landscapes and florals. When I was drawing children's book illustrations, I often worked from my imagination, but flowers are a lot different.

Q. What is your drawing process?

A. I used to always start with a tiny thumbnail sketch to test

CELEBRATING AMERICAN FLOWERS WEEK | RED BARN AT MAPLE GROVE FARM & STONE BARNS CENTER

THANK YOU TO OUR GENEROUS SPONSORS

composition and color before a final painting. But this year, I discovered Procreate. I never thought I would go digital but it’s immensely easier, especially when it comes to surface patterns.

Q. What other media do you use?

A. When I draw landscapes, I like to work with acrylic gouache.

It has a beautiful opaque, matte finish to it and the layers dry quickly so I can paint colors on top of each other. It allows me to achieve landscapes with a graphic feeling that I like.

Q. How did art and drawing "sneak up" on you?

A. I always loved doodling and making crafts, but I took a more traditional route, studying business in college. I worked in finance for 22 years. While I was working, I would find moments to be creative like teaching art at my daughters’ school, scrapbooking, and even starting a handmade party goods business called Pipsqueak & Bean. I never fully committed to art — most likely out of fear. It wasn’t until 2018, almost exactly a year after losing my mom, that I finally decided I was going to learn to paint. I guess you could say art has been slowly sneaking up on me for many years.

Red Barn at Maple Grove Farm | Details Flowers Software | Osborne Quality Seeds | True Client Pro OLMS Bamboo Floral | EcoFresh Bouquet | Longfield Gardens | New Age Floral

Q. What kind of commissions are you receiving?

A. My illustrations are being used for journals, cards, phone cases, fabrics, scarves, and some clothing.

Q. Are you surprised at the response to your illustrations?

A. It is crazy because things are starting to take off for me.

Suddenly, I'm hearing from clients and getting commissions from people who like my style. I always remind myself about Julia Child and Grandma Moses, women who started careers

A Three-day Summit for creative professionals, thought leaders, and pioneering voices in the progressive Slow Flowers Community

even when they were told it was too late for their age. Finally, it feels like the right time to start my art career, a new adventure.

www.slowflowerssociety.com @slowflowerssociety A PRODUCTION OF DEBRA PRINZING AND SLOW FLOWERS LLC

52

SLOW FLOWERS JOURNAL

AMERICAN FLOWERS WEEK 2022 getting a character and environment just right.

Q. When you draw florals, do you work from your imagination?

A. I almost always work from a reference photograph when I draw landscapes and florals. When I was drawing children's book illustrations, I often worked from my imagination, but flowers are a lot different.

Q. What is your drawing process?

A. I used to always start with a tiny thumbnail sketch to test

CELEBRATING AMERICAN FLOWERS WEEK | RED BARN AT MAPLE GROVE FARM & STONE BARNS CENTER

THANK YOU TO OUR GENEROUS SPONSORS

composition and color before a final painting. But this year, I discovered Procreate. I never thought I would go digital but it’s immensely easier, especially when it comes to surface patterns.

Q. What other media do you use?

A. When I draw landscapes, I like to work with acrylic gouache.

It has a beautiful opaque, matte finish to it and the layers dry quickly so I can paint colors on top of each other. It allows me to achieve landscapes with a graphic feeling that I like.

Q. How did art and drawing "sneak up" on you?

A. I always loved doodling and making crafts, but I took a more traditional route, studying business in college. I worked in finance for 22 years. While I was working, I would find moments to be creative like teaching art at my daughters’ school, scrapbooking, and even starting a handmade party goods business called Pipsqueak & Bean. I never fully committed to art — most likely out of fear. It wasn’t until 2018, almost exactly a year after losing my mom, that I finally decided I was going to learn to paint. I guess you could say art has been slowly sneaking up on me for many years.

Red Barn at Maple Grove Farm | Details Flowers Software | Osborne Quality Seeds | True Client Pro OLMS Bamboo Floral | EcoFresh Bouquet | Longfield Gardens | New Age Floral

Q. What kind of commissions are you receiving?

A. My illustrations are being used for journals, cards, phone cases, fabrics, scarves, and some clothing.

Q. Are you surprised at the response to your illustrations?

A. It is crazy because things are starting to take off for me.

Suddenly, I'm hearing from clients and getting commissions from people who like my style. I always remind myself about Julia Child and Grandma Moses, women who started careers

A Three-day Summit for creative professionals, thought leaders, and pioneering voices in the progressive Slow Flowers Community

even when they were told it was too late for their age. Finally, it feels like the right time to start my art career, a new adventure.

www.slowflowerssociety.com @slowflowerssociety A PRODUCTION OF DEBRA PRINZING AND SLOW FLOWERS LLC

52

SLOW FLOWERS JOURNAL

FLOWERS FROM THE HEART BY MISTY VANDERWEELE PHOTOGRAPHY BY AMBER LANPHIER

the purple dahlia.

