Flowers& April 2016 $5.50
Weaving Bouquets and dĂŠcor in four fashion-forward palettes Pg 30 Tips and techniques from two trendy wedding workshops Pgs 16, 60
contents april 2016
How-To Can-Do Raising the bar on wedding style at Florabundance Design Days. Text and photography by Bruce Wright
The Color of Love Wedding flowers in four fashion-forward themes and palettes. Floral design by Vonda LaFever AIFD, PFCI and Kevin Ylvisaker AIFD, PFCI, CAFA Photography by Ron Derhacopian
Masters of Elegance An EMC+ wedding workshop pulls out all the stops. Photography by Adam Linke, The Decisive Moment
2 APRIL 2016
on the cover A bridal bouquet should stand out from the rest of the wedding flowers and yet harmonize with them. That goal is nicely accomplished here with a bouquet of pale peachy-pink â&#x20AC;&#x2DC;Mother of Pearlâ&#x20AC;&#x2122; roses, accented with brown and blue beads, dominant hues in the Lake Shore palette illustrated above on this page. For more color stories, turn to page 30.
departments Focus 8
Biedermeier Goes Ombré By Rich Salvaggio AIFD, AAF, PFCI
An Archway of Bent Flax By Helen Miller AIFD
Clouds By Tom Bowling AIFD, PFCI
Industry 64 What’s 65
Where to Buy
Flowers& Volume 37, Number 4 (ISSN 0199-4751). Published monthly by Teleflora, 11444 W. Olympic Blvd., Los Angeles, CA 90064, 800-321-2665, fax 310-966-3610. Subscription rates: U.S., 1 year, $66.00. Canada, 1 year, $90.00 (US currency only); Canadian GST registration number R127851293. Other foreign countries, 1 year, $102.00 (US currency only). Single issues, $5.50 each prepaid. Periodicals postage paid at Los Angeles, Calif., and at additional mailing offices. Postmaster: Send address changes to Flowers&, PO Box 16029, North Hollywood, CA 91615-9871. Copyright © 2016 by Teleflora. Printed in U.S.A.
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One carrier holds an average of 20 to 30 arrangements. • Light-weight, high-impact plastic. Size 48” x 48”. 33 lbs. Pins included. • Carrier is adjustable to any size (removing or adding blocks as needed). • Large, flat surface, available by moving pins to storage at sides. • No special places; load in the order you wish to deliver. • No tip-overs or broken ends---saves load and unload time.
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Rich Salvaggio AIFD, AAF, PFCI firstname.lastname@example.org
Susan Ayala AIFD, PFCI, Riverside, Calif., Tom Bowling AIFD, PFCI, Syndicate Sales, Fairfield, Ohio, Tim Farrell
AIFD, AAF, PFCI,
Farrell’s Florist, Drexel Hill, Penn., Jim Ganger
Kansas City, Mo., Hitomi Gilliam AIFD, Vancouver, B.C., Canada, Bob Hampton AIFD, AAF, PFCI,
Dallas, Texas, John Hosek AIFD, PFCI, CF, CAFA, Surroundings Events and Floral, Verona,
Wisc., Alex Jackson AIFD, AAF, PFCI, Veldkamp’s Flowers, Lakewood, Colo., Vonda LaFever AIFD, PFCI,
Niceville, Fla., Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF, Designer Destination,
Tucson, Ariz., Helen Miller AIFD, CF, CAFA, Flowers and Such, Adrian, Mich., Darla Pawlak AIFD, PFCI,
Essexville, Mich., Julie Poeltler
AIFD, PFCI, IMF, CAFA,
Julie’s Fountain of Flowers,
Lone Tree, Iowa, Jerome Raska AIFD, AAF, PFCI, CF, Blumz by JR Designs, Ferndale, Mich.,
Tom Simmons AIFD, CCF, Three Bunch Palms Productions, Palm Springs, Calif., Gerard Toh AIFD, CCF,
Garden Trade Services, Sherman Oaks, Calif., Cindy Tole, Botanica Flowers &
Gifts, Greensboro, N.C., Kevin Ylvisaker AIFD, PFCI, CAFA, Mukwonago, Wisc.
Editorial Council Marie Ackerman AIFD, AAF, PFCI, Teleflora, Oklahoma City, Okla., Carol J. Caggiano AIFD, PFCI, A.
Caggiano, Inc., Jeffersonton, Va., Bert Ford AIFD, PFCI, Ford Flower Co., Salem, N.H.,
AIFD, AAF, PFCI, FSMD,
JWH Design and Consultant, West Palm Beach, Fla.,
Elizabeth Seiji AIFD, Edelweiss Flower Boutique, Santa Monica, Calif.
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focus on design
Floral design by Rich Salvaggio AIFD, AAF, PFCI
Photography by Ron Derhacopian
1. Overturn a large bouquet holder and squeeze floral adhesive in the center, near the handle, and all around the rim. Cut the stem from a large Frosted (silvered) aralia leaf and add a little glue also to the back of the leaf. You should be able to completely cover the holder with just two large leaves. Press them onto the holder and allow the adhesive to cure for about three minutes.
Brides are loving everything ombré! Mooncarnations make it easy. The tints and tones of these carnations lend themselves to a sophisticated version of Biedermeier style, with a row of mokara orchids as a finishing touch.
2. Place the holder in a stand and lightly green the bouquet with eucalyptus. Create a circle of Moonaqua carnations, the lightest shade of standard carnations in the Moonseries range, around the base of the holder.
3. Add a second, inner circle of carnations, this time using darker Moonlite carnations.
how-to on For product information, see Where to Buy, page 66.
at Flowers&or go to flowersandmagazine.com.
4. Fill in the center with Moonpearl mini carnations. This much can be done well in advance of the wedding day. Finish off by placing the mokara orchids, which are simply glued into place with floral adhesive. Lightly sprayed with a product like Crowning Glory, the orchids can be added the day before and the bouquet kept in the cooler overnight under a protective covering of paper or cellophane.
