Flowers& JULY 2018 $ 6.50
With a Flowers& retrospective, this yearâ&#x20AC;&#x2122;s Design Contest winners, and designs by Tim Farrell AIFD, AAF, PFCI, Vonda LaFever AIFD, PFCI, Gregor Lersch, and Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF
contents JULY 2018
Raising the Bar
A Flowers& retrospective.
Your Artistic Touch
Meet the winners of the 2018 Flowers& Design Contest.
Flowers to celebrate a season of bounty. Floral design by Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF Photography by Ron Derhacopian
Making the Upgrade
Increase profit and make customers happier by selling up. Floral design by Vonda LaFever AIFD, PFCI Photography by Ron Derhacopian
Designs that draw inspiration from music, art, and architecture. Floral design by Tim Farrell AIFD, AAF, PFCI Photography by Ron Derhacopian
Fall & Winter Workshop
Three days of design adventure with Gregor Lersch. Floral design by Gregor Lersch Photography by Dominik Ketz
Flowers& Index, Jan-July 2018 2 JULY 2018
ON THE COVER For a final cover, we couldn’t resist this striking photo—taken at a workshop conducted last fall by Gregor Lersch— of a golden chrysanthemum, resting lotus-like on the surface of a pond. For a selection of designs from the workshop, see page 60. For a portfolio of playful, intriguing and stylish Flowers& covers over the years, turn to page 12. Photography by Dominik Ketz.
From the Publisher
From the Editor
Meet the Designer
Where to Buy
Wholesale Connection pg 8
Flowers& Volume 39, Number 7 (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, $78.00. Canada, 1 year, $102.00 (US currency only); Canadian GST registration number R127851293. Other foreign countries, 1 year, $149.88 (US currency only). Single issues, $6.50 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 ÂŠ 2018 by Teleflora. Printed in U.S.A.
4 JULY 2018
Rich Salvaggio AIFD, AAF, PFCI firstname.lastname@example.org
National Advertising Director
On the Internet
ADVISORY BOARD Teleflora Education Specialists Susan Ayala
Riverside, Calif., Tom Bowling
Fairfield, Ohio, Tim Farrell
UP YOUR GAME THIS SUMMER
AIFD, AAF, PFCI,
Farrell’s Florist, Drexel Hill, Penn.,
Hitomi Gilliam AIFD, Vancouver, B.C., Canada, John Hosek AIFD, PFCI, CF, CAFA, Surroundings Events and Floral, Verona, Wisc., Alex Jackson Denver, Colo., Vonda LaFever AAF, PFCI, AzMF,
AIFD, AAF, PFCI,
Happy Canyon Flowers,
Niceville, Fla., Joyce Mason-Monheim
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, David Powers AIFD, Potomac Wholesale,
Silver Spring, Md., Jerome Raska AIFD, AAF, PFCI, CF, Blumz by JR Designs, Ferndale, Mich.,
Tom Simmons Gerard Toh
Three Bunch Palms Productions, Palm Springs, Calif.,
Garden Trade Services, Natchez, Miss., Cindy Tole
Flowers & Gifts, Greensboro, N.C., Jenny Thomasson
AIFD, PFCI, EMC,
Mo., Kevin Ylvisaker AIFD, PFCI, CAFA, Mukwonago, Wisc.
EDITORIAL COUNCIL Carol J. Caggiano AIFD, PFCI, A. Caggiano, Inc., Jeffersonton, Va., Bert Ford AIFD, PFCI, Ford
Take advantage of educational opportunities at conventions and Teleflora Unit programs. Check our Industry Events calendar, page 78. 6 www.flowersandmagazine.com
Flower Co., Salem, N.H., Bob Hampton AIFD, AAF, PFCI, FSMD, AIFD,
AIFD, AAF, PFCI,
Pompano Beach, Fla., Wilton Hardy
JWH Design and Consultant, West Palm Beach, Fla., Elizabeth Seiji
Edelweiss Flower Boutique, Santa Monica, Calif.
Customer service: For service on your magazine subscription, including change of address, please write to Flowers&, P.O. Box 16029, No. Hollywood, CA 91615-9871, enclosing a recent address label. For faster service, call 818-286-3128; Teleflora members call 800-421-2815.
From the Publisher
Partners in Creativity
ne thing that has come home to me as publisher of Flowers& Magazine is that a magazine is very much the product of many hands. With a very small staff, we have worked hard to create a magazine that will bring useful and inspiring ideas to our readers. But there is no way we could ever do that without the generous outpouring of resources and creativity that has made Flowers& what it has been over the years. First and foremost, I have to thank Teleflora’s team of Education Specialists. These are the experienced teachers and creators who come to every photo shoot well prepared, bursting with ideas, ready to throw themselves into the task at hand and to roll with the punches—the substitutions and occasional mishaps that inevitably require a change or two in the plans they had carefully drawn up. Especially over the past two decades, the work of these dedicated designers has been at the heart of every issue. At Flowers&, they are the stars of the show, and they deserve a big round of applause. I also have to thank our advertisers, not only for their financial support, but for their essential contributions of product, information and ideas. Floral-industry suppliers, big and small, have truly
been creative partners, not only at the magazine but in supporting all of Teleflora’s educational programs for retail florists. Many of the people at these companies are also personal friends. What they give back to the industry consistently goes above and beyond. Of course, I need to thank Teleflora for making Flowers& a part of this company’s commitment to florist education. That commitment is ongoing, even as it evolves to reach the greatest number with the resources available. Our business publications, the educational programs that are offered to all florists around the country through the Units Program, and the Teleflora Scholarship Academy are all going strong. Finally, I want to thank you, our readers. Without you—without your dedication to this business and your passion for flowers and design—we would have no reason for being. It has been an honor to serve as publisher of Flowers& Magazine, but only because of the hope that it has brought real guidance and inspiration to my fellow florists. Thank you. It has truly been my pleasure. ~ Rich Salvaggio AIFD, AAF, PFCI
From the Editor
Looking Back, Looking Ahead
o surprise: a lot has changed in the flower business since I started working at Flowers& Magazine, way back in 1982. To some people, those were the good old days. And indeed, the intervening years have been challenging ones for retail florists. In 1982, there were about 30,000 full-service florists operating in the U.S. Today the number is less than half that. Overall, the industry has grown—in new directions. During those years, we saw the impact on the industry of sweeping forces that reflect larger economic trends. Among them were globalization, consolidation, and the glittering, double-edged sword of the internet. Right at this moment, however, I’m thinking less about how the floral industry fits into the big picture, and more about how all those years of working in it have affected me personally. What emerges then is an appreciation for what makes the flower business truly unique. When I came into the world of flowers, I was a complete novice. I did not know an anemone from a zinnia. As a writer, I was perhaps more attuned to the verbal than to the visual. Today, walking through the garden that greets visitors to Teleflora’s offices in LA, with its soaring, sheltering coral tree, I am fully aware of the shapes of leaves, the textures of bark and stone, the subtly blended colors of the flowers. It turns out that repeated exposure to flowers can
make the world a more beautiful place, by enhancing your sensitivity to it. What skilled and sensitive floral designers do, in turn, is provide a focusing lens to sharpen that experience of beauty. Then too, I have been privileged to join a community of warm and wonderful people who work with flowers. It’s true: flower people have big hearts. I owe special thanks to Rocky Pollitz AIFD, AAF, PFCI, for yanking me back to Teleflora after three years away, in the middle of the ’90s—a time when I picked up some new skills at another job but missed my flower family—and to Rich Salvaggio AIFD, AAF, PFCI, who has supported and encouraged me in new flower adventures. There have been changes in the flower business, but the important part is the part that does not change. That is the part that has changed me. Now there are new changes in the works. But as the saying goes, the more things change, the more they stay the same. I plan to continue writing about flowers and design. You can find me at www.brucewrites.com. Some addictions should not be overcome. Memories? I’ve got plenty. I bet you do too. Time to go make some more. ~ Bruce Wright
From the beginning, Flowers& has been “the beautiful magazine about the business of flowers.”
The first Flowers& cover, from January 1980. Why “Flowers&”? In the early issues, the table of contents showed the name of the publication at the top; at the bottom, it listed departments with titles like “&Business,” “&People,” “&Trade News” and so on. The idea was to emphasize, with the repetition of the ampersand, the notion of flowers as a through line, keynote, and connecting force. 12 www.flowersandmagazine.com
aunched in January 1980, Flowers& Magazine was among the many dynamic innovations introduced at Teleflora soon after Lynda and Stewart Resnick purchased the company in 1979. It was, in particular, Lynda Resnick’s special vision that brought the new publication into being. Over most of Teleflora’s history, a magazine section had been a regular feature of the monthly membership directory. In 1974, the magazine Teleflora Spirit was published for the first time on its own, as a free-standing monthly. It introduced a new look, with full-color pages of floral designs. Fully redesigned and reimagined, Flowers& pushed the envelope again. Its lavish photo features and reader-friendly format raised the bar for floral-industry publications. At a time when Teleflora’s brand was less well-known than it is today, Flowers& was made available to—and intended for—all retail florists, not just Teleflora members. It served Teleflora as an ambassador to the industry, with its own brand identity: confident, sophisticated, and a bridge to the wider world of trends in business and design. Over time, the character of the magazine changed with the changing times. When
Teleflora merged with other floral service providers—first with Redbook in 1997, then with AFS in 2000—those companies’ business newsletters, each with its own loyal subscriber base, were folded into Teleflora’s family of publications. Gradually, then, Flowers& sharpened its focus on floral design trends and techniques, along with enhanced reporting on flower farms, new varieties, and cut-flower quality. Those newsletters, by the way (Floral Finance, Flowers & Profits, and Retail Florist) are thriving and still bringing helpful business advice monthly to Teleflora florists. Nonetheless, it’s clear that today’s media landscape has undergone tectonic shifts. Rising production costs and competition from faster, cheaper sources of information online have rendered many print publications economically unsustainable— Flowers& among them. We can only hope that our readers will continue to seek out and find the design inspiration and reporting on cut flowers and plants that are among the keys to professional success. On the following pages you’ll find a few of our favorite covers from years past. It’s been a long, fun ride!