I was a true, no seat-belt-wearing flower child of the 1970s with baby's breath in my hair. In my early childhood memories, I'm bellying up to the dining room table, feet dangling, planting plump sunflower seeds in those just-add-water expandable pots.

Growing up in the 1980s, in what was considered rural Alaska, barefoot and riding bikes down the dirt road, was mostly good until it wasn’t. Navigating the waves of my mother's unpredictable emotions and temper, it was natural for me to be outside away from her, lost in nature. I was always digging up clumps of lupine, yarrow, and other wildflowers to replant them somewhere I thought would be prettier, never minding Mother Nature. Later, in high school, as my first real job besides babysitting the neighbor kids, I worked at a nursery transplanting a summer's worth of lobelia and other flowers. I loved every minute of having my hands in the dirt, the earthy smells, and the sweet warmth of the greenhouse.

Not only is purple my favorite color, I knew Luke's dahlias were wonderful to have and to remember him each time they bloomed.

Through my very early twenties, the birth of my son and subsequent divorce, the iris was “my” flower. I loved its deep colors: blue reflecting hues of dark purple. Since then, I’ve learned the meaning of the iris is, “I have a message for you.” Was I listening? Not really. Like most 20-year-olds, I was searching for happiness, love, and meaning in my life.

Also at this point, although flowers were present around me, I really didn’t know their significance. But they kept showing up.

Enter the potato guy, Glen, my all-of-the-above Dutch farmer who chose me and a sick little boy with Muscular Dystrophy named Luke to call his own. On our bed there is a pillow with a

54

SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

55

FLOWERS FROM THE HEART BY MISTY VANDERWEELE PHOTOGRAPHY BY AMBER LANPHIER

the purple dahlia.

I was a true, no seat-belt-wearing flower child of the 1970s with baby's breath in my hair. In my early childhood memories, I'm bellying up to the dining room table, feet dangling, planting plump sunflower seeds in those just-add-water expandable pots.

Growing up in the 1980s, in what was considered rural Alaska, barefoot and riding bikes down the dirt road, was mostly good until it wasn’t. Navigating the waves of my mother's unpredictable emotions and temper, it was natural for me to be outside away from her, lost in nature. I was always digging up clumps of lupine, yarrow, and other wildflowers to replant them somewhere I thought would be prettier, never minding Mother Nature. Later, in high school, as my first real job besides babysitting the neighbor kids, I worked at a nursery transplanting a summer's worth of lobelia and other flowers. I loved every minute of having my hands in the dirt, the earthy smells, and the sweet warmth of the greenhouse.

Not only is purple my favorite color, I knew Luke's dahlias were wonderful to have and to remember him each time they bloomed.

Through my very early twenties, the birth of my son and subsequent divorce, the iris was “my” flower. I loved its deep colors: blue reflecting hues of dark purple. Since then, I’ve learned the meaning of the iris is, “I have a message for you.” Was I listening? Not really. Like most 20-year-olds, I was searching for happiness, love, and meaning in my life.

Also at this point, although flowers were present around me, I really didn’t know their significance. But they kept showing up.

Enter the potato guy, Glen, my all-of-the-above Dutch farmer who chose me and a sick little boy with Muscular Dystrophy named Luke to call his own. On our bed there is a pillow with a

54

SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

55

FLOWERS FROM THE HEART pretty font that reads," It all started with a paper rose.” We first

life was shortened by the monster, Duchenne, a 100% fatal,

met at the local “hot spot” and after a couple failed attempts to

muscle-wasting disease. When Luke was four, we were told he’d

get me to dance with him, Glen made me a flower out of a bar

be lucky to graduate high school. Which he thankfully did in 2010.

napkin, beer logo and all. So cheesy, so sweet. How could I refuse?

He died in 2013.

Besides, we all know the rose to be a classic symbol of love. To honor how we met, we held a rose ceremony during our wedding.

It reminds us it is love that brought us here, and it is love that will

They say grief comes from not being able to receive love from the

keep us together.

departed and lack of being able to express ours in return.

During the early days of our relationship, before our daughter

But I’m here to tell you, death doesn’t stop love and a flower showed me.

Jenna was born, I planted flowers in some halved wine barrels. I also found some weathered wooden crates, which made perfect mini flower gardens around the yard. Every summer, Glen would

Numb, debilitating exhaustion was my new normal. I sought

load up our son for an outing and they’d return with a bouquet of

refuge in a long-ago gift from him. Eyes closed, with tears

dahlias purchased at a roadside stand where you put the money

streaming down my cheeks, I plunged my face into the depths

through a slot in the box.

of the large, magenta-purple dahlia bloom like my life depended on it. Every ounce of me ached from missing him. It had only

LUKE'S DAHLIAS When Luke was in kindergarten, he brought home a spindly little dahlia that he planted at school for Mother's Day. It didn't look so well. Pathetic, really. Not knowing much about dahlias, I wasn’t sure I could revive it.