April 2016 9
Floral design by Helen Miller AIFD
Photography by Ron Derhacopian
Foliage courtesy of Wm. F. Puckett
A sharp-angled arch made of flax leaves is one of the simplest of leaf-art embellishments—but it requires a little more know-how than might at first appear. The how-to shot below shows the angled archway as though lying flat on a work table, the better to see the mechanics from underneath. But in reality, the best method is to insert the leaves into the foam first, then crease and connect them. In the finished design, the arches work as a framing device to showcase the fuji mums. The frames are all the more effective because they’re broken by the stems of liatris, dendrobium orchids, and two more flax leaves. 1. Note that flax leaves naturally bend inward along their length. With the inside of the leaf facing the center of the design, insert each leaf into the foam at an angle, so that it flares outward, pointing away from the center. Decide where you want it to bend and sharply crease it— remembering that once you definitively make the crease, it’s irreversible. Place another flax leaf facing the first like a mirror image, crease it in turn, and where the leaves overlap, join them with a UGlu Dash, folded in half if necessary so it’s hidden between the blades.
Since the dawn of humanity, clouds have inspired dreamers. Why not you? What do you see when you look up at the sky? If itâ&#x20AC;&#x2122;s a cloud, it could be just about anything, depending on its shapeâ&#x20AC;&#x201D;a camel, a whale, the state of Kentucky. Clouds have a physical and meteorological reality, but they are perhaps far more inspiring as shifting, suggestive forms, icons of free imagination. Clouds come in many kinds: flattened sheets, wispy cirrus clouds, mackerel skies, or dark, heaped-up piles, threatening rain. Still, the archetypal cloud is a fluffy, soft, ethereal nimbus, full of light and soft shadow, perhaps glinting with gold and silver at twilight. As symbols of the celestial realm, clouds may be easily associated with majesty, purity, and radiance.
april 2016 13
All of that suggested to inspired designer
Floral design by Tom Bowling AIFD, PFCI
carnations, satiny tulips, stock, hydrangea,
Photography by Ron Derhacopian
Although this design is instantly recog-
Tom Bowling AIFD, AAF, PFCI an all-white,
Queen Anne’s lace, dusty miller, gold leaves
nizable as a classic round, mass bouquet,
confectionery bouquet accented with gleam-
and pearl-encrusted brooches—and, of
Tom has taken care not to make the surface
ing jewels and Magical Leaves. As in every
course, “floral cotton,” a product that has
too even. Rather, his insertions lead the eye
monochromatic color scheme, here the
become increasingly popular and available
gently in and out with bumps and shallows
predominance of white brings variations in
in recent years in the form either of dried
that lend depth and interest to the contours
tone and texture to the fore. Pleated ‘Alabas-
natural cotton bolls, on or off the stalk, or of
of the design. Look carefully within and you
ter’ garden roses alternate with fluffy white
realistic, durable artificial sprays.
may find the silver lining! b
For product information, see Where to Buy, page 66.
How-To ano C D
Raising the bar on wedding style at Florabundance Design Days.
READY FOR A CLOSEUP With professional photographers on hand, participants could take away evidence of their completed projects and learn from the experience of designing for the camera.
1610www.flowersandmagazine.com 14 july 2010
T e x t and photography by B ruce W right
You’ve probably noticed: There’s a lot of competition for wedding work these days. Much of it is coming from “studio” florists, wedding specialists without retail shops, many of them relative newcomers to the industry. The stereotype among established florists is that these newcomers may be lacking in design training and technical expertise. They are often associated with a “natural,” botanical style, much
How-To Can-Do promoted via social media, that reinforces the stereotype, because it looks careless and naïve. Sometimes it is, sometimes it isn’t; it takes a trained eye to know the difference. Giving the lie to the stereotype, about 40 wedding florists gathered in January at the fourth annual Florabundance Inspirational Design Days in Santa Barbara, California.
THE NOSE KNOWS Garden roses have become a key element in fashion-forward wedding florals—so it makes sense that the Design Days included a speaker, Eleanor Clevenger from David Austin Roses, to talk about designing with these fragrant, romantic flowers. “The most common mistake is that people tend to order with too short a time frame,” Eleanor noted. “If you have a wedding on Saturday, you need to bring in garden roses on Monday, harden them off if your wholesale has not already done this, then leave them out so they will open up” (although opening times can also depend on the variety; a handout was provided with guidelines). As a rule of thumb, says Eleanor, garden roses ready for design should be the size of half a grapefruit. The scent peaks when they are fully open. The design seen above was created by Alicia Schwede of Flirty Fleurs, the noted designer, blogger and publisher—who delivered savvy tips to Design Days participants on maximizing the power of the internet to promote your business. 18 www.flowersandmagazine.com
TECHNIQUE FOR HAND-TIEDS Kim Curtis of Toast in Santa Barbara (pictured below) taught a basic technique for making a hand-tied bouquet. “I like to have all my stems prepped and ready,” she said—meaning, wired and taped for better control and support. Planning to include fronds of umbrella fern, for example, she clipped two from the natural stem and taped them to a wire stem, so she could add them both at once. Likewise, she showed how to replace the thick stem of an amaryllis bloom with a slender wire stem for easier handling. She explained how to hold the stem bundle in the hand, with a loose grip shaped like a C, adding flowers in such a way as to create depth and dimension, for a look that is somewhat loose, but not wild. She periodically looked at the bouquet in a mirror, as a handy way to check on its appearance from the front. One participant in the bouquet workshop, Polly Robinson of Michler’s Florist in Lexington, Kentucky (above), adapted a centerpiece technique demonstrated by Holly Chapple the day before, using a sphere or egg of chicken wire to control stems. At right, Katalin Green of Katalin Green Flowers in Bozeman, Montana holds her finished bouquet, with ribbon streamers and a euphorbia cascade.
july 2010 2
FROM CHICKEN TO EGG Holly Chapple (pictured at center left), the influential D.C.-area wedding designer who leads a collective called Chapel Designers, shared a wide-ranging perspective on the business while she demonstrated a centerpiece strategy using chicken wire as a mechanic. She doesn’t shove the chicken wire inside the vase, but fashions it into an egg shape and places it on top. (Florist chicken wire, she advises, should really be the kind that is coated in green plastic, although she was unable to procure it for the demo.) This technique allows her to support tall branches, place greens so that they drape around the sides, hiding the egg, and add flowers such that their stems show inside the clear glass vase, not the chicken wire. Participants were each, of course, provided with materials including gorgeous flowers from Florabundance. Below, Katie Noonan of Noonan’s Wine Country Designs in San Luis Obispo, California, looks happy with her work.