November 1984 JULY 2018 13
RAISING THE BAR
June 1986 gatefold
October 1989 14 www.flowersandmagazine.com
June 1995 JULY 2018 15
RAISING THE BAR
January 2018 JULY 2018 17
TOP PRIZE $1,000
MEET THE WINNERS OF THIS YEAR’S DESIGN CONTEST.
ver since the annual Flowers& Design Contest was launched in 1984, it has followed a procedure for allowing readers to determine the top three winners by voting on their favorites. For the past 34 years, we have published ten finalist designs in the August issue of the magazine and announced the top three vote getters in the November issue. Clearly, when we announced this year’s theme and explained the rules for the 2018 contest in the January, February, and March issues, we did not know that the July 2018 issue would be our last. But, having received, as always, an impressive tally of wellexecuted and adventurous entries, we couldn’t fail to recognize the very best among them. So, we asked our panel of judges, rather
than selecting only ten finalists, to perform the more difficult task of choosing the top three. All three will receive trophies, as promised, while the first-place winner is awarded a cash prize of $1,000. In addition, the judges asked us to recognize three other entries of exceptional merit, as noted on page 24. We’re grateful to all those who took the time to enter the contest, this year and in years past. We hope that you will continue to challenge your skills, your imagination, and your sensitive response to the qualities of the flowers and foliage that are a floral artist’s inspiration and raw material. And now, the top three:
FIRST PLACE Lea Romanowski AIFD, CAFA Designing on the Edge, Calgary, Alberta, Canada An experienced, adventurous designer and teacher with 35 years in the industry, Lea has entered the Flowers& Magazine Design Contest 10 times and has been among the finalists eight times. For Lea, however, “it’s not about winning—it’s about, ‘Keep trying, because every time you try, you get better!’ ” This year’s entry came together spontaneously and rather quickly, she remembers—which goes to prove that quality design doesn’t have to require hours of long labor time when the designer has years of experience and study. As the owner of a business specializing in event design (www.designingontheedge.ca), Lea has specifically also gained experience working with photographers and learning how to design for the camera. Of her design entry, she says, “I’m a theme designer. There is always an underlying statement I want to make. The orb represents our world of floral design. This is a world I want to share. It comes from inside and pushes out beyond the boundaries. I’m transparent with my thoughts and feelings, as a person—and so with this orb, you can see into it and through it. I’m showing you who I am!” Lea took care to stage her design like a work of art: on a plinth, in a classic yet contemporary urn. Like many successful designers, Lea fell into the industry by accident—in her case, literally. She had taken a summer job driving a truck; when she had an accident with the truck, she decided to quit and do something else. At the time, she was dating a young man whose mother and sister owned a flower shop. Having an art background, she was quickly hired and, as Lea says, “thrown into the fire. I loved that we were involved in people’s lives for every important milestone: birth, marriage, death. I loved that I could do something every day that would put a smile on someone’s face.” In time Lea earned her Canadian Academy of Floral Art and AIFD accreditations, and today she is enthusiastically enrolled in the European Master Certification program (www.emcprogram.com). She finds that it is helping her not just with technique, but also “with the emotional part. In EMC it’s not an arrangement. They call it an expression. It’s a very supportive group, everyone helping everyone else to succeed.” Having taught for 15 years in the floral design program at a local university, Lea thinks her next step will be to start her own design school. “I love what I do,” she says simply. “I want to share it with others and feed those people into the industry.” The need for welltrained designers is certainly there. Let’s hope she finds the same success she has found in her own floral design business—and with this year’s Flowers& Design Contest. JULY 2018 19
SECOND PLACE Michiko Onishi Irvine, California Our second-place winner studied floral design in Tokyo, Japan, and also gained professional experience making wedding bouquets in that city before moving to the United States with her husband, whose career brought him first to Las Vegas, then to southern California. “I took one semester of floral design at CSN (the College of Southern Nevada) in Las Vegas before we moved to California,” Michiko told us in May. “My teacher at CSN recommended that I continue my studies at Golden West College” in Huntington Beach—a school that has supplied many finalists to the Flowers& Design Contest! “This semester, I’m taking a class in Creativity and Competition,” Michiko continued. “Every week we have a theme—and one week, the theme was the same as the Flowers& contest.” The class is taught by Miriam Somoano AIFD—who encourages her students to enter the contest every year. Here at Flowers&, we have always believed the annual design contest should be a spur to designers to push their creativity and test their skills, both with floral design and specifically with designing for the camera—one of the essential skills in the age of internet marketing and social media. So, we love to hear about schools and shops chiming in with the contest in just that way. Curves and circles inspire Michiko’s design, starting with three kuwa stems that spiral upward at the center in a kind of triple helix, establishing height, defining space, and leading the eye up and down with dynamic lines. Button spray mums and hypericum berries dangle from the top of the stems on bullion wire, bringing color up from the base without obscuring the spirals. Loops of midollino frame a focal area dominated by a cymbidium orchid that peers out from within the circle. The loops are mirrored, as though in a reflecting pond, with garland that Michiko made by stringing more spray mums onto #24 florist wire. Finishing touches come with fancy foliage techniques, using braided lily grass and an aspidistra leaf tailored with slits that create a louvered effect. Michiko was due to graduate in May. She was hoping to work again for a wedding florist, and also planning to apply for accreditation as a member of the American Institute of Floral Designers (AIFD). If all goes well she will participate in the Professional Floral Design Evaluation process at the AIFD National Symposium in Las Vegas in 2019. “My teachers, Miriam and also Gail Call AIFD, have encouraged me to do it, and I am so grateful to them,” says Michiko. We’ll wish her luck— she’s off to a great start! 20 www.flowersandmagazine.com
THIRD PLACE Cathy Hock NHMFD Merrimack Flower Shop & Greenhouse, Merrimack, New Hampshire It surely says something that Cathy has now placed four times among the top three winners of the Flowers& Design Contest: once in first place, twice in second. Clearly, she is keen on competition—but the extra push to create that “artistic touch” also pays off in sales, when customers come into the shop asking for a “Cathy special.” One of her trademarks is the use of distinctive foliage, fresh cut from plants in the Merrimack Flower Shop greenhouse. Another is finding creative applications for aluminum wire. Both are evident in her entry for this year’s contest—inspired initially, Cathy says, by the dark green calathea leaf that nestles to one side in the taller of her two connected containers. It pairs up nicely with the black vases, bringing that dark sheen up among the flowers, and harmonizes with the raspberry and lime green of gloriosas, ranunculus, berzelia, Lemon Lime dracaena leaves, reindeer moss, and a single anthurium. Dark green fatsia foliage and lily grass blend their points and curves into the mix as well. Swirls of aluminum wire add a lively energy to this design, echoing the gloriosas petals and lily grass, even the round forms of the ranunculus blooms. A key concept for Cathy was that she wanted to use two vases but merge them in an artistic way, which she accomplished with wire and foliage and the repetition of featured flowers. Other strategies for producing a competition-worthy entry? “I don’t do it all in one day,” Cathy tells. “I put it in the cooler, then first thing in the morning, when the shop is quiet, I fiddle with it. And of course, I take many more photos than just one. When you look at a design on the computer, you see new things, you make adjustments.” Cathy feels lucky to have the greenhouse for a “studio,” with its soft, diffused light, perfect for taking photos. To create a neutral background, she placed the design on wallboard from a home improvement store, which she had purchased for use in merchandising displays at Christmastime, and set up a piece of light gray cardboard behind it. “My husband is always so helpful with the photography,” she says. “It’s a team effort.” The theme for this year’s Flowers& Design Contest—Your Artistic Touch—turned out to be the perfect salute to our loyal readers, who have turned to the magazine for design inspiration and who have inspired us in turn with your design contest entries—more ambitious and professionally executed every year for 34 years! 22 www.flowersandmagazine.com
These three design contest entries were called out by our judges for special recognition as honorable mentions, among many that showed merit and ability. Thanks again to all who entered!
Keith Stanley EMC Keith Stanley Floral Design Washington, D.C. Keithâ&#x20AC;&#x2122;s design incorporates pieces of handmade, paper-based sculpture, created using stub wire and twine, dipped in paper pulp. Once dried, the pieces were sealed with beeswax and resin to make them water-resistant.
Nickole Kitty Ricketson Kabloom of Brookline Brookline, Massachusetts Nickole fashioned smooth, flexible tulip stems and curly willow into a graceful loop at one side of her design. A succulent rosette makes a strong focal area in pleasing contrast to fresh spring flowers.