Days later the seedling perked up. My father-in-law, the seasoned Dutch farmer that he is, told me dahlias grow tubers that can be divided, so I could have more and more dahlias every year. The idea intrigued me. When my seedling bloomed into a purple flower, I knew I had to learn how to divide the tubers in the fall. Not only is purple my favorite color, I knew Luke's dahlias were wonderful to have and to remember him each time they bloomed.

Those were busy times, raising the kids and working the farm to

been seven months. Flashes of memories came to me, shooting

pay the bills. We had one child starting to walk while the other

like stars. I could hear, smell, and practically taste them on my

was declining, taking his last steps before full-time wheelchair

tongue. Suffocating emotions swept me down the river of grief

use. We were in the throes of day-to-day living, trying to provide

I was becoming all too familiar with. When I opened my eyes

Luke with the best quality of life we could for however long we

would I see him before me? Wait, what was that I felt? A shimmer

had him.

of lightness or was it a glimpse of pure joy? The color of warmth

Part of being so optimistic and focusing on quality of life had me noticing how few parents were speaking up or even advocating for Duchenne care and research. So, in my in-between times while Duchenne ravaged my son’s body, stealing his muscles, I decided I would be that parent. I knew sharing our journey would help others. What I learned, I shared. And sharing brought me comfort.

At least I was doing something about it. Sort of.

And no matter how busy or stressed out we got, I always made time to plant flowers.

SLOW FLOWERS JOURNAL

feathery feel. For a few minutes the expanding, painful pressure throughout my body was gone, leaving a peace within me I had never felt before in my life! I thought, "Thank God I had the forethought to save Luke's dahlias." I cried out, falling to my knees, saying, “Thank you, thank you, thank you," over and over.

I planted all the tubers that propagated since that very first dahlia seedling he brought home to me when he was in kindergarten all those years ago. Dahlias fulfilled my mission to have something from Luke, long after he was gone. At the time, I had no idea of

We had our beautiful boy for 21 years and 21 days. Trying to bring

the bounty I bestowed upon myself. I was following my mother's

comfort while I said my last goodbyes, I made Luke a promise that

broken heart's need to feel connection, which turned out to be

I’d find a way to thrive through the tears of missing him. I had

wisdom before its time. Little did I know that with the assistance

absolutely no idea how on Earth I was to accomplish something

of a flower I was creating a channel for me to feel my son’s love.

like this. At the time, it felt nearly impossible, but I made the

With every bloom it's like he is loving me from heaven.

promise anyway.

56

enveloped me with golden white light, thick as honey with a soft

They say grief comes from not being able to receive love from the

My entire being hurt from the worst nightmare a mother can

departed and lack of being able to express ours in return. But I’m

endure. Nothing could’ve prepared me, even knowing my son’s

here to tell you, death doesn’t stop love and a flower showed me.

SLOW FLOWERS JOURNAL

57

FLOWERS FROM THE HEART pretty font that reads," It all started with a paper rose.” We first

life was shortened by the monster, Duchenne, a 100% fatal,

met at the local “hot spot” and after a couple failed attempts to

muscle-wasting disease. When Luke was four, we were told he’d

get me to dance with him, Glen made me a flower out of a bar

be lucky to graduate high school. Which he thankfully did in 2010.

napkin, beer logo and all. So cheesy, so sweet. How could I refuse?

He died in 2013.

Besides, we all know the rose to be a classic symbol of love. To honor how we met, we held a rose ceremony during our wedding.

It reminds us it is love that brought us here, and it is love that will

They say grief comes from not being able to receive love from the

keep us together.

departed and lack of being able to express ours in return.

During the early days of our relationship, before our daughter

But I’m here to tell you, death doesn’t stop love and a flower showed me.

Jenna was born, I planted flowers in some halved wine barrels. I also found some weathered wooden crates, which made perfect mini flower gardens around the yard. Every summer, Glen would

Numb, debilitating exhaustion was my new normal. I sought

load up our son for an outing and they’d return with a bouquet of

refuge in a long-ago gift from him. Eyes closed, with tears

dahlias purchased at a roadside stand where you put the money

streaming down my cheeks, I plunged my face into the depths

through a slot in the box.

of the large, magenta-purple dahlia bloom like my life depended on it. Every ounce of me ached from missing him. It had only

LUKE'S DAHLIAS When Luke was in kindergarten, he brought home a spindly little dahlia that he planted at school for Mother's Day. It didn't look so well. Pathetic, really. Not knowing much about dahlias, I wasn’t sure I could revive it.

Days later the seedling perked up. My father-in-law, the seasoned Dutch farmer that he is, told me dahlias grow tubers that can be divided, so I could have more and more dahlias every year. The idea intrigued me. When my seedling bloomed into a purple flower, I knew I had to learn how to divide the tubers in the fall. Not only is purple my favorite color, I knew Luke's dahlias were wonderful to have and to remember him each time they bloomed.