How-To Can-Do Some were wedding florists only; about a third had full-service retail shops. Presenters ranged from Holly Chapple, a well-known exponent of the trendy, loose, botanical style, to Françoise Weeks, famous for an intricately detailed, woodsy look. Capping the threeday program of hands-on workshops was a session on arches, chandeliers, and hangings with industry icon Hitomi Gilliam AIFD. While the Design Days were definitely inspirational, they were also highly practical, 20 www.flowersandmagazine.com
COLOR STORIES Weddings are all about color. Representing Design Master, BJ Dyer AIFD, from Bouquets in Denver, shared some clever ideas for using color tools to enhance containers. He sprayed glass votive cups (this technique works on taller vases as well) with gold (any metallic color will do), then scraped them with a table knife to let some of the light through. He wrapped a tall cylinder with twine, sprayed the cylinder with Design Master Olive Bright, and then simply removed the twine to create a spiral pattern on the vase. BJ also demonstrated the best technique for using Design Master Just for Flowers to enhance fresh floral materials for “those matchy-matchy brides,” misting it in short bursts.
How-To Can-Do with an emphasis on sound mechanics and cost-effective techniques. “I love social media,” Holly told the crowd, “but when you see something pretty on Instagram, you have to ask, did that really go to a wedding? Did it last all through the day? I have to feed my kids, so my business depends on the things that I make staying fresh and not falling apart.” “Good mechanics give you the confidence to be more creative,” said Hitomi, who shared ideas for making sturdy, large-scale floral structures that are rentable and reusable. Of these, “if you build a structure that is already beautiful, you then add flowers but you don’t need as many,” she pointed out.
OUT OF THE WOODS Françoise Weeks (seen at center far right) and Susan McLeary shared a program in which they taught how to make floral purses and botanical jewelry by gluing lightweight, small-flowered, durable materials (like succulents, spray roses, firm hellebores, and astrantia blooms) to a sturdy foundation: jewelry blanks, purchased or fashioned out of flat or aluminum wire, or shapes carved out of Styrofoam and covered in cardboard. The purses typically include a cavity to accommodate wet floral foam, lined with clear thin plastic wrap. Susan also demonstrated a necklace made on a vinyl foundation, a horseshoe shape cut using a template from material purchased at a fabric store. While this technique might seem labor-intensive, Susan assures that she is able to charge enough to be well remunerated, not only for her time and materials, but for her creativity and artistic eye.
july 2010 2
How-To Can-Do Those who invest in education know its
value. “I learned things here last year that I have used all year long to make a better profit,” more than one participant testified. The bottom line: the more you learn, the more you understand that artistry and practicality go hand in hand. For
STANDING TALL In a daylong workshop with Hitomi Gilliam AIFD, participants learned how to make a variety of large-scale decorative structures—arches; floral walls and curtains; chandeliers—that can be swiftly finished on-site with fresh flowers. As just one example, Hitomi made a tall “totem” using inexpensive black stands and 70-inch-long willow whips, both purchased from Ikea, with floral foam strapped to the stand and a foam sphere resting among the fanned willow whips at the top. One key to the structure is to separate the stacked layers of foam with plastic, which keeps the top layer from draining to the bottom so the flowers remain hydrated. “A stand like this is one way to develop height in your design even before you start adding flowers,” says Hitomi, “which is how you get the most visual value from the flowers.” Her completed design incorporates tapered bundles of midollino wrapped in raffia, with aluminum wire in the middle of each bundle, “which allows you to control the flow.” Other projects that participants completed under Hitomi’s direction included a “living wall” of phalaenopsis plants; curtains made of twigs, Bind Wire, smilax, and water tubes filled with gloriosa blooms; and a chandelier (above) based on a foundation of grapevine and willow whips, hung with downward-facing flowers including ‘Miranda’ David Austin garden roses.
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12 may 2010 26 www.flowersandmagazine.com
April 2016 27
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41 january 2012 30 www.flowersandmagazine.com
Color Love of
Wedding flowers in four fashionforward themes and palettes. Floral design by Vonda LaFever AIFD, PFCI and Kevin Ylvisaker AIFD, PFCI, CAFA Photography by Ron Derhacopian
BERRY BRIGHT Like the vivid, saturated colors in a kaleidoscope or stained-glass window, bright tones can play off one another to create a lively yet sophisticated medley. Key to this strategy are blended hues: blued reds, yellow-greens, rich purples. The hand-tied bouquet at left features, among other flowers, coral-orange â&#x20AC;&#x2DC;High and Happyâ&#x20AC;&#x2122; roses along with intensely purple Moonshade and true-lavender Moonlite carnations; lime-green beaded wire pops the palette. To make the floral column at right, Kevin worked from the inside out, starting with the tall stems of gladiolus and continuing with insertions of other tall flowers, strictly parallel and close to the glad
For product information,
stems, ending with an outer row of green hydrangea at the base.
see Where to Buy, page 66.
April 2016 31
Color Love of
In the bouquet at left, succulents in a darker, deeper shade of green ground the color scheme. A touch of color-brushed hot pink suffices to harmonize them with the pinks in the bouquet. A cascade of oncidium orchids and purple tulips lends volume and movement to the bouquet. At right, a punch bowl rests in a bed of flowers designed in an Oasis Square Foam Riser (floral foam topped by a square of Styrofoam) inside an Oasis square tray. Kevin covered the riser with petals before placing the punch bowl. To make the place-card holder design below, he cut a square of soaked floral foam and placed it in the middle of a plate-glass rectangle. The neon-orange crushed glass surrounding it holds the foam firmly in place. Likewise, the fuchsia-colored mitsumata rests on the rim of the container and is pinned into place by floral insertions. Pincushion proteas hold the placecards securely. Accents of beaded wire complete the design.
April 2016 33
45 2012 34 january www.flowersandmagazine.com
Color Love of
At left, a green spiral of flat cane winds around the tall stems that sprout from a bright, compact base of carnations, hydrangea, and stock. The cane is attached to curly willow at the top and visually balanced with an opposing loop at the base. Below, a wrist corsage begins with a bracelet made of decorative flat wire. Purple Glitter Mono Sheer ribbon, added to the bracelet with UGlu, provides a gluing surface for adding flowers with floral adhesive: a mini succulent, dendrobium blossoms, and in a subtle touch, a few yellow-orange stamens from a pincushion protea. At right, another simple and effective cascade has been added to a bouquet in a holder. “I like to start with the cascade,” says Kevin, “because the cascading materials are inserted at a different angle, and require a very specific placement in the foam.” Not strictly part of the Berry Bright palette, the deep purple callas add a contrasting accent that works nicely with the lime green dendrobiums and wired wool.