Greg Lum AIFD, EMC Flowers Indeed! San Francisco, California Greg used recycled water tubes planted inside a birch wreath to create a woven dome with Mango mini calla stems, sprinkled with shredded candle wax to resemble snow. Photo by Tanya Constantine. 24 www.flowersandmagazine.com
CONGRATULATING the BEST ®
Congratulations to the 93 Certified Floral Designers (CFD ) who have distinguished themselves as professional floral ® design artists and who are being inducted as accredited members into the American Institute of Floral Designers (AIFD ). Andrea Ancel CFD Downers Grove, IL
Jeanne Davis CFD East Wenatchee, WA
Mihoi Kim CFD Gyeonggi-Do, South Korea
Klair McDermott CFD Miami Beach, FL
Andrew Stinson CFD Columbia, SC
Shamay Andrich CFD Anacortes, WA
Bronwyn Douglas CFD Manhattan, KS
Minsoo Kim CFD Goyang-si, South Korea
Kristina Metcalf CFD Ponte Vedra Beach, FL
Judy Barrett CFD Surrey, Canada
Matt Douglas CFD Manhattan, KS
Minyoung Kim CFD Goyang-si, South Korea
Andreia Muller CFD Altamonte Springs, FL
Elizabeth A. Stocker Nidy CFD North Canton, OH
Nancy Bartlett CFD Clifton, NJ
Michelle Marie Dummer CFD Tualatin, OR
Nayun Kim CFD Seoul, South Korea
Jin Na CFD Seoul, South Korea
Kyla Renee Beutler CFD Boise, ID
Alejandro Figueira CFD Davie, FL
So-Yeon Kim CFD San Francisco, CA
Dawn R. Newkirk CFD Concrete, WA
Jonna Sue Blakesley CFD Gillette, WY
Ralph Giordano CFD Fort Pierce, FL
Yeseul Kim CFD Seoul, South Korea
Juyoun Oh CFD Incheon, South Korea
Gillian Charlene Caesar CFD Tacarigua, Trinidad and Tobago
Pilar Gonzalez CFD Hallandale Beach, FL
Courtney Kroymann CFD Kirkland, WA
Susana Helena Ortega CFD Weston, FL
Marie Gregory CFD Santee, CA
Ven Yuen-Yi Lam CFD Hong Kong
Kyung-Jin Park CFD Seoul, South Korea
Shu Guo CFD Las Vegas, NV
Denise Lancaster CFD Leavenworth, WA
Sang Rye Park CFD Seoul, South Korea
Myounghee Heh CFD Seoul, South Korea
Eun Ji Lee CFD Seoul, South Korea
Lyndell Peterson CFD Bothell, WA
Youngmi Hong CFD Grosse Pointe Farms, MI
Sangran Lee CFD Seoul, South Korea
Mercedes Pilgrim CFD San Francisco, CA
I Li Hsiao CFD Oak Park, IL
Cindy L. Lesmeister CFD Wenatchee, WA
Cara Prescott CFD Jamestown, ND
Insun Cho CFD Seoul, South Korea
Rebekah Yuen Kwan Hui CFD Hong Kong
Lisa Lewis CFD Monroe, LA
Sam Prom-Chiem CFD San Diego, CA
Hwakyung Choo CFD Seoul, South Korea
Hyunchul Hwang CFD Seoul, South Korea
Anita Hor Yee Li CFD Hong Kong
Olga Ramirez CFD Miami, FL
Yu Hung Chuang CFD Shanghai, China
Na Ye Jung CFD Incheon, South Korea
Wen Li CFD Alhambra, CA
Nicholas Schembra CFD* North Little Rock, AR
Brian Coovert CFD Columbus, OH
Sujin Jung CFD Ridgefield, NJ
Florence Ling CFD Tai Po, Hong Kong
Ellen Seagraves CFD Bethesda, MD
Zais Daniela Cortez CFD Zulia, Venezuela
Hyoeun Kim CFD Seoul, South Korea
Fanny Kit-Fan Lo CFD Hong Kong
Jenna Barfield Sleeman CFD Coral Gables, FL
Lesleighan Kraft Cravens CFD Columbia, MO
Jaein Kim CFD Goyang-si, South Korea
Tara Marie Carlson CFD Woodbury, MN Rebekah Casey CFD Edmonds, WA Victor Castillo CFD San Carlos, CA Annie Chen CFD Portland, OR Ahnna Cho CFD Incheon, South Korea
Amanda Crisman-Voss CFD Los Lunas, NM
Jiyon Kim CFD Daejeon-si, South Korea
Christina Lopez CFD Springfield, VA Mirna Martinez CFD San Pedro Garza Garcia, Mexico
Laura Graham Smith CFD Orlando, FL Marta Sondej CFD Clifton, NJ
Doriswati Suradilaja CFD Anaheim, CA Sherene S. Tan CFD Silver Spring, MD Annie Venable Taylor CFD Scott, LA Olena Tcaci CFD Northbrook, IL Kelsey Thompson CFD Algona, IA Veronique Chicherie Touboul CFD Miami, FL Jorge I. Uribe CFD Oakville, CT Rodrigo Vasquez Montero CFD West Palm Beach, FL Rocio Vidana CFD Nuevo Leon, Mexico Daisy Vincenty CFD Bronx, NY Yingjuan Wang CFD Shanghai, China Mimi Sumiaty Wihardja CFD Jakarta, Indonesia Xuan Wu CFD Lanzhou, China Hee Jung Yeo CFD Seoul, South Korea Tammy Lynn Yow-Russell CFD Liberty, NC
AIFD is committed to establishing and maintaining the highest standards in the floral industry as the leading non-profit organization dedicated to the art of professional floral design. With over 1,300 accredited members worldwide, AIFD and its members are in the forefront of the industry in advancing education and design programs. Accreditation in AIFD is selective. To learn more, see the contact information below.
For information on becoming a certified floral designer and on AIFD accreditation: American Institute of Floral Designers 9 Newport Drive, Suite 200, Forest Hill, MD 21050 443-966-3850 | Fax 443-640-1031 e-mail: info@AIFD.org | www.AIFD.org
Giving Thanks Flowers to celebrate a season of bounty.
Floral design by Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF Photography by Ron Derhacopian
PINEY WOODS Pine-tree cutouts turn a floral design into a landscape that tells
trees, she omitted the base, to make them shorter. She covered
a story, with curling twigs of real pine to reinforce the motif. The
the outside of the Raquettes Holder with aspidistra leaves, pin-
trees come with bases made from a thick, sliced branch of pine
ning them on, and filled the center around the trees with roses,
wood. Joyce placed them on an 18-inch Raquettes Holder, secur-
carnations, echinacea, Green Trick dianthus, and tufts of copper
ing them with wood picks, floral tape, and UGlu; for the taller
beech foliage, plus the pine twigs.
28 www.flowersandmagazine.com 26
A MODERN MIX Combining garden flowers with tropicals has gone from a daring experiment to a trend thatâ&#x20AC;&#x2122;s here to stay. Chocolate anthuriums, pink proteas, and richly tinted ti leaves blend beautifully with cattails, Piano roses, ilex berries, antique hydrangea, astilbe, burgundy dianthus, and cascading pepperberriesâ&#x20AC;&#x201D;all radiating outward
For product information,
from a center-point elevated on the Prive Compote.
see Where to Buy, page 76. JULY 2018 27
Giving Thanks THICKET OF GOURDS Green gourds, short-stemmed bronze mums, and amaranthus supported with birch twigs make a long-lasting and distinctive design. Joyce filled an 11-inch Lomey tray with floral foam, then covered the sides of the foam with dark ti leaves. She placed the gourds on top of the foam, securing them with wood picks, and surrounded them with a fence of Victorian birch twigs, with their rhythmic side buds. She added the bronze amaranthus, the mums, and a few preserved autumn leaves. Finally, she took advantage of a long birch branch with flexible twigs all hanging to one side: she inserted the branch and spiraled the twigs in a bundle around the design, tying them in place with wire.
COOL AND BRIGHT For a different take on the classic horn of plenty, Joyce took a readymade, basketwork cornucopia lined with plastic and wrapped it with yarn to give it a fresh texture and color. She placed foam inside and added dusty miller, Orange Crush roses, pepperberries, autumn leaves, and eryngium. The bright orange roses pop against the background of cool colors as they would never do in a more conventional setting.
JULY 2018 29
AUTUMN LIGHT Chocolate-brown votive candles nestle within a row of upturned sunflowers, in a centerpiece that displays a quietly cheerful color harmony. The yellow of the sunflower petals is reinforced with bright craspedia, while the candles and brown sunflower centers are echoed with the velvety backs of magnolia leaves. Scabiosa pods bring the color of the Birch Box up among the flowers and foliage.