Those were busy times, raising the kids and working the farm to

been seven months. Flashes of memories came to me, shooting

pay the bills. We had one child starting to walk while the other

like stars. I could hear, smell, and practically taste them on my

was declining, taking his last steps before full-time wheelchair

tongue. Suffocating emotions swept me down the river of grief

use. We were in the throes of day-to-day living, trying to provide

I was becoming all too familiar with. When I opened my eyes

Luke with the best quality of life we could for however long we

would I see him before me? Wait, what was that I felt? A shimmer

had him.

of lightness or was it a glimpse of pure joy? The color of warmth

Part of being so optimistic and focusing on quality of life had me noticing how few parents were speaking up or even advocating for Duchenne care and research. So, in my in-between times while Duchenne ravaged my son’s body, stealing his muscles, I decided I would be that parent. I knew sharing our journey would help others. What I learned, I shared. And sharing brought me comfort.

At least I was doing something about it. Sort of.

And no matter how busy or stressed out we got, I always made time to plant flowers.

SLOW FLOWERS JOURNAL

feathery feel. For a few minutes the expanding, painful pressure throughout my body was gone, leaving a peace within me I had never felt before in my life! I thought, "Thank God I had the forethought to save Luke's dahlias." I cried out, falling to my knees, saying, “Thank you, thank you, thank you," over and over.

I planted all the tubers that propagated since that very first dahlia seedling he brought home to me when he was in kindergarten all those years ago. Dahlias fulfilled my mission to have something from Luke, long after he was gone. At the time, I had no idea of

We had our beautiful boy for 21 years and 21 days. Trying to bring

the bounty I bestowed upon myself. I was following my mother's

comfort while I said my last goodbyes, I made Luke a promise that

broken heart's need to feel connection, which turned out to be

I’d find a way to thrive through the tears of missing him. I had

wisdom before its time. Little did I know that with the assistance

absolutely no idea how on Earth I was to accomplish something

of a flower I was creating a channel for me to feel my son’s love.

like this. At the time, it felt nearly impossible, but I made the

With every bloom it's like he is loving me from heaven.

promise anyway.

56

enveloped me with golden white light, thick as honey with a soft

They say grief comes from not being able to receive love from the

My entire being hurt from the worst nightmare a mother can

departed and lack of being able to express ours in return. But I’m

endure. Nothing could’ve prepared me, even knowing my son’s

here to tell you, death doesn’t stop love and a flower showed me.

SLOW FLOWERS JOURNAL

57

THE BUSINESS OF FLOWERS BY ALISON ELLIS

are you sustainable?

When we talk about running a more sustainable floral business, we usually think about flower sourcing and environmental issues such as limiting chemical use and embracing foam-free mechanics, but what does it look like to build sustainability into your business strategy?

Sustainable businesses aim to balance profits, people, and the planet when creating company practices, but the truth is that most floral designers and flower-farmers I know started their business because of a passion for flowers — not because they are experts in supply chains and sustainability. If you’re an experienced florist or farmer, you already know that it takes more than a love of flowers to maintain a profitable flower business.

It takes a combination of passion and planning to run a business and there are four basic elements that contribute to long-term success and sustainability in the floral industry — no matter how big or small your operation may be. I refer to these as the four

Are you tracking your profit margins on every event?

Are you reaching your ideal clients — people who can afford you and are willing to pay you?

pricing and profitability, attracting great clients, and closing sales

Are you reaching your sales goals?

While there’s no such thing as a self-sustaining business, when you acquire (or become proficient in) these basic elements your business plan and sales systems start to become more sustainable, teachable, and transferable (if you ever want to train employees, sell your business, or retire).

Let’s break down the four fundamentals: 1. FLOWER CARE AND DESIGN PRINCIPLES. This is #1 on the list because understanding basic flower care and handling, as PHOTOGRAPHY BY POGO PHOTO

business strategy:

improved upon over time, including flower care and design skill, consistently.

SLOW FLOWERS JOURNAL

Here are questions to answer when it comes to your own sustainable

Or do you need to redefine your ideal customer and start talking to them more specifically?

Floralpreneur® Fundamentals, each of which can be learned and

58

PRO TIPS

well as botanical nomenclature, is foundational in professional floristry. Naturally, the artisanship and quality of your flowers

What is your business known for?

Are you happy with your work schedule or do you need to scale back?

In what way is your company growing or nailing down your niche?

What are your current clients saying about their experience with your company?

YOU CAN FIND MORE TIPS: REALFLOWERBUSINESS.COM

will be critical to your long-term success, as this establishes your signature style and serves as the visual representation of your

SLOW FLOWERS JOURNAL

59

THE BUSINESS OF FLOWERS BY ALISON ELLIS

are you sustainable?

When we talk about running a more sustainable floral business, we usually think about flower sourcing and environmental issues such as limiting chemical use and embracing foam-free mechanics, but what does it look like to build sustainability into your business strategy?