April 2016 35
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Color Love of
LAKE SHORE Taking inspiration from the inland seaside and its woodsy environs, a palette of blues and greens cools and refreshes, balanced with contrasting notes of reddish brown and soft yellow. To create a display for the center of a long bridal table, Vonda placed mini succulent plants, still inside their green plastic nursery pots, into aquacolored cachepots, elevating the plant pots as necessary with foam. Wedges of soaked floral foam support floral insertions, while accents of natural river rocks and reindeer moss complete the look. The display rests on a Reclaimed Wood Look pallet, with turquoise midollino inserted between the slats.
April 2016 37
Color Love of
Above, a composite orchid was created by gluing a cymbidium and extra petals to a pre-constructed base (see the how-to photo on page 58). At right, ‘Vendela’ and ‘Coffee Break’ roses make spots of glowing warmth within the cool context of a woodsy display featuring Reclaimed Wood Look pallets, turquoise midollino, blue hydrangea, eryngium, and delphinium, along with the airy green starbursts of umbrella fern, all in a pair of Cobalt Vibe Vases.
49 january 2012 38 www.flowersandmagazine.com
50 january 2012
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Color Love of
â&#x20AC;&#x2DC;Mother of Pearlâ&#x20AC;&#x2122; roses bring a soft, sandy pink to the round bouquet on this page, beautifully accented with fresh light green hellebores and scabiosa pods. Blue beads, strung on loops of midollino, echo the pale blue of hydrangea that peeps out from the interior of the bouquet. To hold the round blue and flat brown beads in place on the loops and extensions of midollino, Vonda wrapped the beads and the midollino with silver bullion. To create the custom container for the display at right, she sprayed the square black cooler bucket from Syndicate Sales lightly first with Design Master Teal, then with Turquoise, for a cloudy, layered look. She created a soft arc of turquoise midollino by gluing the bundle at the top to a stake of rivercane. A tall stem of cymbidium orchids pops against the background of blue flowers; brown flax harmonizes with the weathered tones of the Reclaimed Wood Look pallet.
52 january 2012
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Color Love of
Equally appealing at any time of year, a palette of deep reds and purples speaks of passion and commitment. Accents in light blues and lavenders offer a harmonious contrast. Red-rose extensions add drama to the bouquet on this page, made in an Elegant® bouquet holder capable of accommodating numerous insertions. Kevin placed the cascading sprays of purple dendrobiums in the holder first, then the ‘Freedom’ roses, evenly spaced, with stems projecting about two inches from the foam, then filled in with blue hydrangea and green hypericum. The extensions, made with ‘Scarlet Mimi’ spray roses dangling from red midollino, were added last. Kevin cut the tip of the midollino at an angle with his clippers and daubed it with floral adhesive before inserting it into the spray roses. At right, long-stemmed ‘Freedom’ roses (along with burgundy carnations and stock) add depth and height to a classic low mound that includes grapes and artichokes (secured in the foam with the aid of wired wood picks), plus dangling faux string-of-pearls.
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Color Love of
55 2012 44 january www.flowersandmagazine.com
Above, mini cymbidiums give a premium look to a hand-tied bouquet made of carnations, stock, and hypericum. Kevin fashioned the rest of the bouquet in the usual way, then added the orchids, securing them to neighboring materials with floral adhesive. Likewise, he used floral adhesive to add spheres made of gold beaded wire, balled in the hand and attached to wood picks, as a glimmering accent. At right, a two-tiered groom’s cake is adorned with a row of mini cymbidium orchids at the base, brightened with individual red petals of ‘Scarlet Mimi’ spray roses inserted among the blooms. Dendrobium orchids in vivid magenta enrich the color scheme.
56 january 2012
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Color Love of
The richly ruffled cascade of cymbidium orchids that dangles from the bouquet at left looks heavy, but can be securely anchored in the foam with a wood pick, secured to the stem with wire and floral adhesive, or pinned into place with a greening or corsage pin. Kevin placed the spray of orchids in the bouquet holder first, then the deep red â&#x20AC;&#x2DC;Matildaâ&#x20AC;&#x2122; roses, evenly spaced, with stems projecting about two inches from the foam. He then filled in with blue hydrangea, adding the mini cymbidium and dendrobium orchids last. For the wrist corsage below, he began with a set of jeweled bracelets, but rather than using the clear plastic Design Disk provided, he chose to add flowers by gluing them to a leaf base placed underneath the bracelets. He glued in the faux string of pearls first, since that was the heaviest of his materials, then the orchids, and finally, for a harmonizing color accent, a few petals of artificial blue hydrangea. To learn how Kevin made the pew design at right, see the how-to shot on page 58.
58 january 2012
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Color Love of
LOVE MIST The classic wedding palette of blush tints and soft pastels gets a fresh look these days with accents in deeper tones, including coral and watermelon pink, lavender, champagne, rose gold, and a whole range of treatments and accessories with a misty, pearly, frosted or powdered look. To create the table designs below, Vonda laid beds of White Mist foliage into the rose gold cylinders before adding flowers, including ‘Keira’ David Austin garden roses, ‘Green Tea’ and coral ‘Marlisse’ roses, and white and pink sweet william. The backdrop is quickly and easily made with inexpensive satin ribbon; see the how-to photos on page 59. Faux cherry blossoms and White Mist salal leaves add a romantic accent. They can be hung on monofilament (twisted around the cherry blossom stems, then secured with a touch of glue) or simply glued to the ribbon streamers.
60 january 2012
April 2016 49
the the Color
Color Love Love of
A spray of faux cherry blossoms lends romance to the A sprayconvincing of faux cherry blossoms centerpiece on this page—and lends convincing romance to the draws the eye toward premium centerpiece on this page—and fresh flowers, including a double draws the eye toward premium Roselily and ‘Green Tea’ and fresh flowers, including a double ‘Mother of Pearl’ roses. The design Roselily and ‘Green Tea’ and rises of from a base quickly con‘Mother Pearl’ roses. The design structed by dropping one premade rises from a base quickly conwreath another, that structed byonto dropping onesuch premade White Mist foliage nestles inside wreath onto another, such that a ring of foliage the cherry blossoms. White Mist nestles inside a Onring the of opposite page, cherry the cherry blossoms.blossoms add depth andcherry detail blosto a On the opposite page, bouquet of deep pink Roselilies, soms add depth and detail to a ‘Keira’ David Austin ‘Green bouquet of deep pinkroses, Roselilies, Tea’ and ‘Crème de la Crème’ ‘Keira’ David Austin roses, ‘Green roses, and ‘Crème White Mist leaves. Tea’ and de lasalal Crème’ Combined with variegated lily roses, and White Mist salal leaves. grass and White Mist plumosus, Combined with variegated lily the cherry blossoms also create grass and White Mist plumosus, a cascade. the cherrydelicate blossoms also create a delicate cascade.