LEAF PILE Arching tulip stems and bright, segmented floral clusters domi-
Dish here and there with spray adhesive. She dipped the dish
nate your first impression of the design above—but a good
into a pile of the leaves and raffia, adding more spray adhesive
deal of surface area is taken up at the center with a mound of
as needed. She filled the birch bowl with foam, placed the
preserved autumn leaves and snippets of raffia. “I call this a
leaf-pile in the center, and surrounded it with flowers, includ-
‘space hog,’ ” says Joyce. The mound can be prepared in ad-
ing yarrow and bright orange marigolds. Finally, she inserted
vance, uses minimal product at minimal expense, and requires
a flexible forked branch on one side and secured the forks in
minimal insertions—yet it adds color, interest and craft-y style.
the foam with wired picks, then tied orange tulips to the branch
Joyce first snipped the leaves and raffia into smaller pieces,
with raffia and added a few preserved autumn leaves as a
then sprayed the bottom of a six-inch clear Lomey Designer
finishing touch. JULY 2018 31
FENCE ME IN The â&#x20AC;&#x153;fenceâ&#x20AC;? is the point of greatest design
its length to get the width she needed (the
interest here, with line movement and
height, in the finished design). The folded
varied textures in pleasing contrast to the
mesh gave her layers of decorative wire
solid bed of yellow mums in the middle.
to weave things through: feathers, millet,
Joyce made the fence by first cutting a
copper beech leaves (secured with UGlu),
section of Oasis Wire Mesh, measuring
lily grass, and jasmine vine (partially
the length she needed such that when
stripped of its foliage). Inside the fence
she bent the mesh into a circle she
is a disk of floral foam, with the sides
had an inch of overlap to wire the ends
wrapped in magnolia leaves, resting in a
together. She also folded the mesh along
clear Lomey designer dish.
FLOATING ON THE WAVES A green background of flowing lines, created with variegated flax leaves and stripped jasmine vine, provides harmonizing contrast for chocolate-brown cymbidium blooms and winedark, â&#x20AC;&#x153;antiqueâ&#x20AC;? hydrangea. Joyce started with the flax, weaving blades around the outside of a mound of wet foam and pinning them into place with copper-colored corsage pins; then she added the hydrangea, cymbidiums, and jasmine vine.
JULY 2018 33
CRAZY CURLS Curls of wire wrapped with fuzzy yarn add depth, texture and interest above a low mound of succulents, roses, Moonvista carnations, hydrangea, mums, echinacea, and autumn leaves. Joyce did the wrapping quickly and easily using a drill: Put the end of the wire into the drill, attach your yarn to the other end of the wire, and as the wire turns, feed the yarn (or ribbon, or bullion) onto the wire, leading it closer and closer to the drill. Itâ&#x20AC;&#x2122;s easier with two people, especially if youâ&#x20AC;&#x2122;re wrapping a long piece of wire. The technique helped Joyce to wrap her wire with yarn in two colors; she then added some bullion wire, especially to secure the yarn at the tips. Her intriguing palette mixes burnt orange with green, pink and purple.
THE UNEXPECTED HUE By painting a real pumpkin in the color opposite to orange on the color wheel, Joyce achieved the effect of a color negative, to brilliant effect. She used a combination of color sprays and sponging technique to get a textured finish with three different shades of blue and turquoise. “It goes fast,” she says—“or I don’t do it!” The final touch was to brush the stem with gold. The pumpkin takes pride of place in a setting of blue or bluish flowers and foliage, plus orange spray mums—just the witty touch needed to complete the color picture.
JULY 2018 35
ALL DRESSED UP Adding a crafted couture finish to a hand-tied bouquet, Joyce
on one side of the disk. She used spray adhesive to cover the disk
created a disk-shaped collar for the bouquet wrapped in croton
with the trimmed croton leaves, and added the berries strung on
leavesâ&#x20AC;&#x201D;with one slender pie slice removed from the disk and
wire by inserting the ends of the wire into the corrugated card-
replaced with hypericum berries strung on aluminum wire. To be-
board. The croton leaves and hypericum berries beautifully match
gin, she cut a disk out of corrugated cardboard, using an 11-inch
the bouquet made with antique hydrangea, Orange Crush roses,
Lomey tray as a guide to trace the circle. She then traced a smaller
chocolate-brown dianthus, scabiosa pods, and more hypericum,
circle in the center of the disk and cut it out, along with the pie slice
along with eucalyptus foliage around the outside.
RADIANT SPACE Radial lines, all fanning out from the center, offer a classic design
you intend to use them as single blossoms. But when the lower
strategy with many variations. Here, Joyce has left space between
blooms have been removed for use in another design, you can
the groupings of millet (plumes and stems), chocolate cosmos,
still take advantage of the long, sturdy main stem in a design like
and an apparently top-heavy stem of cymbidiums, creating
this one. This design bursts with energy, radiating from a point
drama and the exquisite tension of perfectly balanced asymmetry.
just below the horizon line established by the rim of the Weathered
Cymbidium orchids are best purchased by the stem, even when
Brown Planter. JULY 2018 37
making up the grade Increase profit and make customers happier by selling up. Floral design by Vonda LaFever AIFD, PFCI • Photography by Ron Derhacopian
To make the equisetum backdrop at left truly stable, give it a cardboard backing. Attach wood picks to a rectangle of cardboard (here, three by five inches) with packing tape or with duct tape. For this photo, we used packing tape to show the mechanics clearly; cleanly applied duct tape would achieve a more finished look. To make the cardboard blend with the equisetum on the front anywhere it might show through, color it green and scribble black lines on it going in the same direction as the picks and the equisetum. For product information,
BACK IT UP A tall fence of equisetum, accented with just two blades of lily grass woven through it at the top, turns an ordinary floral design into a comment-worthy work of art. The materials required are few and inexpensive. It takes a little bit of time and skill to create the equisetum accent—but that’s exactly what professional florists can offer as an upgrade that mass marketers cannot. The work can be done on its own, when time is available, in multiples to make it more efficient. The equisetum fence with its lily grass curves lends height to the design, plus line movement to lead the eye along a pathway. It frames the focal flowers and creates value out of empty space. The lily grass echoes the twin gerbera stems with their parallel curves. The bold vertical lines of the equisetum reinforce the slim vertical bands of bamboo on the tall vase. Thus, the best upgrades are additions to a basic design that aren’t simply superimposed but integrated with the style and flow of the original.
see Where to Buy, page 76. JULY 2018 39
HANDCRAFTED When people give flowers, they want to say something that can only be expressed with a design that shows the human touch—a gift that has been created by hand. That’s certainly true of both versions of the design featured here. But how much more do we feel that time and thought and loving attention are represented in the gift when we look at the flowers sheltered by a wide, flat ribbon woven of lily grass and decorative wire? The artisanal accent is a “talk-about-it” feature: it gives the receiver something to say in 40 www.flowersandmagazine.com
telling others about the design. In that way, it adds even more to the pride and pleasure that come about when someone receives flowers. To make it, Vonda simply taped the five blades of lily grass down at the stem end, swiftly wove the wire through them, and bound the bundle of tips with the wire. Accents like these can of course be prepared in advance, kept in the cooler with the stem ends in water, used up as they are sold, and the stock of them renewed at the end of the work day for the next day.
SPECIAL FLOWERS, A SPECIAL TOUCH “May I make a suggestion? We have in the shop today some really beautiful and long-lasting but more unusual flowers called pincushion proteas. We have them in a bright, rich orange color that would really make the other colors in your bouquet pop. They add a nice texture as well. We could add three of those into the bouquet for just [name your retail price] more. I think you’ll be impressed with how much they add to the look.” Of course, selling on the phone isn’t the only way to suggest an upgrade. You might have the opportunity to show your customer the
effect of adding a special flower to the mix, right in the shop. The point is, you’re the flower expert—and when you share your knowledge about special flowers, you’re letting customers know they can expect more from you than from other flower sellers. Your clients may not be likely to request special flowers like proteas, orchids, or garden roses, because they don’t know about them, or that they are available from you. They may not want to spend more for a bouquet that’s simply bigger than needed or expected—but they may be thrilled to find that for just a slightly higher price, they can get something with the novelty and distinction of a flower they don’t usually see. JULY 2018 41
TELL A STORY There’s certainly nothing wrong with the version of this design seen above. On the contrary: Vonda’s selection of highly textured flowers—some dark, some bright, with a head of ornamental kale as a dramatic focal point— give the design an arresting and intriguing quality. The tiered, stepwise placement of the orange roses creates a pleasing rhythm. In the upgraded version, upright and curving blades of flax frame the design with elegant curves. They add height and breadth economically, rising several inches above the top rose and defining volumes of space as part of the design. Beyond these benefits, however, the simple architecture of the flax foliage lends a kind of dignified romance to the design. It could be thought to resemble the archway at the entrance to an old church. It could be interpreted in any number of ways—the point being that it suggests the possibility of interpretation. Though quickly and easily added to the design, it is clearly handcrafted with an artist’s intention. To create this effect, Vonda inserted four blades of flax. With her knife, she cut two upright slits in the center blade, plus one slit in the next blade on the right. From there, she simply inserted the tips of three flax blades into the slits on neighboring blades. Foliage, sturdy and flexible, offers one of the first resources for designers seeking to add value to designs with a minimum of materials and labor cost, but with a maximum of creative flair. Buy in different types of foliage, and experiment. And be sure to charge for the flair!