Sustainable businesses aim to balance profits, people, and the planet when creating company practices, but the truth is that most floral designers and flower-farmers I know started their business because of a passion for flowers — not because they are experts in supply chains and sustainability. If you’re an experienced florist or farmer, you already know that it takes more than a love of flowers to maintain a profitable flower business.

It takes a combination of passion and planning to run a business and there are four basic elements that contribute to long-term success and sustainability in the floral industry — no matter how big or small your operation may be. I refer to these as the four

Are you tracking your profit margins on every event?

Are you reaching your ideal clients — people who can afford you and are willing to pay you?

pricing and profitability, attracting great clients, and closing sales

Are you reaching your sales goals?

While there’s no such thing as a self-sustaining business, when you acquire (or become proficient in) these basic elements your business plan and sales systems start to become more sustainable, teachable, and transferable (if you ever want to train employees, sell your business, or retire).

Let’s break down the four fundamentals: 1. FLOWER CARE AND DESIGN PRINCIPLES. This is #1 on the list because understanding basic flower care and handling, as PHOTOGRAPHY BY POGO PHOTO

business strategy:

improved upon over time, including flower care and design skill, consistently.

SLOW FLOWERS JOURNAL

Here are questions to answer when it comes to your own sustainable

Or do you need to redefine your ideal customer and start talking to them more specifically?

Floralpreneur® Fundamentals, each of which can be learned and

58

PRO TIPS

well as botanical nomenclature, is foundational in professional floristry. Naturally, the artisanship and quality of your flowers

What is your business known for?

Are you happy with your work schedule or do you need to scale back?

In what way is your company growing or nailing down your niche?

What are your current clients saying about their experience with your company?

YOU CAN FIND MORE TIPS: REALFLOWERBUSINESS.COM

will be critical to your long-term success, as this establishes your signature style and serves as the visual representation of your

SLOW FLOWERS JOURNAL

59

THE BUSINESS OF FLOWERS

SLOW FLOWERS PODCAST HIGHLIGHTS

brand (much more important than a perfect logo).

2. PRICING FOR PROFITABILITY. Turning a profit is a key

top five.

Slow Flowers Podcast Episodes (January-May 2022)

distinction between running a business and having a hobby.

That’s why it’s essential to have a clear understanding of how you bring money into your business, as well as how much money

Don’t be afraid to find the "growth edges." And to continue with the plant metaphors here, it’s also important to prune offerings or services from your business that no longer make sense.

you’re actually keeping.

Pricing for profit is not just about how much you charge, it’s also

EPISODE 539 Meet Gina Lett Shrewsberry of Inspirations by Gina and Valerie Crisostomo, founder of Black Girl Florists.

WATCH HERE

about how much you spend. Instead of underpricing or overfilling orders, a sustainable business tracks profit margins and avoids overbuying.

Remember, the first rule of business ownership is to “pay yourself first.” If you want to be sustainable, price your work so that you can pay yourself, pay your bills, and save for retirement.

3. ATTRACTING GREAT CLIENTS. The ultimate goal of any

EPISODE 542 Welcome to 2022 and the Slow Flowers Floral Insights & Industry Forecast with Debra Prinzing and Bloom Imprint's Robin Avni.

WATCH HERE

business is to establish a reputable brand that delivers on its promise, and attracts great clients who are willing to pay you.

Marketing, branding, referrals, and website design are all important to help customers find your company, but what best defines your long-term success is what people actually experience when they collaborate with you. That is what keeps customers coming back (or not).

EPISODE 546 Oregon-grown flowers with Bethany Little of Charles Little& Co. and Beth Syphers of Crowley House Farm.

WATCH HERE

4. BOOKING CLIENTS AND CLOSING SALES CONSISTENTLY.

What do you need to shed to find more joy in your work?

Once you attract your dream clients, you need to lay out clear steps in your sales process to help lead them to “yes.” If you want to book more clients, create a sales system to help you and your staff close sales quickly and confidently.

If any of these four elements are out of balance, a business will

EPISODE 554 A garden and studio tour with Lorene Edwards Forkner, sharing her new book Color In and Out of the Garden.

WATCH HERE

begin to struggle.

This is why, in addition to more sustainable sourcing and eco-friendly design mechanics, your business should plan to

EPISODE 559

incorporate sustainability into a balanced, overall strategy for

Flowers as Artist's Muse: Meet Ronni Nicole Robinson.

profitability, sales, and customer experiences so that you can

WATCH HERE

focus on the people you most want to serve, and build a brand that lasts for the long run.

60 SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

61

THE BUSINESS OF FLOWERS

SLOW FLOWERS PODCAST HIGHLIGHTS

brand (much more important than a perfect logo).

2. PRICING FOR PROFITABILITY. Turning a profit is a key

top five.

Slow Flowers Podcast Episodes (January-May 2022)

distinction between running a business and having a hobby.