61 2012 50 january www.flowersandmagazine.com
April 2016 51
Color Love of
Both the bouquet above and the chaplet on the opposite page are based on wreaths that Vonda made from wired faux cherry blossom sprays. To make an armature for the bouquet, she added taped wire stems to the first wreath (see the how-to shot on page 59). For the chaplet, she wired White Mist plumosus to the second wreath and added other flowers with floral adhesive, including ‘Keira’ David Austin and ‘Sahara’ roses, plus white ranunculus. To make the wrist corsage below, she glued White Mist salal leaves to the clear plastic Design Disk that came with a bracelet of silver beads. The salal leaves then became the basis for gluing additional materials: ranunculus, statice, pearlescent leaves, and faux cherry blossoms.
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Color Love of
At left, a cone of White Mist plumosus forms a long, tapering handle for a bouquet made in a bouquet holder; for more on the cone, see the how-to photos on page 58. To make the bouquet, Vonda began by inserting stems of ivory hypericum around the perimeter; she did that first, because she wanted to establish a diameter for the finished bouquet appropriate to the cone. Then she filled in with the roses and statice and finished off with a collar of White Mist salal leaves. She pinned the salal leaves to the foam in the bouquet holder with hairpins of taped wire. At the heart of the bouquet are roses in a medley of soft colors: ‘Sahara’, ‘Green Tea’, lavender ‘Ocean Song’, and coral ‘Marlisse’. At right, a single ‘Keira’ David Austin rose makes a simple but romantic and elegant pew decoration, trailing White Mist plumosus and salal leaves and tied into a bow of ivory double-face satin ribbon, which also serves for a hanger.
April 2016 55
Color Love of
For the groom Flat wire and UGlu have changed the way many boutonnieres are made and worn. A bout made with flat wire as a base can be held on with a magnet under the lapelâ&#x20AC;&#x201D;or with a UGlu Strip, easily removed later on and harmless to the type of fabric used for a manâ&#x20AC;&#x2122;s suit. A good example is the Lake Shore bout at near right: Glitter Mono Sheer ribbon is secured to snakeskin flat wire (trimmed at one end to give it a rounded edge) with UGlu; dendrobium florets then adhere nicely to the ribbon with floral adhesive. Likewise, for the Berry Bright bout at far right, wire and beads are attached to the flat wire with UGlu Dashes; the coils of wire then offer a superior surface for gluing with floral adhesive than the flat wire by itself. In the bottom row, a Madly, Deeply bout is built right on top of a UGlu Strip. Leaving the Strip on its coated paper backing, Kevin removed the protective paper from the other side. Then he covered the Strip, first with Metallic Mist wire-edge ribbon (five-eighths of an inch wide) placed down the center, then with narrow flat wire (three-sixteenths of an inch wide) on each side of the ribbon. With all these in place, he trimmed the bottom into a V. Finally, he added a mini cymbidium orchid and two extra petals with floral adhesive. With the UGlu Strip completely covered on the front with decorative materials, the wearer can simply remove the coated paper backing and press the bout onto his lapel.
Color Love of
Love Mist plumosus cone, page 54 Make a bundle from stems of White Mist plumosus, being sure to include some long ones. Bind them with silver bullion at the point where the foliage starts. Then, wind the bullion down around the foliage and back up a couple of times, so that the cascading foliage is bound back and formed into a long cone shape. When the shape is clearly defined, you can finish it off by tying the bullion wire at the top, snipping off the stem bundle, and trimming stray bits of foliage up and down the cone. It should still be loose enough to make an opening in the top for the handle of a bouquet holder.
Madly, Deeply pew decoration, page 47 This pew decoration is based on a wire armature that also provides a hanger for the design. To make the armature, wrap aluminum wire around a PVC pipe to make coils, then pull the coils out and twist them together to make an armature. The wire is easily fashioned into a hanger at the top. Use an Iglu caged foam holder, placed sideways (with the plastic base toward the back of the design), to hydrate the flowers.
Lake Shore composite cymbidium bouquet, page 38 A foundation structure like this one makes it easy to create a composite cymbidium bouquet with decorative midollino loops. The handle is made with nine lengths of 20-gauge florist wire, bundled together in three groups of three, each bundle wrapped with green floral tape. Bind the three bundles together at the bottom with more floral tape and bend them outward at the top to make three spokes of a wheel. Cut two matching cardboard disks to the size you need for your completed composite flower. Slip one disk up the wire handle and glue the other disk on top with hot glue, sandwiching the wire â&#x20AC;&#x153;spokesâ&#x20AC;? in between. Soak the midollino lightly in water to soften it. Add beads if desired, make circles and secure them with silver wire. Finally, wire the midollino circles with more taped florist wire to the thicker wires of the handle. Cover the handle with UGlu and ribbon, and you are ready to glue your orchid and petals to the structure with floral adhesive, beginning on the outside and working inward.
Love Mist hand-tied bouquet, page 52 It may take about three-quarters of a cherry blossom spray to make a wreath for a bouquet; it could be more or less depending on how large and full you want to make your bouquet. To convert the wreath to an armature, add taped wire stems extending below the wreath, as shown. Hold the wire stems together in one hand and add flower stems with the other, working mostly from the inside of the bouquet out: here, peonies, callas, and â&#x20AC;&#x2DC;Saharaâ&#x20AC;&#x2122; roses. To finish, add long stems of White Mist sprengeri, letting them radiate out below the cherry blossom wreath, then pull them back in toward the center, tucking them into the wreath for a frothy circular collar.