POINTS AND LINES Flowing lines create motion; round shapes give the eye places to rest as it travels through a design. The skill of combining these two elements in a balanced and complementary fashion is basic to what floral designers do. Round, restful shapes are easier to work with and perhaps a more basic requirement. But the skillful use of line marks the work of a professional designer. Dominated by round shapes, the basic centerpiece at top right gains a feeling of outward flow from the placement of statice, salal, and rose heads that seem to point left and right. An entirely
new dimension is added, however, with just four or five curly willow tips that float above the flowers. Salal leaves, added to the curly willow with UGlu, call attention to the floating lines by adding visual weight. Although they are “points” along the line, they accentuate rather than detracting from the sense of linear flow by “pointing” in the direction of flow. The simple curly-willow upgrade adds not only line value but depth and dimension to the centerpiece. It’s another example of how an effective design upgrade isn’t just an “add-on” but fully integrated into the design. JULY 2018 43
WHEN THE FLOWERS ARE GONEâ&#x20AC;Ś The keepsake concept has a wide range, from heirloom-quality crystal and porcelain to a simple, inexpensive add-on like these Lucite stars, which can easily be unhooked from the design and added to the tree or saved for future Christmas trees. The key lies in effective display and integration of the keepsake with the flowers and other accessories. The trellis of birch branches constitutes a significant upgrade by itself, adding height and a handcrafted, woodsy touch to the design. Together, the birch twigs and Lucite stars echo the pickled-wood texture of the Woodland Planter. Likewise, the glittered sheer ribbon and white roses harmonize with the stars. Meanwhile, the sprig of hemlock, rising from a base of long-needled pine, conveys in delicate miniature the idea of a Christmas tree, providing a backdrop that suggests the after-use for the hanging stars. It all adds up to a persuasive argument for spending just a little moreâ&#x20AC;&#x201D;an investment that pays off in abundant pleasure and value.
GLASS ART: TIFFANY LAMP As might be expected of a style from the Art Nouveau period, the art glass of Louis Comfort Tiffany typically incorporates botanical forms such as branching vines, petals, and leaves, as in the lamp at left. Tim has reinterpreted the lampshadeâ&#x20AC;&#x2122;s dripping canopy and luminous colors in a design with flowers and peacock feathers to evoke the iridescent jewel tones of the Tiffany glass. To create the required shape, Tim fashioned a dome out of chicken wire, supported by a structure made of taped florist wire; for more on the how-to, see page 58. 46 www.flowersandmagazine.com
Designs that draw inspiration from music, art, and architecture.
Floral design by Tim Farrell AIFD, AAF, PFCI • Photography by Ron Derhacopian
GLASS ART: CHIHULY CHANDELIER Like Tiffany’s, the work of sculptor Dale Chihuly is itself inspired by nature. With its glass tendrils, the Chihuly chandelier hanging in the rotunda of the Victoria and Albert Museum has a distinctly organic feeling. Chihuly’s work often features blown glass orbs. In Tim’s design, orbs created with Oasis spheres, covered in green spray mums, provide resting points for the eye and a pleasing contrast to the abundant cascade of blue and green flowers and foliage.
For product information,
For how-to tips on the orbs and the cascade, see page 58. Chandelier photo: Rod Allday.
see Where to Buy, page 76.
JULY 2018 47
ARCHITECTURE: DISNEY CONCERT HALL To evoke the iconic building in downtown Los Angeles by Frank Gehry, with its curving surfaces of stainless steel, Tim based this design in the silver Platform Glass cylinders from Accent DĂŠcor. He then purchased roof flashing at a home-improvement store (be careful when you cut it, he warns: edges are sharp!) and secured curving sections of the flashing in foam using wood stakes and duct tape. Perfectly spherical alliums and angled blades of hala foliage support the architectural feeling. Disney Concert Hall photo: Antoine Taveneau.
JULY 2018 49
ARCHITECTURE: FALLINGWATER Many consider Frank Lloyd Wrightâ&#x20AC;&#x2122;s Fallingwater, a house built partly over a waterfall, his most beautiful building. Its cantilevered concrete rectangles alternate with walls of locally quarried stone, strong horizontals and verticals perched above the rushing water. In Timâ&#x20AC;&#x2122;s homage, white and light blue flowers evoke the waterfalls of the name, along with single blades of bear grass that add dynamic curves to the design, suggesting motion.
JULY 2018 51
MUSIC: SIGN YOUR NAME
design with a rhythmic, dancing movement that spirals around the
How do you translate music into flowers? When Tim listens to the
outside toward the center. To create that effect, he planted curly wil-
song Sign Your Name, by Terence Trent Dâ&#x20AC;&#x2122;Arby, he hears a strong
low tips in the outside perimeter of the foam, pulled them in toward
Caribbean beat mixed with pop. So, he was inspired to combine
the center and wired them to each other with Bind Wire. Callas, bells
tropical with semitropical and temperate-zone garden flowers, in a
of Ireland, and jasmine vine reinforce the swirling motion.
MUSIC: ALL FIRED UP The title of Pat Benatarâ&#x20AC;&#x2122;s hit single suggested to Tim a literal interpretation, with flame-like flowers rising from a bed of black rocks that resemble coal. The sharp angles of the heliconias, strelitzias, and bent hala leaves might also suggest the songâ&#x20AC;&#x2122;s driving, staccato beat.
JULY 2018 53
PAINTING: THE KISS In one of Gustav Klimtâ&#x20AC;&#x2122;s most beloved works, an embracing couple is swathed in rich robes that give a warm feeling of enclosure. Tim captured that feeling in a design with a hollowed-out center, created by spraying a tomato cage with Design Master 14K Gold and planting it in foam inside a Lomey Designer Dish, which sits on top of the Alba Urn. Yellow sisal reinforces the sense of golden yellow as the foundation color in the design.
PAINTING: WATER LILIES Reflections in a still horizontal surface, cascading willow leaves, floating flowers—all contribute to the soothing effect of Claude Monet’s water-lily paintings. Tim has echoed all these elements, creating a feeling like the surface of the water with equisetum woven through an Oasis Wire Collar, stretched out into a horizon line. The cascading willow and reflected clouds are deftly represented with eucalyptus, Queen Anne’s lace, and white tulips. To represent the floating water lilies, Tim added dendrobium florets attached with UGlu Dashes to blue midollino. He hid mechanics by placing a dendrobium petal over each UGlu Dash. (He used the same technique for the dendrobium florets in the Chihuly design on page 47).
JULY 2018 55
SCULPTURE: SIBELIUS MONUMENT A must-see on any visit to Helsinki is the Sibelius Monument, a sculpture by Finnish artist Eila Hiltunen, dedicated to composer Jean Sibelius. Some have thought the hollow steel pipes in the sculpture were intended to recall organ pipes, but Sibelius composed little for organ, and the artist has stated that she intended the wave-like pattern to capture the essence of the composerâ&#x20AC;&#x2122;s music. Tim sprayed river cane silver and assembled a free-standing structure resembling the monument by gluing the pieces together with UGlu. He then added a backing to the structure with more river cane sandwiched between layers of cardboard and Styrofoam (see the photo on page 58). The backing provides a place to add a hidden utility container with floral foam.
SCULPTURE: THE CATHEDRAL The sculptor Auguste Rodin had a passion for Gothic architecture, and he continually experimented with combining fragments from his major works. Placing two right hands together, he was struck by their resemblance to a Gothic arch and gave this new composition the title, The Cathedral. In Tim’s interpretation, red ginger and kangaroo paws re-create the suggestion of an arch and of bowing reciprocity. The dark tones of the kangaroo paws, red ti leaves, and Teleflora’s Noble Heritage Urn recall the burnished bronze of Rodin’s expressive sculpture.
JULY 2018 57
MEET the Designers Tim Farrell AIFD, AAF, PFCI Considering how passionate Tim is about floral design, it could be surprising to learn that before he stumbled into the career that would become a calling, he was doggedly pursuing a degree in accounting. “I was all about spreadsheets,” says Tim (seen at right working on the design featured on page 56). “But I needed a part-time job, so I went to the local mini mall and started knocking on doors. The second door was a flower shop, and that was where they said, ‘Yes, we could use some help.’ ”
A year later, Tim was opening his own shop. “The design aspect appealed to me from day one,” he remembers. “But what really helped me the most was getting involved with Teleflora Units. That’s how I learned more about design and how other people ran their businesses. In the Units Program I found a network of mentors. That’s how I met people who were members of AIFD. Each step pushes you to another level.” Tim became a Unit President, then a Regional Unit Director. Today he serves on Teleflora’s team of Education Specialists. A favorite topic for teaching? “I really love teaching the elements and principles of design,” says Tim. “It’s one of the things that is most needed in the industry. This is the knowledge base that a designer needs to have in order to create, and not just copy. Many designers can copy—but if you don’t understand why things go where they
TIFFANY GLASS, page 46 To create the support structure for the Tiffany “lampshade,” Tim strapped wet foam into the bowl of the Venice Compote, with the bricks rising above the rim of the bowl. He took seven lengths of heavy-gauge florist wire and taped each piece, then taped all seven together at the bottom to make a stem with branches coming out of it like a candelabra. With the branching structure in place, he lowered an armature made of chicken wire over the branches. The chicken wire provides support for insertions of foliage and flowers. The top of the lampshade remains open, allowing Tim to alternate placements through and underneath the chicken wire.
go, it’s hard to create something new that’s truly beautiful.” Tim has owned and operated his highly successful flower shop, Farrell’s Florist in Drexel Hill, Pennsylvania (profiled in the May 2017 issue of Flowers&) for 35 years now. And yes, he does his own accounting. “There are things about the flower business that accountants often don’t get right—mainly related to COGS (cost of goods sold) and wireservice business,” Tim relates. On the other side, some things he learned in accounting school didn’t fully make sense until he because a business owner. “I get it now,” he says. He surely does! Other designers featured in this issue include Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF (profiled in the January 2018 issue, page 52), Vonda LaFever AIFD, PFCI (see the February 2018 issue, page 62), and Gregor Lersch (see page 65). CHIHULY CHANDELIER, page 47 To hang a flower-covered Oasis sphere so it dangles from above, tightly coil one end of a length of aluminum wire (using needle-nose pliers), then bend the coil at a right angle to the wire. Pierce the sphere with the wire, pull it through, and hook the wire at the top to the plastic cage of your wreath form or whatever you are using at the top of the design. To hang tall, sturdy stems like delphinium or bells of Ireland upside-down, bend the bottom of the stems at a right angle. This will curtail the life of the flowers, but they’ll look perfectly fresh for a party the same day. Secure the positioning of the cracked stem with heavy-gauge florist wire, as pictured.