That’s why it’s essential to have a clear understanding of how you bring money into your business, as well as how much money

Don’t be afraid to find the "growth edges." And to continue with the plant metaphors here, it’s also important to prune offerings or services from your business that no longer make sense.

you’re actually keeping.

Pricing for profit is not just about how much you charge, it’s also

EPISODE 539 Meet Gina Lett Shrewsberry of Inspirations by Gina and Valerie Crisostomo, founder of Black Girl Florists.

WATCH HERE

about how much you spend. Instead of underpricing or overfilling orders, a sustainable business tracks profit margins and avoids overbuying.

Remember, the first rule of business ownership is to “pay yourself first.” If you want to be sustainable, price your work so that you can pay yourself, pay your bills, and save for retirement.

3. ATTRACTING GREAT CLIENTS. The ultimate goal of any

EPISODE 542 Welcome to 2022 and the Slow Flowers Floral Insights & Industry Forecast with Debra Prinzing and Bloom Imprint's Robin Avni.

WATCH HERE

business is to establish a reputable brand that delivers on its promise, and attracts great clients who are willing to pay you.

Marketing, branding, referrals, and website design are all important to help customers find your company, but what best defines your long-term success is what people actually experience when they collaborate with you. That is what keeps customers coming back (or not).

EPISODE 546 Oregon-grown flowers with Bethany Little of Charles Little& Co. and Beth Syphers of Crowley House Farm.

WATCH HERE

4. BOOKING CLIENTS AND CLOSING SALES CONSISTENTLY.

What do you need to shed to find more joy in your work?

Once you attract your dream clients, you need to lay out clear steps in your sales process to help lead them to “yes.” If you want to book more clients, create a sales system to help you and your staff close sales quickly and confidently.

If any of these four elements are out of balance, a business will

EPISODE 554 A garden and studio tour with Lorene Edwards Forkner, sharing her new book Color In and Out of the Garden.

WATCH HERE

begin to struggle.

This is why, in addition to more sustainable sourcing and eco-friendly design mechanics, your business should plan to

EPISODE 559

incorporate sustainability into a balanced, overall strategy for

Flowers as Artist's Muse: Meet Ronni Nicole Robinson.

profitability, sales, and customer experiences so that you can

WATCH HERE

focus on the people you most want to serve, and build a brand that lasts for the long run.

60 SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

61

FLORA CULTURE BY MYRIAH TOWNER | BLACK FARMER STORIES

preserving our heritage.

BLOOM Imprint invited storyteller and documentary producer Myriah Towner to contribute an Epilogue for Black Flora: Profiles of Inspiring Black Flower Farmers + Florists, by Teresa J. Speight.

We have excerpted her piece here as the first Flora Culture essay for Slow Flowers Journal.

I started working as a freelance floral designer in the summer of 2018 when I met New York-based florists Molly Culver of Molly Oliver Flowers and Sylvia Lukach of Cape Lily Flowers. I was inspired, delighted, and comforted by the beauty of flowers, and knew then my hands had to work with blossoms, but I never had done so professionally and had no idea where to begin. I also hardly ever saw people who looked like me pursuing floristry or

BLACK FLORA Profiles of Inspiring Black Flower Farmers + Florists

by Teresa J. Speight BLOOM Imprint, 2022 YOU CAN FIND THE BOOK AT BLOOMIMPRINT.COM

flower-farming. While there are still very few of us represented in the industry, I am so inspired by the powerful stories of the Black flower-farmers and florists in Black Flora who all have such a deep connection to, and larger motivation for, floristry work.

From my conversations, I realized there was a real issue at hand: no one is documenting and preserving the legacy of Black farmers in this country.

Each and every single one has expressed brilliant creativity, flourishing entrepreneurship, and a deep and strong desire to bring joy and healing to their communities through blooms and bouquets of natural beauty. You can find Black joy in each of their stories, and I love the way flowers are a constant and central part of their work.

As background, I come from a family of farmers. My maternal grandparents worked the fields, picking cotton in East Texas, and my grandfather was a farmer. My uncle, Jimi, still today carries on our family’s legacy of farming in rural Texas, a job he has held now

LEARN MORE Black Farmers Collective, blackfarmerscollective.com, @blackfarmerscollective Black Farmer Fund, blackfarmerfund. org, @blackfarmerfund Black Farmer Stories, blackfarmerstories.com, @blackfarmerstories Black Flower Farmers, @blackflowerfarmers Black Girl Florists, blackgirlflorists.com, @blackgirlflorists Ethos West Collective, ethoswestcollective.com, @ethoswestcollective National Black Food and Justice Alliance, blackfoodjustice.org, @blackfoodjustice Northeast Farmers of Color Land Trust, nefoclandtrust.org, @NEFOCLandTrust

for more than 40 years. It was not until I was older and did a short

62

SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

63

FLORA CULTURE BY MYRIAH TOWNER | BLACK FARMER STORIES

preserving our heritage.

BLOOM Imprint invited storyteller and documentary producer Myriah Towner to contribute an Epilogue for Black Flora: Profiles of Inspiring Black Flower Farmers + Florists, by Teresa J. Speight.

We have excerpted her piece here as the first Flora Culture essay for Slow Flowers Journal.

I started working as a freelance floral designer in the summer of 2018 when I met New York-based florists Molly Culver of Molly Oliver Flowers and Sylvia Lukach of Cape Lily Flowers. I was inspired, delighted, and comforted by the beauty of flowers, and knew then my hands had to work with blossoms, but I never had done so professionally and had no idea where to begin. I also hardly ever saw people who looked like me pursuing floristry or

BLACK FLORA Profiles of Inspiring Black Flower Farmers + Florists

by Teresa J. Speight BLOOM Imprint, 2022 YOU CAN FIND THE BOOK AT BLOOMIMPRINT.COM

flower-farming. While there are still very few of us represented in the industry, I am so inspired by the powerful stories of the Black flower-farmers and florists in Black Flora who all have such a deep connection to, and larger motivation for, floristry work.

From my conversations, I realized there was a real issue at hand: no one is documenting and preserving the legacy of Black farmers in this country.

Each and every single one has expressed brilliant creativity, flourishing entrepreneurship, and a deep and strong desire to bring joy and healing to their communities through blooms and bouquets of natural beauty. You can find Black joy in each of their stories, and I love the way flowers are a constant and central part of their work.

As background, I come from a family of farmers. My maternal grandparents worked the fields, picking cotton in East Texas, and my grandfather was a farmer. My uncle, Jimi, still today carries on our family’s legacy of farming in rural Texas, a job he has held now

LEARN MORE Black Farmers Collective, blackfarmerscollective.com, @blackfarmerscollective Black Farmer Fund, blackfarmerfund. org, @blackfarmerfund Black Farmer Stories, blackfarmerstories.com, @blackfarmerstories Black Flower Farmers, @blackflowerfarmers Black Girl Florists, blackgirlflorists.com, @blackgirlflorists Ethos West Collective, ethoswestcollective.com, @ethoswestcollective National Black Food and Justice Alliance, blackfoodjustice.org, @blackfoodjustice Northeast Farmers of Color Land Trust, nefoclandtrust.org, @NEFOCLandTrust

for more than 40 years. It was not until I was older and did a short

62

SLOW FLOWERS JOURNAL

SLOW FLOWERS JOURNAL

63

FLORA CULTURE BY MYRIAH TOWNER stint as a farm-based educator and volunteer farmer when I really started connecting with him and his work as a farmer. Over the last few years, we have had several important conversations

As my Uncle Jimi says,

to an end?

From these conversations, I realized there was a real issue at hand: no one is documenting and preserving the legacy of Black farmers in this country. Therefore, I have felt compelled to do my part in preserving this incredible knowledge in the best way I know how — through storytelling.

As founder of Black Farmer Stories, my work is

“There’s a lot of Black farmers in this country, but you don’t

This is a tremendous and urgent public crisis

hear much about them.”

farmer champion Ralph Paige — as quoted in a

He hopes the next generation

true: “This isn’t just another Black farmer going

of Black farmers will return to the land and carry on the

documenting the stories of Black farmers, my

still needing to be addressed. The words of Black 1992 article in The New York Times — still ring out of business, it is our community losing a piece of the country.”

The harm is doubled as we consider what is at risk if we also lose the stories of sacrifice, the tales of resilience, and the personal anecdotes

legacy of his and others' work,

of creating to survive, in addition to the loss of

and I deeply hope so too.

Black flower-farmers and florists at a time when

stories. I aim to capture the heart of resilience and joy embodied in so much of their work. By

owned 15 million acres of land in 1920, a number decreased today to just about 1 million acres.

to preserve the knowledge, cultural heritage, and legacy of Black farmers by telling their

millions of acres of Black-owned land. To quantify and underscore this tragic history, Black farmers

about his legacy: Where will all his farming knowledge go when his time on this Earth comes

a fact resulting in the horrific theft and loss of

land. It's particularly vital to tell these stories of so much of the history of our people has already been erased.

hope is to connect Black people to our ancestral histories and our relationship to land. I hope and trust sharing these stories will inspire people,

are making the choice to continue to farm.” This

It is precisely this intergenerational exchange of

help increase support and resources for

work is not only important. It is critical.

knowledge, the act of passing down knowledge from one generation to the next, that I am

Black farmers, and ultimately elevate their voices and demonstrate the vital role they hold

Despite a history of systematic oppression,

personally committed to in my own work.

in this country.

Black farmers — through resilience, endurance,

I know this activity is also vital for sustaining

determination, and creation of opportunities

and preserving our work in these industries,

As my Uncle Jimi says, “There’s a lot of Black

of financial and cultural independence — have

particularly in agriculture. As each generation

farmers in this country, but you don’t hear much

continuously played a critical role in the economic

passes, we stand the risk of losing the history,

about them.” He hopes the next generation of

and agricultural growth of the U.S., as well as

knowledge, and legacy of these Black flower-

Black farmers will return to the land and carry on

in the liberation and sustainability of Black

farmers — stories such as those shared in this

the legacy of his and others' work, and I deeply

communities. Through farming, Black farmers

book's earlier pages — that have been, and still

hope so too.

have made incredible advancements to improve

are, so crucial to this country’s legacy.

their own families' livelihoods along with the Ashley Pellerin, a dear friend and advocate for

livelihoods of their communities.

land stewards who continue to cultivate and care

Black farmers in Texas, once told me, “We stand

64

Thank you to all the Black farmers, florists, and

to lose a wealth of knowledge and important

Even with these significant contributions to

for the land and bring joy to us through flowers.

history if we do not collect the stories of our Black

America’s success, Black farmers, to this day,

Your hands, your creative minds, and your

elders and those of the younger generation who

continue to be subjected to racial discrimination,

determination are an inspiration and an incentive.

SLOW FLOWERS JOURNAL

FLORA CULTURE BY MYRIAH TOWNER stint as a farm-based educator and volunteer farmer when I really started connecting with him and his work as a farmer. Over the last few years, we have had several important conversations

As my Uncle Jimi says,

to an end?

From these conversations, I realized there was a real issue at hand: no one is documenting and preserving the legacy of Black farmers in this country. Therefore, I have felt compelled to do my part in preserving this incredible knowledge in the best way I know how — through storytelling.

As founder of Black Farmer Stories, my work is

“There’s a lot of Black farmers in this country, but you don’t

This is a tremendous and urgent public crisis

hear much about them.”

farmer champion Ralph Paige — as quoted in a

He hopes the next generation

true: “This isn’t just another Black farmer going

of Black farmers will return to the land and carry on the

documenting the stories of Black farmers, my

still needing to be addressed. The words of Black 1992 article in The New York Times — still ring out of business, it is our community losing a piece of the country.”

The harm is doubled as we consider what is at risk if we also lose the stories of sacrifice, the tales of resilience, and the personal anecdotes

legacy of his and others' work,

of creating to survive, in addition to the loss of

and I deeply hope so too.

Black flower-farmers and florists at a time when

stories. I aim to capture the heart of resilience and joy embodied in so much of their work. By

owned 15 million acres of land in 1920, a number decreased today to just about 1 million acres.

to preserve the knowledge, cultural heritage, and legacy of Black farmers by telling their

millions of acres of Black-owned land. To quantify and underscore this tragic history, Black farmers

about his legacy: Where will all his farming knowledge go when his time on this Earth comes

a fact resulting in the horrific theft and loss of

land. It's particularly vital to tell these stories of so much of the history of our people has already been erased.

hope is to connect Black people to our ancestral histories and our relationship to land. I hope and trust sharing these stories will inspire people,

are making the choice to continue to farm.” This

It is precisely this intergenerational exchange of

help increase support and resources for

work is not only important. It is critical.

knowledge, the act of passing down knowledge from one generation to the next, that I am

Black farmers, and ultimately elevate their voices and demonstrate the vital role they hold

Despite a history of systematic oppression,

personally committed to in my own work.

in this country.

Black farmers — through resilience, endurance,

I know this activity is also vital for sustaining

determination, and creation of opportunities

and preserving our work in these industries,

As my Uncle Jimi says, “There’s a lot of Black

of financial and cultural independence — have

particularly in agriculture. As each generation

farmers in this country, but you don’t hear much

continuously played a critical role in the economic

passes, we stand the risk of losing the history,

about them.” He hopes the next generation of

and agricultural growth of the U.S., as well as

knowledge, and legacy of these Black flower-

Black farmers will return to the land and carry on

in the liberation and sustainability of Black

farmers — stories such as those shared in this

the legacy of his and others' work, and I deeply

communities. Through farming, Black farmers

book's earlier pages — that have been, and still

hope so too.

have made incredible advancements to improve

are, so crucial to this country’s legacy.

their own families' livelihoods along with the Ashley Pellerin, a dear friend and advocate for

livelihoods of their communities.

land stewards who continue to cultivate and care

Black farmers in Texas, once told me, “We stand

64

Thank you to all the Black farmers, florists, and

to lose a wealth of knowledge and important

Even with these significant contributions to

for the land and bring joy to us through flowers.

history if we do not collect the stories of our Black

America’s success, Black farmers, to this day,

Your hands, your creative minds, and your

elders and those of the younger generation who

continue to be subjected to racial discrimination,

determination are an inspiration and an incentive.

SLOW FLOWERS JOURNAL

ANNUAL INDUSTRY INSIGHTS REPORT 2022

floral reawakening