Love Mist ribbon backdrop, pages 48-49 The backdrop, made with inexpensive satin ribbon, is built on a frame of ribbon-wrapped, one-inch PVC pipe. Vertical supports for the frame are anchored in holders of a type designed for patio umbrellas. The lightweight holders are easy to transport; on site, they can be filled with water to weight them and disguised with ferns in pots placed around them. The ribbon hangs from a horizontal bar of PVC pipe, attached to the verticals with PVC elbows; disguise the elbows and the supports by wrapping them with ribbon. For the backdrop itself, wet your ribbon thoroughly in a sink or pail, then wring it out, intentionally scrunching the fabric, and let it dry to get a wrinkled texture. To hang it from the top of the backdrop frame, simply create loops by gluing one end of the ribbon to itself with UGlu. b April 2016 59
Masters of Elegance
An EMC+ wedding workshop pulls out all the stops. Photography by Adam Linke, The Decisive Moment
or those who want to learn how to design and install floral décor for luxury events, there is no substitute for experience. And experience is what designers got who partici-
pated in a three-day workshop last summer, offered by Tomas de Bruyne and Hitomi Gilliam AIFD as a complement to their European Master Certification Program (EMC)—a comprehensive European floral-design curriculum, taught by Tomas and facilitated by Hitomi. While the regular one-year EMC curriculum also involves handson learning, this workshop—focused on event design—gave attendees, including EMC graduates, a chance to take their skills to the next level. Held in three historic locations in Atlanta, Georgia, the workshop engaged designers with creating bouquets, table designs and largescale installations for both church and reception. Designers worked in teams—with the breathtaking results that you see here. For more about the European Master Certification Program, visit www.emcprogram.com. CLASSIC ROMANCE Imagine sitting at this table with the fragrance of David Austin wedding roses wafting all around! The effect was created by elevating a quantity of the roses, along with pale green hydrangea, in a cloud of blooms supported atop three silver candelabra, draped with crystal garlands and stephanotis vine. The same flowers are gathered into a cascading bridal bouquet. The roses appear to be at the height of their fragrance, fully open to the size of half-grapefruits.
july 20102016 11 61 APRIL
NEO MODERN At left, as the perfect complement to a highceilinged rotunda within Atlanta’s Georgian Terrace Hotel, reaching up toward a modern gold chandelier above them, slender stemmed cylinder vases hold straight, dark willow whips, providing a backdrop for richly hued flowers: vanda orchids, ‘Darcey’ David Austin roses, and ‘Tomas de Bruyne’ gloriosas. The gleam of draped gold chains and bands of flat copper wire harmonizes the flowers with the table setting. A bouquet created to match the table vignette was fashioned with an armature of scrolled flat wire, hung with gold chains. The wedding flowers are delicately veiled with maidenhair fern and the curling, gray-green leaves of Tillandsia xerographica.
Mastersof Elegance TROPICAL ROMANCE From far left, purple orchids mingle with pink and green anthuriums and hanging heliconia in a single elevated centerpiece that spans a 30-foot table by linking tall candelabra at the top with metal rods, passionflower vines, and silver flat wire fashioned into decorative scrollwork. The candelabra alternate with cylinders filled with maidenhair and ginger flowers, likewise linked with passion vine. A coordinating bouquet adds tillandsia leaves into the mix, along with a single ‘Beatrice’ David Austin rose, in a rich yellow that pops the color scheme and harmonizes with the margins of the gloriosa petals.
ROSE COLUMN Advanced technique is certainly required to create a rose column like the one at left. The secret is a caged structure that is hollow in the center, yet allows the roses to be hydrated in lightweight plastic water tubes; floral foam would make the column far too heavy. Using white ‘Avalanche’ roses gives the column a visual lightness. It rains acrylic crystal garlands down upon a garden of delicate clematis blooms, elevated in clear, slender Taza Vases from Accent Décor. To complement the column (one of many on another, longer table), a wall of roses (above) was built using a grid-wall rack display system, with a transparent section in the middle where the two sides of the wall are connected with branches and vines. DOWN THE AISLE Many a wedding florist would be grateful for the chance to decorate Atlanta’s Cathedral of St. Philip, with its existing eight-foot wrought-iron pew stands. Tomas and his team made the most of them with ten large arrangements that hovered above the central aisle and even reached hands across it, loosely connected via curving branches that imitate the soaring ribs of the vaulted ceiling.
july 2010 13
industry events For the most recent additions to Teleflora Unit Programs, go to www.MyTeleflora.com and click on Design Education to access the Floral Event Calendar in the Unit Program section.
National and International June 6-30, Atlanta, GA FloraMart® (Pete Garcia Company) market dates for spring/summer 2017 merchandise (closed on Father’s Day, June 19), FloraMart. Visit www.floramart.com.
June 20-22, Chicago, IL International Floriculture Expo, McCormick Place. Visit www.floriexpo.com.
July 3-7, Orange County, CA AIFD National Symposium: “Inspiration,” Anaheim Marriott. Call the American Institute of Floral Designers at 410-752-3318 or visit www.aifd.org.
July 9-12, Columbus, OH Cultivate ’16 (trade show and educational sessions), Greater Columbus Convention Center. Visit www.cultivate16.org.
July 11-22, Atlanta, GA FloraMart® (Pete Garcia Company) market dates for spring/summer 2017 merchandise, FloraMart. Visit www.floramart.com.
September 21-24, Maui, HI SAF Annual Convention, Ritz-Carlton Kapalua. Call the Society of American Florists at 800336-4743 or visit www.safnow.org.
October 5-8, Quito, Ecuador Agriflor 2016, Centro de Exposiciones. Visit www.agriflor.com.
October 19-21, Miami, FL Wholesale Florist & Florist Supplier Association Floral Distribution Conference, Miami Airport Convention Center. Call WF&FSA at 888-2893372 or visit www.wffsa.org.
November 2-4, Aalsmeer, The Netherlands FloraHolland Trade Fair Aalsmeer, FloraHolland. Visit www.floraholland.com/tradefair.
November 2-4, Vijfhuizen, The Netherlands International Floriculture & Horticulture Trade Fair (IFTF), Expo Haarlemmermeer. Visit www.hpp.nl.
December 5-16, Atlanta, GA FloraMart® (Pete Garcia Company) market dates for fall/Christmas 2017 merchandise, FloraMart. Visit www.floramart.com.
January 24-27, 2017, Essen, Germany IPM Essen, Messe Essen. Visit www.ipm-essen.de.
Central Region April 1-3, Green Bay, WI Wisconsin & Upper Michigan Florists’ Association Convention, Radisson Hotel & Conference Center. Call 517-253-7730 or visit www.wumfa.org.