FALL & WINTER WORKSHOP Three days of design adventure with Gregor Lersch. Floral design by Gregor Lersch • Photography by Dominik Ketz
orkshops taught by Gregor Lersch at his home base in Bad Neuenahr, Germany, and all over the world can be wide-ranging in approach. At a recent class, students learned not only design technique but also about how to explore, develop, and promote a personal floral-design identity. The designs seen here were photographed at a workshop given last fall. Gregor will teach a similar class (“3 days, 3 stories”) this coming November 1-3, 2018. To learn more, visit www.gregorlersch.de.
Above, cascading berries plus dried and diminutive fall leaves
At right, fall flowers sprout from wire-wrapped water tubes in
render an elevated wreath unmistakably autumnal, despite the
a sturdy, vertical structure made with branches and coated
prevalence of soft, vernal pinks. A basket-like structure supports
rebar. The water tubes are supported on wire stems that permit
the “wreath,” which is actually a cone-shaped bouquet, allowing
precise flexibility in positioning them. A hanging garland of
leaves, berries, and accents to cascade. For a how-to photo, see
twigs lends subtle texture to the design; a detail shot appears
on page 65.
DAY 1: FREE FALL
JULY 2018 61
DAY 1: FREE FALL
At left, Gregor added flowers in a ruff to a readymade decorative form bristling with midollino,
Above, the curving shapes of ridged coco spathes create a wave-like motif, hovering above a wooden
elevated on a single central stem. Some flowers
bowl. The spathes are attached to sturdy wire stems
are in water picks, pushed directly into the form;
with paper-wrapped wire, as are clear water tubes;
others drink from water tubes wrapped with buff-
the wire stems are secured to the bottom of the bowl.
colored yarn and attached with paper-wrapped
Seen from the side, the entire structure seems to float.
wire to long, lightweight wooden sticks. The sticks in turn are attached to sturdy wires that hook into the form. Jasmine vine weaves thrrough the
Gregor has wrapped the strikingly red fall leaves of
Hamamelis mollis (Chinese witch hazel) in fine gold wire, making garlands that drape over the top and
midollino, while tiny wooden ovals, sandwich-
dangle from the sides. Hovering above are heart-
glued to fine wire, bring the color and texture of
shaped leaves of epimedium, â&#x20AC;&#x153;a star in the picking
the midollino out among the flowers.
garden of florists and others,â&#x20AC;? says Gregor.
JULY 2018 63
DAY 1: FREE FALL
Perhaps the worldâ&#x20AC;&#x2122;s best-known floral artist and teacher of floral design, Gregor Lersch has given lectures, demonstrations, and workshops in 54 countries around the world (so far!). As the author, too, of numerous books on floral design, his influence has been seminal and widely felt. His approach emphasizes creative technique along with cultural and personal expression. For more about Gregor, visit www.gregorlersch.de.
In the photo at left, we can see the shape of the basket-like support structure at the center of the design above and on page 60. The structure is made with five wires, bound together in the center with paperwrapped wire into a single stem. The wires separate into the branching structure above and into five horizontal feet below that hold the structure upright. The structure then becomes an armature for making a hand-tied bouquet, with a wider edge where stems are pushed through and join at the â&#x20AC;&#x153;binding point,â&#x20AC;? where they drink from water in the shallow design tray. At right, dried twigs, strung into hanging garlands, add an organic latticework to the interior of the design on page 61.
At left, Gregor has lined the inside of a boxwood wreath with smooth dried twigs of rosemary wood, bundled with wire and inserted into foam. The wreath then becomes a foundation for adding small fruits in red and gold, including rose hips, dried peppers, crabapples, medlars, rolled and wire-bound red leaves of Hamamelis mollis (Chinese witch hazel), plus water-tubed roses and speckled vanda orchids. JULY 2018 65
DAY 2: BURNING BRIGHT
On this page, steel wire (not paper-wrapped) performs the function of supporting water tubes on flexible stems and harmonizes with the iron candle stand. A further harmony is achieved with coils of the wire that resemble organic forms. At right, a slice of tree trunk serves as a platform for a design that also incorporates dried twigs, wired into wings on either side. 66 www.flowersandmagazine.com
JULY 2018 67
DAY 2: BURNING BRIGHT
To the three-legged candle stand at left, Gregor added a circle
Above, a slice of tree trunk, elevated on four iron legs, serves
of sturdy wire, enlarging and framing the display area and
as the foundation for another airy design with both water-
partially filling it in with wood slices, attached to the circle
tubes and candle holders wrapped in paper-covered wire and
with slender, flexible wire. Wire-wrapped water tubes support
mounted on wire stemsâ&#x20AC;&#x201D;a technique that results in maxi-
a medley of wintry flowers, berries, leaves and pine needles,
mum flexibility and integrity. Cocoa pods are strapped to the
plus a garland of paper stars.
sides of the wood. Among the floral materials are carnations, ranunculus, crabapples, clematis, miscanthus grass, and a long stem of amaryllis. JULY 2018 69
DAY 3: WINTER LIGHT
At left, a rectangular frame made of rebar, 65 by 45 centimeters (about 26 by 18 inches) is wrapped with wire that creates a framework for weaving in lichen branches, green berries and sempervivum succulent rosettes, plus vanda orchids and white nerines in water tubes. Cutting straight across the textured tapestry are long thick stems of the intriguing succulent Kalanchoe
At right, a plexiglass screen is drilled with numerous holes, for clear water tubes and to attach the screen to rebar supports that hold it up. The rebar is tilted slightly backwards, and the tubes are inserted at an angle, so they can dangle at the back and hold water. The tubes are then filled with vanda orchids, dangling succulents, and ceropegia vine, with its mottled, heartshaped leaves. An upright water tube in front of the screen holds a very long stem of ornithogalum, with a cluster of unopened buds at the top.
JULY 2018 71
DAY 3: WINTER LIGHT
The circular, minimalist design at left is mounted on a piece of wood painted in a grayish sand color. At the center is a half sphere of foam, covered with small disks of white wood. Surrounding the half dome is an airy wreath built on a white wire frame, mounted on metal pins driven into the wood. Gregor wove smilax berries into the frame and the woolly, silvery foliage of calocephalus, then added white nerines in mini water tubes. The amaryllis bulb is planted in a wire basket filled with moistened moss and mounted on a sturdy arm of white-painted rebar.
A similar support system holds the amaryllis bulb at right upright, with a curving arm made of thick wires bound with thinner wire. The thick wires branch out into a basket at the top. The arm extends from a supporting stem attached to a sturdy wire frame, with verticals and horizontals reinforced in the design. Structures like this, and the wire-wrapped stems and water tubes seen throughout this feature, can be made once and used over and over again. Here, wrappings of yarn and wool add to the softness inherent in a palette of mostly pale, neutral tints.