April 6, Romulus, MI Michigan Unit, Everyday Advanced with Kevin Ylvisaker, Mayesh Wholesale. Contact Ed Smith at 517-546-1111 or email@example.com.
April 7, Florissant, MO Lewis & Clark Unit, Wedding Designs with Joyce Mason-Monheim, Sacred Heart Catholic Church. Contact Jenny Thomasson at 314-972-7836 or firstname.lastname@example.org.
May 17, Flint, MI Michigan Unit, Wedding Designs with Tom Bowling, Nordlie Inc. Contact Mike Anderson at 810-624-5018 or email@example.com.
South Central Region April 10, Albuquerque, NM New Mexico-WesTexas Unit, Mother’s Day Trends & Colors with Susan Ayala, Greenleaf Wholesale. Contact Adrianna Duran-Leon at 505-293-7677 or via email at firstname.lastname@example.org.
April 10, Kensett, AR Arkansas Unit, Everyday Permanents with Tim Farrell, Betty’s Wholesale. Contact Kay Schlaefli at 479-459-8034 or email@example.com.
April 10, Phoenix, AR Arizona Unit, Wedding Designs with Joyce Mason-Monheim, Mellano & Company. Contact Rakini Chinery at 928-713-1202 or firstname.lastname@example.org.
April 21, Dallas, TX North Texas Unit, Body Flowers with Kevin Ylvisaker, Greenleaf Wholesale. Contact MaryAnn DeBerry at 940-483-1800 or email@example.com.
Southeast Region April 10, Morgantown, WV West Virginia Unit, Everyday Designs with Vonda LaFever, Monongalia Conference Center. Contact Jim Coombs at 304-292-1571 or firstname.lastname@example.org.
April 6, Latham, NY
April 19, Raleigh, NC
New York Capitol District, Everyday Designs with Gerard Toh, Seagroatt Riccardi. Contact Kelley Gilbert at 518-785-8900 or email@example.com.
North Carolina Unit, Mother’s Day with Profits with Vonda LaFever, Cleveland Plant & Flower. Contact Tamela Garner-Eldridge at 336-3754141 or firstname.lastname@example.org.
April 6, Pennsauken, NJ
June 5, St. Augustine, FL
Penn Jersey Unit, Prom & Body Flowers with Cindy Tole, Pennock. Contact Debbie Brown at 610-286-6376 or email@example.com.
Florida State Florists Association Convention, program includes Creative Innovative Events with John Hosek, World Renaissance Golf Village Resort. Contact Len Beckett at 321-863-1871 or firstname.lastname@example.org, or visit www.floridastatefloristsassociation.com.
April 13, Liverpool, NY Upstate New York Unit, Weddings & Special Events with Julie Poeltler, Cleveland Plant & Flower. Contact Brenda Wilson at 315-5646606 or email@example.com.
April 17, Bedford, PA
April 10, Santa Ana, CA
Western Pennsylvania Unit, Party Designs with Tom Simmons, Clapper’s Wholesale Florist. Contact Janet Woloszyk at 412-367-8708 or firstname.lastname@example.org.
Los Angeles Coastal Counties, Wedding Designs with Gerard Toh, Mellano & Co. Contact Bruce Wataru at 323-839-5831 or email@example.com.
what’s in store
SCULPTED ELEGANCE Rich in color and graceful in form, a versatile blown-glass vase supports Teleflora’s Luxurious Lavender Bouquet, nationally advertised for Mother’s Day. Large enough to accommodate two dozen roses, the 10-inch-high vase makes the perfect choice for any special occasion. Call 800-333-0205 or visit themarket.myteleflora.com.
YOUR LOGO HERE The Bohemian Swirls assortment from eco-friendly packaging supplier Nashville Wraps includes shopping bags that can be hot-stamped with your store logo, along with coordinating options for tissue, giftwrap, boxes and more. The bags are made in the USA from 100% recycled white kraft paper. Call 800-547-9727 or visit www.nashvillewraps.com.
SHEER SPARKLE The combination of gauzy texture and a twinkling shine have made Glitter Mono Sheer one of Reliant Ribbon’s most popular patterns (25740). Five trendy new colors have been added this spring: coral, iridescent, watermelon (shown), scarlet and black. Call Reliant Ribbons Bows & Trims at 800-886-2697 or visit www.reliantribbon.com.
DRINK UP Floral elixirs, handmade in small batches from real, natural and organic flowers, combine vibrant flavors and aromas with a touch of pure cane sugar to create a potent, adventurous enhancer for cocktails and sodas. The elixirs are available as individual bottles in over a dozen flavors or in five-flavor cocktail kits. Inquiries from specialty retailers are welcome! Visit www.floralelixir.com.
April 2016 65
where to buy
For more information on merchandise featured in Flowers&, contact the supplier directly. Direct links to most suppliers can be found on the Flowers& website, www.flowersandmagazine. com. Use the links under “Advertisers in This Issue” or the link to our searchable, online Buyers’ Guide at the top of the Flowers& home page.
‘Scarlet Mimi’ spray roses, Royal Flowers. Gold hammered Elegant® bouquet holder, SmithersOasis. Jeweled bracelets, Fitz Design. Faux succulents, string of pearls and blue hydrangea, Pioneer. Metallic Mist wire-edge gold ribbon (5/8 inches, for UGlu boutonniere), Reliant Ribbon. Footed gold bowl, Syndicate Sales.
On the Cover
‘Mother of Pearl’ roses, Royal Flowers. Midollino and silver bullion, Smithers-Oasis.
F O C U S ON D E S IGN , pages 8-9
Moonseries carnations, Florigene. Frosted (silvered) aralia leaves, Wm. F. Puckett.
IN S PIRE D BY … , pages13-14
Footed Bowl in champagne, Syndicate Sales. Magical Leaves in gold, and jeweled brooches, Fitz Design.
Homestead tablecloth in light pink with Vintage Lace Sugar Plum overlay, Wildflower Linen. ‘Green Tea’, ‘Ocean Song’, coral ‘Marlisse’, ‘Crème de la Crème’, ‘Sahara’ and pale pink ‘Mother of Pearl’ roses, Royal Flowers. Glass cylinders in Rose Gold, Syndicate Sales. Square Crystal Bead Candle Holders, Jamali. Simple Elegance bracelet and pearlescent leaves, Fitz Design. White Mist foliage and foliage wreath, Wm. F. Puckett. Faux cherry blossom wreaths and sprays, Pioneer. ‘Green Tea’ roses, Royal Flowers. Ivory double-face satin ribbon, Reliant Ribbon.
Leaf Art, page 10
Weathered Oak Planter, Syndicate Sales.
THE C OLOR O F LO V E , pages 30-59
BERRY BRIGHT, pages 30-35
Matte Satin Burnt Orange tablecloth, Wildflower Linen. ‘High and Happy’ roses and ‘Tara’ yellow roses, Royal Flowers. Moonshade and Moonaqua carnations, Florigene. Square Floral Foam Riser and Large Square Essentials Designer Bowl, Smithers-Oasis. Plastic moss-colored jardinière in the Safari Assortment, Syndicate Sales. Hot pink (“Impatiens”) Oasis Colour Regen spray, Smithers-Oasis. Plate glass rectangle, fuchsia mitsumata, orange neon crushed glass, and lime-green wired wool, Accent Décor. Glitter Mono Sheer ribbon, Reliant Ribbon.
LAKE SHORE, pages 36-41
Matte Satin Navy tablecloth, Wildflower Linen. ECOssentials Cubes in Aqua and turquoise midollino, Smithers-Oasis. Reclaimed Wood Look pallets, Pioneer. Cobalt Vibe Vases and Black Square Cooler bucket, Syndicate Sales. ‘Vendela’, ‘Coffee Break’, and ‘Mother of Pearl’ roses, Royal Flowers. Teal and Turquoise spray color, Design Master.
MADLY, DEEPLY, pages 42-47
Matte Satin Wine tablecloth, Wildflower Linen. ‘Freedom’, ‘Matilda’ and ‘Moody Blues’ roses and
Featured Suppliers Accent Décor, Inc. Call 800-385-5114 or visit www.accentdecor.com. Design Master Color Tool. Call 800-525-2644 or visit www.dmcolor.com. Fitz Design. Call 800-500-2120 or visit www.creationsbyfitzdesign.com. Florigene Flowers. Visit www.florigene.com. Pioneer Imports & Wholesale. Call 888-234-5400 or visit www.pioneerwholesaleco.com. Reliant Ribbon. Call 800-886-2697 or visit www.reliantribbon.com. Royal Flowers. Call 800-977-4483 or visit www.royalflowersecuador.com. Smithers-Oasis. Call 800-321-8286 or visit www.oasisfloral.com. Syndicate Sales. Call 800-428-0515 or visit www.syndicatesales.com. Wildflower Linen. Call 866-965-7775 or visit www.wildflowerlinens.com. Wm. F. Puckett. Call 800-426-3376 or visit www.puckettfern.com.
EMPLOYMENT Florasearch, Inc.
In our third decade of performing confidential key employee searches for the floriculture industry and allied trades worldwide. Retained basis only. Candidate contact welcome, confidential, and always free. 1740 Lake Markham Rd., Sanford, FL 32771 Phone: (407) 320-8177 / Fax: (407) 320-8083 E-mail: firstname.lastname@example.org Website: http://www.florasearch.com
Flower Shop Manager Dallas TX
For more information visit https://Confidentialco.applicantpro.com/ jobs/318865-29583.html
e q u i pment Refrigerators For Flowers
Combo walkins, storage, reach-ins 800-729-5964 www.flotaire.com
Floral Design Tutorials on our YOU TUBE channel Flowers& Magazine
advertiser links s c h ool s
Advertisers’ websites are hyperlinked on the Flowers& website. Go to www.flowersandmagazine.com and click on “Advertisers in This Issue.”
Accent Décor, Inc. 800-385-5114 www.accentdecor.com
Alexandra Farms 305-528-3657 www.alexandrafarms.com
American Institute of Floral Designers (AIFD) 410-752-3318 www.aifd.org
Classico Manufacturing Co. 877-688-6889 www.garlandmaker.com
David Austin Roses 800-328-8893 www.davidaustinrosesusa.com
Design Master Color Tool 800-525-2644 www.dmcolor.com
Dollar Tree Direct INSIDE BACK COVER 877-530-TREE (8733) www.dollartree.com/floral/559/index.cat
weddings John Toomey Co
Wedding Aisle Runners Rentals & Sales
White Cotton Runners
emporium For rates and info, call
Peter Lymbertos at 800-421-4921
Florabundance, Inc. 800-201-3597 www.florabundance.com
FloraCraft Corporation 800-253-0409 www.floracraft.com
Hortica Insurance and Employee Benefits 800-851-7740 www.hortica-insurance.com
Nashville Wraps, LLC 800-547-9727 www.nashvillewraps.com Pete Garcia Company 800-241-3733 www.floramart.com Pioneer Imports & Wholesale 888-234-5400 www.pioneerwholesaleco.com Posy Pockets 864-654-6977 www.posypockets.com Royal Flowers 800-977-4483 www.royalflowersecuador.com Sandtastik Products 800-845-3845 www.floralsand.com
6 BACK COVER 7 28 1 21
Seminole 6 800-638-3378 www.seminoleds.com Smithers-Oasis 3 800-321-8286 www.oasisfloral.com SNK Enterprises 800-531-5375 www.snkenterprises.com
The Sun Valley Group 800-747-0396 www.tsvg.com
Syndicate Sales INSIDE FRONT COVER 800-428-0515 www.syndicatesales.com Teleflora 800-333-0205 www.myteleflora.com World Flower Council 954-444-6445 www.worldflowercouncil.org
25, 57 28
APRIL 2016 67
wholesaler connection Flowers& magazine distributors
Arizona Phoenix The Roy Houff Company
Kansas wichita Valley Floral Company
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Kentucky Louisville The Roy Houff Company
PENNSYLVANIA Pittsburgh Keystone Ribbon & Floral Pittsburgh Cut Flower Company
Florida PENSACOLA American Floral Wholesale of Pensacola Carlstedt’s, LLC
Louisiana Lafayette Louisiana Wholesale Florists Massachusetts Boston Jacobson Floral Supply Michigan Warren Nordlie, Inc.
SOUTH DAKOTA SIOUX FALLS North American Wholesale Florist, Inc.
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Tennessee Nashville The Roy Houff Company
Minnesota Minneapolis Koehler and Dramm
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Georgia omega Hornbuckle Wholesale Florist
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Washington Tacoma Washington Floral Service
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