JULY 2018 73
DAY 3: WINTER LIGHT
In the design above, an airy nest of twigs and flowers seems to float at mid level, supported by wire mesh and elevated on yet another stem with branching feet, made by binding wires together with paper-wrapped wire and then allowing them to separate before wrapping them further. Tapers rise from candleholders similarly fashioned out of paperwrapped wire. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s easy to place these anywhere and possible to create them in about 10 minutes each,â&#x20AC;? says Gregor. Well-chosen branches intersect the nest and reinforce the structure. Pale mini amaryllis, likewise, poke their heads up through the nest, their bulbs resting in a pan of water below. Single white vanda blossoms, nerines, and other botanicals drink from water tubes that hang from the nest, which has strips of white felt woven here and there into the mesh, along with other accents to enhance the texture. 74 www.flowersandmagazine.com
The Theme (“Your Artistic Touch”)................ Jan, p. 27 (and Feb, p. 12 and Mar, p. 15) The Winners...............................................July, p. 18
Floral Design Features
Trends 2018: Currents in lifestyle and design (designer: Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF)................................................Jan, p. 30 The Fusion of Flora and Art: Stunning visions from a modern master (designer: Minh Häusler)......Jan, p. 54 Grief, Hope, and Love: Sympathy flowers for every way of remembering (designer: Vonda LaFever AIFD, PFCI)........... Feb, p. 14 Crystal Lace: Use your glue gun to create effects of delicate transparency (designer: Helen Miller AIFD, CF, CAFA)........................................... Feb, p. 44 Celebrating Mom: Design mechanics to make Mother’s Day even more special (designer: Tom Bowling AIFD, PFCI).............. Mar, p. 26 Mix and Match: Prom-flower fashions tailored to the dress (designer: Cindy Tole AIFD)................. Mar, p. 38 Simply Beautiful: Classic bridal bouquets with a couture finish (designer: David Powers AIFD).............Apr, p. 26 Color Stories: Wedding décor in three sophisticated color schemes (designer: Tom Simmons AIFD, CCF).............Apr, p. 44 Variety Special: New blooms, elegant designs (designer: Talmage McLaurin AIFD)..............May, p. 16 Holiday Style: Themes and trends for seasonal décor (designer: Bert Ford AIFD)............................ Jun, p. 18 A Little Something Special: Simple ideas to make everyday designs stand out (designer: Susan Ayala AIFD, PFCI)..............Jun, p. 36 A Passion for Parties: Design techniques for stunning celebrations (designer: John Hosek AIFD).....Jun, p. 50 Giving Thanks: Flowers to celebrate a season of bounty (designer: Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF).................................................Jul, p. 26 Making the Upgrade: Increase profit and make customers happier by selling up (designer: Vonda LaFever AIFD, PFCI)............Jul, p. 38 Crossover Creativity: Designs that draw inspiration from music, art, and architecture (designer: Tim Farrell AIFD, AAF, PFCI)...........Jul, p. 46 Fall & Winter Workshop: Three days of design adventure with Gregor Lersch (designer: Gregor Lersch).............................Jul, p. 60
Flowers& 2018 INDEX A Floral Chandelier........................................ Feb, p. 8 Spray Color Techniques................................. Mar, p. 8 A Garden-Rose Mini Cascade..........................Apr, p. 8 A Wedding Garland.......................................May, p. 8 A Braided Ribbon Accent................................ Jun, p. 8
Limonium................................................... Feb, p. 10
Making the Upgrade
More Is Better.............................................. Jan, p. 10 Adding Premium Flowers............................. Feb, p. 10 A Dazzling Touch........................................ Mar, p. 10 Height, Line and Color..................................Apr, p. 10 A Foliage Frame..........................................May, p. 10 A Lot from a Little........................................ Jun, p. 10
Meet the Designers
Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF.Jan, p. 52 Vonda LaFever AIFD, PFCI, and Helen Miller AIFD, CF, CAFA............................................. Feb, p. 62 Tom Bowling AIFD, PFCI, and Cindy Tole AIFD........................................... Mar, p. 62 David Powers AIFD and Tom Simmons AIFD, CCF....................................................Apr, p. 60 Talmage McLaurin AIFD.............................. May, p. 34 Susan Ayala AIFD, PFCI, Bert Ford AIFD, and John Hosek AIFD, PFCI, CF, CAFA..................Jun, p. 62 Tim Farrell AIFD, AAF, PFCI............................Jul, p. 58
Kiko’s Flower & Gifts, Park Ridge, Ill..............Jan, p. 20 Tara’s Floral Expressions, Mansfield, Ohio..... Mar, p. 58 Happy Canyon Flowers, Denver, Colo...........May, p. 57
Floral Industry Features
Fresh Inspiration: Diversity and sustainability at Proflora 2017.......................................... Jan, p. 12 Trends 2018: Currents in lifestyle and design.................................................Jan, p. 30 Year of the Chrysanthemum......................... Mar, p. 18 Aiming Higher: A maverick mum grower ups the odds.......... Mar, p. 22 A Fragrant Harvest: A visit to garden-rose grower Alexandra Farms...............................Apr, p. 12 Prince of Roses: A conversation with David J.C. Austin..........................................Apr, p. 20 Grower Profile: Rudvalis Orchids..................May, p. 12 Protea Paradise: A story of origins............... May, p. 36 Flower Fairs: Floradecora: A festive combination, flowers and plants with seasonal décor....... May, p. 46 Flower Fairs: World Floral Expo: Up close with fresh fare...............................May, p. 52 Industry Profile: Christine Boldt.................... May, p. 54 Christmasworld 2018: Global trends in holiday decor.......................................... Jun, p. 12 Raising the Bar: A Flowers& retrospective....... Jul, p. 12
Focus on Design
A Perfect Pavé............................................... Jan, p. 8 JULY 2018 75
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.
GI V IN G T H A NK S, pages 26-37
PINEY WOODS, page 26
Thicket Trees, Accent Décor. Raquettes Holder, Smithers-Oasis.
A MODERN MIX, page 27
Prive Compote, Accent Décor.
AUTUMN LIGHT, page 30
Birch Box, Accent Décor.
M A K IN G T HE UP GR A D E , pages 38-44
BACK IT UP, page 38
Tall Bamboo Vase, Teleflora.
HANDCRAFTED, page 40
Bamboo Rectangular Vase, Teleflora.
SPECIAL FLOWERS, A SPECIAL TOUCH, page 41 Cobalt Rose Vase, Syndicate Sales.
TELL A STORY, page 42
Bamboo Rectangle, Teleflora.
POINTS AND LINES, page 43
12-inch tapers in Cinnamon color, Candle Artisans via Pete Garcia Company.
WHEN THE FLOWERS ARE GONE…, page 44
Woodland Planter, Accent Décor. Hemlock, Peace of Mind Nursery.
LEAF PILE, page 31
Birch Bowl with glass, Accent Décor. Lomey Designer Dish, Smithers-Oasis.
FENCE ME IN, page 32
Oasis Wire Mesh and Lomey Designer Dish, Smithers-Oasis.
FLOATING ON THE WAVES, page 33
Santiago Bowl, Accent Décor.
CRAZY CURLS, page 34
Reform Bowl, Accent Décor.
THE UNEXPECTED HUE, page 35 Weathered Slate Square, Syndicate Sales.
ALL DRESSED UP, page 36
Weathered Oak Planter, Syndicate Sales.
RADIANT SPACE, page 37
Weathered Brown Planter, Syndicate Sales.
C RO S S O V E R C R E AT I V I T Y, pages 46-57
TIFFANY LAMP, page 46
Venice Compote, Accent Décor.
CHIHULY CHANDELIER, page 47
Sculpture Stand, Accent Décor. Oasis Floral Foam Spheres and aluminum and bullion wire, SmithersOasis.
DISNEY CONCERT HALL, pages 48-49
Platform Glass in silver, Accent Décor.
FALLINGWATER, pages 50-51 Bamboo rectangles, Teleflora.
SIGN YOUR NAME, page 52
Newport Bowl, Accent Décor. Bind Wire, Smithers-Oasis.
ALL FIRED UP, page 53
Wok container, Container Source. Deco Rocks in black, Accent Décor.
THE KISS, page 54
Alba Urn, Accent Décor.
WATER LILIES, page 55
Heart’s Pirouette Vase, Teleflora.
pg 30 76 www.flowersandmagazine.com
THE CATHEDRAL, page 57 Noble Heritage Urn, Teleflora.
F E AT U R E D SUPPLIERS Accent DĂŠcor, Inc
Call 770-346-0707 or visit www.accentdecor.com
Call 800-499-6128 or visit www.containersource.com
Peace of Mind Nursery Call 503-949-4944 or email dave@ peaceofmindnursery.com
Pete Garcia Company Call 800-241-3733 or visit www.floramart.com
Call 800-321-8286 or visit www.oasisfloral.com
Call 800-428-0515 or visit www.syndicatesales.com
Call 800-333-0205 or visit www.myteleflora.com
pg 57 JULY 2018 77
industry events For the most recent additions to
AUGUST 3-5, CLEVELAND, OH
JULY 22, STILLWATER, OK
Teleflora Unit Programs, go to
Teleflora Scholarship Academy, Growing Your Design IQ with Tim Farrell, Sheraton Cleveland Airport. Contact Lottie McKinnon or Jennifer Zeidman at teleflorascholarship@ teleflora.com.
Oklahoma State Florist Association, program includes Events with John Hosek, Conoco Phillips OSU Alumni Center. Contact Lenzee or Lacee Bilke at 405-834-2220 (Lenzee), 405-834-2224 (Lacee), or email@example.com, or visit www.osfa.org.
www.MyTeleflora.com and click on Design Education to access the Floral Event Calendar in the Unit Program section.
NATIONAL AND INTERNATIONAL JJULY 14-17, COLUMBUS, OH Cultivate ’18. Visit www. americanhort.org/cultivate.
SEPTEMBER 12-15, PALM SPRINGS, CA Annual SAF Convention, Westin Mission Hills Resort. Call the Society of American Florists at 800336-4743 or visit www.safnow.org.
SEPTEMBER 19-21, QUITO, ECUADOR Expo FlorEcuador. Visit www.florecuador.com.
SEPTEMBER 19-21, QUITO, ECUADOR Agriflor 2018. Visit www.hppexhibitions.com.
NOVEMBER 7-9, VIJFHUIZEN, THE NETHERLANDS International Floriculture & Horticulture Trade Fair (IFTF). Visit www.hppexhibitions.com.
MARCH 11-12, 2019, WASHINGTON, DC Congressional Action Days 2019. Conference hotel: Ritz-Carlton Pentagon City, Arlington, VA. Call the Society of American Florists at 800-336-4743 or visit www.safnow.org.
JULY 6-11, 2019, LAS VEGAS, NV National AIFD Symposium 2019, Paris Las Vegas Hotel and Casino. Call the American Institute of Floral Designers at 443-966-3850 or visit www.aifd.org.
CENTRAL REGION JULY 25, MILWAUKEE, WI Wisconsin-Upper Michigan Unit, Weddings and Corporate Events with David Powers, Bill Doran Co. Contact Rhonda Deaver at 414-464-6330 or firstname.lastname@example.org.
SEPTEMBER 30, OACOMA, SD South Dakota State Florist Association, program includes Body Flowers/Wedding with Joyce Mason-Monheim, Cedar Shore Resort. Contact Chad Kruse at 604854-3773 or chad@desmetflowers. com.
OCTOBER 3, ROSEVILLE, MN Minndakota Unit, Everyday with a Hint of Holiday with John Hosek, Kennicott. Contact Laura Baker at 605-539-9800 or bakersdesign@ hotmail.com.
NORTHEAST REGION JULY 25, EAST SYRACUSE, NY Upstate New York Unit, Wedding Designs with John Hosek, Barbagallo’s. Contact Vicky Munson at 315-789-2554 or email@example.com.
OCTOBER 4, FARMINGDALE, NY Big Apple Unit, “What to Do with Weekly Specials” with Tim Farrell, Black Forest Haus. Contact Sue Feldis at 516-771-1070.
OCTOBER 17, LATHAM, NY New York Capitol District Unit, Holidays with David Powers, Seagroatt Riccardi. Contact Cheryl Knott at 518-237-4622 or firstname.lastname@example.org.
OCTOBER 24, PENNSAUKEN, NJ Penn Jersey Unit, Wedding Designs with Jenny Thomasson, Pennock Co. Contact Debra Brown at 610-8421420 or email@example.com.
SOUTH CENTRAL REGION JULY 13-15, LEAGUE CITY, TX Texas Floral Forum, South Shore Harbour Resort and Conference Center. Call 512-834-0361 or visit www.tsfa.org.
AUGUST 3-5, JEFFERSONTOWN (LOUISVILLE), KY Kentucky Florist Association Convention, program includes Everyday for Less with John Hosek (3/5), Holiday Inn HurstbourneLouisville East. Contact Michael Gaddie at 502-777-8578 or firstname.lastname@example.org or visit www.kyflorists.com.
JULY 29, PHOENIX, AZ
AUGUST 12, GREENSBORO, NC
Arizona State Florist Association, program includes Back to our Roots…Bloom & Grow with Gerard Toh, Black Canyon Conference Center. Contact Brian Vetter at 602-908-9024 or bvetter. email@example.com, or visit www. azflorists.org.
North Carolina State Florist Association, program includes Look to the Future with Kevin Ylvisaker, Embassy Suites Hotel. Contact Bill McPhail at 910-988-8637 or firstname.lastname@example.org.
AUGUST 5, LUBBOCK, TX WesTexas-New Mexico Florist Association, program includes “Tapestry” with Jenny Thomasson, MCM Eleganté Hotel & Suites. Contact Jan Brush at 806-788-0607 or Donice Strickland at 575-309-5888.
AUGUST 16-19, HOT SPRINGS, AR Arkansas State Florist Association, Hot Springs Convention Center. Contact Shane Cranford at 501-837-0647 or email@example.com.
OCTOBER 3, LUBBOCK, TX Texas Floral Showcase, McKenzie-Merket Alumni Center. Visit www.tsfa.org.
OCTOBER 14, ALBUQUERQUE, NM New Mexico-WesTexas Unit, “Pure Imagination” with Hitomi Gilliam, DWF. Contact Thia Smith at 505-242-7818 or tsmith@ silverspringsfloral.com.
SOUTHEAST REGION JULY 13-15, LINTHICUM, MD Teleflora Scholarship Academy, Extraordinary Events with John Hosek, Westin Baltimore Washington Airport. Contact Lottie McKinnon or Jennifer Zeidman at firstname.lastname@example.org.
AUGUST 17-19, FRANKLIN, TN Tennessee State Florist Association, program includes “Root 66” with Tim Farrell, Cool Springs Marriott Hotel and Convention Center. Contact Kevin Coble at 901-8348347 or email@example.com.
SEPTEMBER 16, MONTGOMERY, AL Alabama Unit, Profitable Holidays with Alex Jackson, Horton’s Wholesale. Contact Carla Fussell at 256-7340263 or firstname.lastname@example.org.
OCTOBER 9, CHATTANOOGA, TN Tennessee Unit, Holiday Fresh & Permanent with Kevin Ylvisaker, Flowers Direct. Contact Susan Holt at 423-312-8448 or susanholt1@ charter.net.
WESTERN REGION SEPTEMBER 21-23, AURORA, CO Teleflora Scholarship Academy, Wedding Bouquets with Joyce Mason-Monheim, Denver Airport Marriott at Gateway Park. Contact Lottie McKinnon or Jennifer Zeidman at email@example.com.
OCTOBER 5-7, BOZEMAN, MT Montana State Florist Association Convention, Best Western Gran Tree Inn. Contact Kari Johnson at 406771-6828, email mtfloristassc@ gmail.com or visit www. mtfloristassc.com.
emporium 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
advertiser links Advertisers’ websites are hyperlinked on the Flowers& website. Go to www.flowersandmagazine.com and click on “Advertisers in This Issue.” ACCENT DÉCOR, INC. 5
770-346-0707, WWW.ACCENTDECOR.COM AMERICAN INSTITUTE OF FLORAL DESIGNERS (AIFD) 25
410-752-3318, WWW.AIFD.ORG BALLOON FLOWERS 75
WWW.BALLOONFLOWERS.NET DANZIGER FLOWER FARM 21
+972-3-960-2525, WWW.DANZIGER.CO.IL DOLLAR TREE DIRECT
INSIDE FRONT COVER, 1
877-530-TREE (8733), WWW.DOLLARTREE.COM/FLORAL/559/INDEX.CAT FLORIOLOGY 11
EQUIPMENT Refrigerators For Flowers
904-737-8500, EXTENSION 258, WWW.FLORIOLOGYINSTITUTE.COM HALLMARK 9
816-274-5590, WWW.OWNASTORE.HALLMARK.COM PIONEER IMPORTS & WHOLESALE 7
Combo walkins, storage, reach-ins 800-729-5964 www.flotaire.com
PLUS ONE IMPORTS/A DIVISION OF THE GARCIA GROUP
800-241-3733, WWW.FLORAMART.COM RELIANT RIBBON 75
800-886-2697, WWW.RELIANTRIBBON.COM SANDTASTIK PRODUCTS 23
800-845-3845, WWW.FLORALSAND.COM SEMINOLE 6
800-638-3378, WWW.SEMINOLEDS.COM SMITHERS-OASIS 3
INSIDE BACK COVER
800-428-0515, WWW.SYNDICATESALES.COM TELEFLORA
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JULY 2018 79
wholesaler connection CALIFORNIA FRESNO Designer Flower Center SACRAMENTO Flora Fresh SAN DIEGO San Diego Florist Supplies SANTA ROSA Sequoia Floral International CONNECTICUT NORWALK East Coast Wholesale Flowers FLORIDA PENSACOLA American Floral Wholesale of Pensacola Carlstedt’s, LLC GEORGIA OMEGA Hornbuckle Wholesale Florist HAWAII HONOLULU Flora-Dec Sales
Flowers& magazine distributors
KANSAS WICHITA Valley Floral Company
SOUTH DAKOTA SIOUX FALLS North American Wholesale Florist, Inc.
KENTUCKY LOUISVILLE The Roy Houff Company
TENNESSEE NASHVILLE The Roy Houff Company
LOUISIANA LAFAYETTE Louisiana Wholesale Florists
VIRGINIA NORFOLK The Roy Houff Company RICHMOND The Roy Houff Company
MASSACHUSETTS BOSTON Jacobson Floral Supply MICHIGAN WARREN Nordlie, Inc. MINNESOTA MINNEAPOLIS Koehler and Dramm NEW YORK CAMPBELL HALL Alders Wholesale Florist
ILLINOIS CHICAGO The Roy Houff Company MILAN Bonnett Wholesale Florist NORMAL The Roy Houff Company WHEELING The Roy Houff Company
OHIO DAYTON Nordlie, Inc. NORTH CANTON Canton Wholesale Floral
WASHINGTON TACOMA Washington Floral Service CANADA BURNABY, BC United Floral Inc. MALAYSIA SELANGOR Worldwide Floral Services SINGAPORE Worldwide Floral Services
OREGON PORTLAND Floral Design Institute
CREATIVITY AND PROFITS, COMING YOUR WAY!
A Teleflora Scholarship Academy is coming soon to a city near you. Just three classes remain on this year’s schedule—each one with four unique sessions, each including hands-on instruction. For more information, visit www.myteleflora.com/scholarship_academy.aspx
July 13-15, Extraordinary Events with John Hosek AIFD, PFCI, CF, CAFA 80 www.flowersandmagazine.com
August 3-5, Growing your Design IQ with Tim Farrell AIFD, AAF, PFCI
September 21-23, Wedding Bouquets with Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF