Flowers& - September 2015

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Flowers& SEPTEMBER 2015 $5.50



Sensational and style-savvy fall and winter wedding themes

Pg 40 Tips and trends from AIFD Symposium

Pg 15



features 15

Looking Backward and Forward Celebrating 50 years, AIFD journeys toward the future. Text and photography by Bruce Wright


Love, Passion, Fashion! A European wedding spectacular hits the runway.

pg 50

Floral design by Per Benjamin and Annette von Einem Photography by Mark Trustrup and HelĂŠn Pe


She’s Gotta Have it Dream themes for demanding brides. Floral design by Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF and Rachelle Nyswonger AIFD Photography by Ron Derhacopian


ON THE COVER A hanging veil of green smilax, dotted with purple orchid blooms, lends a delicate texture to a woodland bouquet by Rachelle Nyswonger AIFD that also features callas, Florigene carnations, anemones, scabiosa pods, Green Ball dianthus, maidenhair fern and umbrella fern. For more wedding designs, in this and five other themes, turn to page 40.


departments 8

Focus on Design

pg 9

A versatile wedding centerpiece. By Rich Salvaggio AIFD, AAF, PFCI


Flower Tales Stock By Tom Bowling AIFD, PFCI


Where to Buy


What’s in Store


Industry Events


Advertiser Links


Wholesale Connection

Flowers& Volume 36, Number 9 (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 © 2015 by Teleflora. Printed in U.S.A.


pg 12

Flowers& Publisher Editor Art Director

Rich Salvaggio AIFD, AAF, PFCI Bruce Wright Tony Fox

National Advertising Director

Peter Lymbertos

U.S. Subscriptions


Foreign Subscriptions




On the Internet

ADVISORY BOARD Teleflora Education Specialists Susan Ayala AIFD, PFCI, Riverside, Calif., Tom Bowling AIFD, PFCI, Syndicate Sales, Fairfield, Ohio, Tim Farrell


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


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.,

Wilton Hardy


JWH Design and Consultant, West Palm Beach, Fla.,

Elizabeth Seiji AIFD, 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.


focus on design


Floral design by Rich Salvaggio AIFD, AAF, PFCI

Photography by Ron Derhacopian

A composite wedding centerpiece can be scaled up or down to meet any budget.

1. Start by winding curly willow tips around your hands and inserting them into Sea Mist cylinders to make grids to support your stem placements. For this design we’re using three 3.75-inch and three 6-inch cylinders. Fill with water and flower food.

A grouping of flower-filled cylinders and floating candles has the visual impact of a more costly centerpiece, but the hurricane and the cylinders with candles can be inexpensive rental items, while the remaining cylinders can be more or fewer as desired, and also serve as takeaway gifts.


2. Add flowers. Here, stems of orange gladiolus were cut into segments, each with just two or three blooms. They take on an exotic look and punch up the jeweltone color scheme.



3. Add a ribbon band with UGlu to complement the look of the Sea Mist containers. The easiest way is to apply a UGlu Strip to the ribbon and pull off the protective paper before wrapping the ribbon around the vase, overlapping the ends. The final composition includes floating candles in two of the cylinders and a Sea Mist hurricane. b

For product information, see Where to Buy, page 64.

See this


Click Here



f lower tales

Stories and fun facts to share with customers about their favorite flowers


Floral design by Tom Bowling AIFD, PFCI

Photography by Ron Derhacopian


If there is one thing about stocks that customers notice right away, it’s the heavy, sweet, spicy scent, like cloves. In the United Kingdom, stocks are among a number of flowers with a clove-like fragrance (another is the clove pink, a type of carnation) that may be called “gillyflowers”— a term that comes from the Middle English word for “clove,” gilofre. The other noticeable characteristic is the extreme softness of the petals. On some varieties the foliage likewise seems soft, being covered with a kind of fine fur. This fur may give the leaves a whitened look— which is probably the flower is also sometimes called “hoary stock.” Stock has been grown in the U.S. since the 1930s. A favorite garden flower, it was once also a common cut-flower crop for growers up and down the East Coast. Today cut stock is supplied mainly from California and South America. It is a cool-weather crop that blooms naturally in the spring (some garden varieties may also bloom in summer or fall). But thanks to California’s cool coastal microclimates and Colombia’s high plateaus, it is available to florists year-round. Still associated with gardens and grown mostly outdoors, stock is often harvested with the roots intact. Workers simply pull it up rather than cutting the stem—which serves the flower’s vase life well.


The stock that is supplied to florists as a

Stock is said to symbolize a happy life

In this month’s design, three colors of

cut flower is usually a double (with twice the

and a contented existence. It’s a favorite

stock, accented with variegated ivy, are all

number of petals on each flower). The single

wedding flower, and white is the most popu-

inserted through an armature made of chick-

flowers have only four petals and look rather

lar color, with rich purple (a relatively recent

en wire covered with sisal and highlighted

like phlox. A few single flowers do turn up in

addition) also in demand. But stock comes

with metallic angel hair. Flat wire cinches the

every crop—which is good, because they are

in a wide palette, from white and cream,

neck of the vase, while button wire reinforces

needed to produce seed for the next crop; the

purple and lavender, to a variety of pinks and

the homey, “cottage” feeling of this favorite

double flowers are sterile.

peaches, new bicolors, and even yellow.

garden flower. b



BY 1965, THE momentum in Denver, Symposium was already building towas chaired by Teleflora’s ward a new vision for what vice president of education Marie Ackerman AIFD creative, professional floral and Teleflora Education design could really be. As Celebrating 50 years, AIFD journeys toward the Specialist Vonda LaFever far back as the 1940s, future. Text and photography by Bruce Wright AIFD. Over three full days, Ethyl “Tommy” Bright had top-notch floral designers shared their secrets and their passion with begun her career as a floral design educator who changed the field an audience of more than 875 participants. forever. In 1952, Buddy Benz published the first edition of his classic In keeping with the anniversary theme, the 2015 Symposium prebook on floral design, Flowers: Geometric Form. And in 1953, V.L. Smithers introduced Oasis floral foam—a tool that truly transformed senters emphasized the generative power of going back to the elements and principles of design. As formulated by Buddy Benz, the the art of floral design. elements and principles aren’t just academic rules of “correct” and But the founding of AIFD—the American Institute of Floral Designers—in 1965 marks a radical turning point. With a mission “to ad“incorrect” design—they’re tools that unleash talent. vance the art of professional floral design through education, service Program presenters also focused on profitability, offering plenty of and leadership,” AIFD rewrote the book. Today the AIFD credential (and practical ideas for sustaining a floral business. Not least important the newer, intermediate CFD, Certified Floral Designer) represents a was the advice that floral designers must work to develop their skills, level of skill and artistry that is recognized worldwide. knowledge, and artistry along with the confidence to charge for it. For more on AIFD, this year’s Symposium, and next year’s in Orange County, California (July 3-7, 2016), visit BEYOND THE BASICS At the heart of AIFD’s influence and strong sense For more about the design below, see page 26. of community is the annual rite of AIFD Symposium. Held this year



MAKING IT PERSONAL The dominant trend in sympathy work is for tributes that reflect the personality of the deceased—which means that floral designers can always use ideas on how to do just that. In a movingly beautiful sympathy program, Susan Ayala AIFD paid tribute to three AIFD members known to many in the audience: Joe Smith AIFD, Kirk Pamper AIFD, and Betty Lou Barker AIFD. She celebrated Joe’s layered, lavish Southern design style with pink and lavender flowers filling classic urns and cascading along a custom-made archway. To honor Betty Lou, she created tall designs in green, white, and a cheerful yellow—Betty Lou’s favorite color, reflecting her sunny personality. “Betty would be mad at you all for crying,” Susie joked, “so stop it!”


LOOKING BACKWARD & FORWARD INSPIRED BY THE MATERIAL What material inspires you?—besides flowers, of course. Three designers shared ideas for working with metal, acrylic, and wood. Brenda Veasman AIFD told about how to curl acrylic rods using heat: “I love how light travels through them, and how each one is different,” she says. “Sometimes a bride wants something no one else has.” Inspired by natural wood products, Ken Senter AIFD showed designs that incorporated driftwood and a massive juniper trunk. Along the way he pointed out the use of classic techniques like sheltering and clustering, and testified about the role that floral foam plays in making this type of design possible. “It’s highly effective at sustaining the life of cut flowers,” he reminded the audience, “when you follow the right procedure and give the stems a long sharp cut.”



RETAIL THERAPY Everyday designs along with prom bouquets and corsages were among the design ideas shared by Lesley Bolden AIFD and Anthony Swick AIFD. Most were meant to boost a flower shop’s bottom line with simple, inexpensive additions and creative touches, like yarn or midollino—but the pair pulled out the stops when it came to prom flowers, which in many areas is a market ripe for upselling.

GETTING REAL Faux flowers have undergone a radical shift upward in quality, reputation and prestige over the years—and NDI (Natural Decorations, Inc.) is one of the suppliers that can take credit for that. Owner Carol Gordy AIFD told the story of her opportunity to buy and run NDI with the ambition to make it the best in the industry. She also showed a number of NDI designs, sharing key facts about trends and quality. Realistic, natural colors are the starting point for NDI. Multi-hue designs outsell monochromatic. Mixing dried materials with fabric florals enhances realism and adds textural variety. Plastic is the essential material for fine tendrils, roots, and airy ferns. Other trends follow those in fresh: succulents and terrariums are hot! NDI pioneered the use of clear acrylic to simulate water sustaining stems in clear glass, as seen here. 20


DOWN THE AISLE Ideas for everything from floral “chandeliers” to giant ornamental screens, a flower wall, floral towers, “illusion urns” and—of course—bridal bouquets flowed naturally from the format chosen by Katie McCormick-Kharrat AIFD and Philip Rice AIFD for their wedding program. These two designers showed video from consultations with an actual wedding couple, followed by examples of designs that could realize that couple’s dreams. “Our bride lit up when we discussed armatures,” Katie pointed out. A screen found at the hardware store (intended as a grille for a cabinet), cut, folded, and sprayed gold, served as a distinctive frame for a composite lily, fluffed with gilded plumosus fern. In a still more adventurous vein, a starburst accessory nestled inside a cloud of petals and hypericum berries strung on jeweler’s wire.


LOOKING BACKWARD & FORWARD REFLECTIONS ON FIVE DECADES “We get our inspiration from the past,” said Brooke Raulerson AIFD (seen at left holding her own cascade bouquet)— “and then we take it in a new direction.” Brooke was one of five designers in the opening program to this year’s Symposium, each sharing ideas and influences from one of the five decades of AIFD history. Former AIFD president Bob Gordon showed a symmetrical-triangle arrangement that would have been typical for a wedding in the late 1960s. He noted that “this would have been for the reception, as we didn’t use color for the wedding itself at that time.” Three other designers covered the middle decades, while Brooke wrapped the program up with design trends of the decade from 2005 to the present. What goes around comes around, she observed: “We did not invent baby’s breath, but it’s coming back. Hand-tied bouquets were really popular for most of this decade; now that trend has peaked, and we’re back to the cascade.”



TAKING FLIGHT Yoshimi Nakayama, an internationally renowned floral artist from Japan, took the concept of contrast—contrast of color, shape, texture, and more—as an organizing principle for an accomplished and exquisite series of designs. Along the way he gave a dramatic demonstration of the difference between the Western approach to floral design and the spirit of ikebana: “In Western design, you keep adding, adding,” as Yoshimi’s translator, Kiko Zimmerman, explained. “In ikebana, it’s about removing, removing.” From a long wooden box filled with grasses and craspedia, Yoshimi took away most of them, until all that remained were three craspedia stems sprouting from a pavéd base of green flowers. Only then was the playful illusion revealed by which the slender craspedia appeared to be supporting, without touching it, a long slanting piece of heavy bamboo. Other designs similarly offered food for contemplation. A series of rectangular frames created a delicate effect of depth and transparency with orange gloriosa and other flowers from Japan. As a finale piece, Yoshimi assembled the composition seen on page 15, representing “the moon over clouds.”

GOING DUTCH Did you ever think of creating a colorful, affordable, and distinctive accent for a glass cylinder out of materials found at home, like rubber gloves or ladies’ stockings? Dutch designer Johan Huisman did. He shared these and other innovative strategies for design and display, emphasizing “the creative use of enthusiasm.” “I try to think out of the box,” he observes, “using things that are not too expensive to make something different.”



COLOR STORY Elementary education in floral design usually includes an explanation of the color wheel but doesn’t go much beyond that. In a program sponsored by Design Master Color Tool, John Haines AIFD and Design Master’s Gretchen Sell offered a glimpse of just what a sophisticated and powerful tool color theory can be. For example, Gretchen shared examples of designs with high or low chroma (defined as brightness or intensity of color). “High chroma is dynamic but can also be overwhelming,” she points out. “You may want to combine it with white, or with colors that are dulled, usually mixed with gray or black, for contrast, depending on the message you want to send and the mood you want to create.” Below, high-chroma bouquets have been placed in containers painted to throw the brilliant floral hues into relief, using Design Master sprays including new Übermatte Beach and Light Ochre. Gretchen also showed how adding white to a bouquet of red and purple flowers lends brightness to these dense, richly hued colors and draws down their intensity.



LOOKING BACKWARD & FORWARD A PASSION FOR PLANTS Why limit creative floral design to cut materials when you can do fabulous things with plants? It’s an idea that’s working beautifully for Jenny Thomasson AIFD. Among the many looks and techniques she shared was this living wall sculpture made with over 500 marimo moss balls from Japan, based on a chicken-wire foundation and framed with premade columns from UCI. Bromeliads and ferns cut a dynamic line across the “canvas.” Jenny demonstrated how to wrap the root ball of the plant in moss and wire in such a way that the plants in the living wall could be replaced periodically for a semipermanent installation. They are securely attached to the wall with hog rings.




SOUTH OF THE BORDER Along with a whole team of AIFD designers from Mexico, Rocio Silva AIFD and Jose Luis Silva AIFD gave a lively and enthusiastic floral interpretation of monuments and festivities from traditional Mexican culture. The stage opened on a pyramid like those found widely in southern Mexico, adorned with decorative tiles. Larger tiles were built on Styrofoam squares with floral foam appliquÊs; others were made using Oasis Floral Foam Tiles (floral foam adhered to a plastic backing), which come in large sheets divisible into smaller squares. A parade of models carrying vibrant bouquets recalled the festival of Xochiquetzal—goddess of flowers, beauty, and love.


VISUAL IMPACT If anyone knows merchandising, it’s Chris Norwood AIFD of Tipton Hurst in Little Rock, Arkansas, one of the nation’s top flower shops. “At our store, when we create a display piece using permanent botanicals, we’re adamant about not cutting the stems, so you can re-use the product,” he advised—and showed the audience how it can be done by turning a big rectangular wreath around to the reveal the mechanics. Another tip: “Always take your ribbon out so customers know they can buy it in bulk or by the yard.” His spring vignette was followed by others showing dynamic displays using Christmas, wedding and prom merchandise, all from program sponsor Floramart. b

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LOVE, PASSION, FASHION! A EUROPEAN WEDDING SPECTACULAR HITS THE RUNWAY. Photography by Mark Trustrup and Helén Pe SIX THEMES, 54 DESIGNS, PRESENTED by models in couture gowns on a red-carpeted runway, accompanied by music and a light show: such was the vision realized earlier this year by a pair of Europe’s best-known designers, Per Benjamin and Annette von Einem. Even more impressive, the show took place in four different cities on four consecutive nights, with the production packed up each night and moved from one location to the next. Chrysanthemums of all kinds were featured in one of the runway-show themes, as in the bouquet at right by Annette von Einem, where bright green mums glow at the heart of the bouquet, combined with cheerful yellow spray mums, craspedia, orchids, and grasses.




The well-chosen themes gave a rhythm to the magic of the evening and suggest some of the current trends in European wedding flowers. In one set, massed roses predominated, in pastel tints of cream, salmon and powder pink. In another, carnations reigned, in deep passionate red, burgundy and fuchsia. Kalanchoe flowers have been making their mark in European design since they were introduced in a couple of years ago in new cut-flower varieties; they appeared at the runway show both as plants and as cut flowers, in pop colors of pink, orange, and yellow.


The translucent disks of lunaria seedpods reflected traveling disco lights on the surface of Annette’s rose bouquet, as seen at left. At right, a beribboned bouquet built like an ice cream pie featured cut kalanchoe flowers along with orchids. Annette also created wearable garlands, below, fashioned from succulent leaves and vines.


In a third set, bouquets of cacti and succulents were carried by the models with their hands covered in big gardening gloves! The last two themes featured chrysanthemums of all types (in yellow, orange, gold and brown) and finally feathers, in deep blue, black, lilac, and dark silver. For more about the designers and more photos from the show, please visit: b


Clockwise from top left: Per’s chrysanthemum and rose bouquet, frilled with dried grasses; a lavish headdress of massed roses; a broad-brimmed sunhat and coordinating bouquet featuring kalanchoe flowers, orchids, gloriosas, beads and feathers, for a rich magpie tapestry of colors and textures; and at left, a round bouquet from Per that combines speckled orchids and feathers with such diverse materials as pussy willow, succulents, tillandsias, and one piece of very spiny cactus. 38

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Floral design by Joyce Mason-Monheim AIFD, AAF, PFCI, AzMF and Rachelle Nyswonger AIFD

For product information,


Photography by Ron Derhacopian Table linens throughout courtesy of Wildflower Linen,


see Where to Buy, page 64.

The look of mixed metals—

copper, gold and silver—provides a harmonizing foundation for one of today’s trendiest palettes: a blend of terra cottas and soft grays, with touches of buttercup yellow. For the bouquet at left, Joyce wove three blades of gilded lily grass together with gold bullion. She inserted them into the bouquet holder near the back, then folded them over the front for a bold, dramatic line. The gilded monstera leaf is trimmed to accommodate the scale of the bouquet, which features Lemon Pompon garden roses. The suspension bouquet at right is based on a Lomey column (a clear plastic tube). For the handle, Joyce inserted a looped piece of gold flat wire inside the tube; it extends all the way down on both sides, secured with UGlu. Wire scrolls glued to the sides of the column mingle with cymbidium lips, scabiosa pods, and terra-cotta anthuriums cut in half. SEPTEMBER 2015 41

To complement the Mineral Blends theme and palette, Joyce has used a “mainland exotic” mix of fresh flowers, from orchids and anthuriums to callas and silver-gray dusty miller. In the cake display at right, gilded monstera and lily grass help to marry the plant materials with the shining metals. Uluhe fern curls echo the scrollwork in a graceful arch made with copper, silver, and gold flat wire. Joyce also used one of the scrolls as a template to imprint decorative patterns into the cake icing. For a how-to photo relating to the scrollwork arch, see page 63. The chair back below is fashioned on a piece of flat wire that rests along the top, scrolled at each end and clamped on with two more pieces of flat wire. A scrollwork cascade hangs from this construction, while a flower-filled Iglu holder sits on top.

LIGHTING THE WAY Here’s an option for aisle décor that can be repurposed as table décor. The lanterns serve as lovely (and profitable) rental items, especially welcome at an evening wedding; orchids and lily grass add to their appeal. At right, sheer ribbons, hung from the chairs and decked with phalaenopsis blooms attached with UGlu, make simple but elegant pew decorations. At the reception (above), the candlelight is mirrored in Dazzle Vases filled with hydrangea, more phalaenopsis orchids, dusty miller, mini callas, and lily grass.

42 00


SEPTEMBER 2015 53 43 APRIL 2015

HAUTE SPICE Global influences from Mayan to Nomad infuse a torrid palette of spicy reds, burgundy, brown, and persimmon, accented with olive and camel tones. Again, the “mainland exotic� mix works well, with kangaroo paws, anthuriums and proteas mingling with magnolia leaves, cymbidium orchids, red astilbe and richly hued Piano garden roses. Rachelle has fashioned leaf shapes out of brown flat wire, lightly wrapped with copper bullion, to complement the look, and sprayed fig leaves with Design Master Copper.

00 60 44


AUGUST 201061 6 FEBRUART APRIL 2015 00 SEPTEMBER 2015 45

7 AUGUST 2010 46 62

Fern curls above and dripping red amaranthus below are among the line elements that lend movement to the round bouquet at left. At right, the coiled shape of the fern curls is elaborated with strands of aluminum wire in three colors—gold, copper, and brown—looped together using a technique that Rachelle credits to Doug Bates AIFD. She made the loops and bent the long shape into a circlet with a short and a long tail. Then she added, using floral adhesive, diminutive materials from her floral palette: cymbidium petals, fern curls, kangaroo-paw and Piano rose buds, red astilbe, and hypericum berries. AUGUST 201063 8 SEPTEMBER 2015 47 APRIL 2015


GRAPHIC ELEGANCE With strong forms and bold use of color, graphic design—influenced by modern art—has in turn inspired modernist fashion and home décor applications. In this look soft champagne and rose pink are popped with technology-driven hues like turquoise and papaya. Floral materials may be natural or color-enhanced. Joyce began the bouquet at left by inserting bundles of bear grass into a round, flat Oasis European Bouquet Holder and spraying the whole thing with Design Master Turquoise before continuing with her insertions, which include bright pink Ashley garden roses, a relatively new variety with remarkably resilient petals, and garlands of hypericum berries strung on metallic wire. For a how-to photo, see page 63. Above right, giant monstera leaves in turquoise shadow parallel leaves of Xanadu philodendron; below, a set of Circus Vases perfectly complements the palette.

AUGUST2015 2010 49 10 SEPTEMBER

11 AUGUST 2010 50

At left, as on the previous page, large monstera and ti leaves are sprayed with Design Master Turquoise, while lily grass is sprayed Flat Black—a striking combination that is here carried inside the Harper Bowl, where the foam is wrapped first in a turquoise ti leaf, then with “stripes” of lily grass. The colorenhanced foliage provides a dramatic backdrop for bold natural hues. For the bouquet at right, Joyce found a multicolored yarn she wanted to use in the cascade. To give it additional color and substance, she wrapped it together with pink beaded wire around a base of silver aluminum wire. Other cascading garlands are made with Magical Pink hypericum berries and white pearls strung together on metallic wire. Since the yarn garland is already based on aluminum wire, it is easily inserted into the foam at the back of the Wedding Belle Grande bouquet holder; the strands of hypericum and pearls are wire-picked into place. They mingle with long green hanging amaranthus—for all the world like high-fashion dreadlocks.

SEPTEMBER 2015 51 00

CLASSICAL PASTELS Vintage gets an upgrade with allusions to Greek and Roman antiquity. The style is opulent and sophisticated, featuring a subdued palette of whitened grays and grayed pastels in purple, lavender and buttermilk. Combinations of classic garden flowers like garden roses, hydrangea, gardenias, stock, stephanotis and astilbe offer a balance of textures. In the tablescape at right, White O’Hara garden roses draw the eye, harmonizing beautifully with Cool Water roses. White Mist foliage marries the floral materials with the milk-white vases, dressed with jeweled buckles. Joyce slipped two of the buckles onto wide white striped ribbon and attached the ribbon to the vases with UGlu. Other buckles (with their center bars clipped) go on the openings to the orb-shaped, flat-bottomed candleholders, which Joyce has first filled with florets and Acolyte LED lights. The composition’s asymmetrical balance is emphasized with curly willow tips that lean to one side.

13 AUGUST 2010 52

AUGUST 2015 2010 53 14 SEPTEMBER

To make the cascade at left, Joyce began by inserting White Mist foliage into the base of a Wedding Belle Grande bouquet holder, including ruscus and long branches of eucalyptus, to establish the length and substance of the cascade. The finished bouquet incorporates jeweled garland and buckles, fragrant gardenias, White O’Hara and Cool Water roses, and stephanotis blooms gleaming with pewter-colored corsage pins. Joyce removed the backing that comes with the gardenias, sprayed it silver, and reinserted the gardenias into the backing, which helps to support the flowers. Freesia adds still more fragrance to the bouquet at upper right, while white astilbe lends a feathery grace. The bouquet is collared with White Mist large fatsia leaves. Stephanotis blooms—with pewter-colored, pearl-headed pins in the center of each— were added last.

15 AUGUST 2010 54

The necklace at left is built on a foundation that incorporates a crescent covered in dusty miller foliage. For a how-to photo of the necklace foundation, see page 63. Joyce added the stephanotis florets using the wire stems attached to the sparkling gems: she snipped each wire stem to the right length, inserted it through the floret, dipped the tip of the stem in floral adhesive, and inserted it into the foundation. Similarly, the boutonniere at right has a cardboard rectangle wrapped in dusty miller and silver bullion as a backing for the magnetic boutonniere holder. The backing makes it easy to add the sparkling stephanotis florets. A stemmed gem leans out a little way, adding depth and another echo of the necklace design. SEPTEMBER 2015 55

LUSH TIMBER The romance of the deep forest is evoked with mosses and ferns, bark and wood, and an abundance of bold royal purple, which elevates the ensemble. For the dramatic entrance piece at left, Rachelle made the most of a Renzi Stand that happened to have a nice amount of space between the three limbs. She placed an Iglu caged foam holder here, and another on the underside of the shallow metal tray at the top, to create the effect of ferns dripping over the side of the tray. These ferns are the fronds of umbrella fern, seen rising on its stem at the top of the design and sheltering the orchids, anemones, and scabiosa pods. Umbrella fern is a little more expensive but has a great look and like other Australian foliages holds up exceptionally well. Votive holders nestle among pieces of broken raw cork at the base. The bridal bouquet on the opposite page is made in a Gala bouquet holder, which aids in creating a round shape. For a how-to shot, see page 63. Rachelle created plenty of depth in the bouquet by working from the inside out. The cascade includes a veil of smilax dotted with vanda blossoms, added to the smilax with floral adhesive.

17 2010 56 AUGUST

AUGUST 2015 2010 18 SEPTEMBER 57

Rattan curls, clustered around the base of another Gala bouquet holder, create a textured green collar for the bouquet on this page, to which Rachelle has added plumosus and fronds of umbrella fern to create a crescent outline. The stems of callas and green parrot tulips echo the rattan curls and are woven through them here and there. Above right, a cork-bark round, attractively speckled with lichen, looks like a solid log but is hollow inside so it easily accommodates Iglu caged foam holders on either end, sprouting ferns, mosses, and other woodsy materials. 58

A boutonniere and a shoulder corsage (for the mother of the bride) are both made on a base of wide ribbon made with wire mesh and artificial moss (which does not wick). To this base Rachelle glued a variety of materials including composite flowers made with the petals or centers of anemones and vanda orchids. Both designs are held on with magnets.

AUGUST 2010 20 APRIL 2015 SEPTEMBER 2015 59 59

21 AUGUST 2010 64 60


LUMINOUS OCEAN A mystical and futuristic undersea world is portrayed with swirls and spirals, in shades of blue, green and gray; highlights in blush pink may suggest coral reefs. At left is a design that could be made just as you see it, disassembled for transport, and reassembled on site, with tiered obsidian-finish bowls, beaded garlands, and LED light strands adding to the magic. Pink coxcomb celosia has been sprayed silver for a distinctive texture; ranunculus and light pink roses pop out against the silvery background. To make the light-up bouquet at right, Rachelle pushed an LED light strand down into the clear plastic handle of a Gala bouquet holder. More of the light strands are incorporated into the rest of the bouquet along with Acolyte LED lights, wired to the holder with small pieces of chenille stem. AUGUST 2010 61 22 APRIL 2015 65 SEPTEMBER 2015

Beaded garland can be allowed to simply dangle, as in the bouquet on this page—but if you want to control its shape, it can be anchored to decorative wire. That was done at the top of the bouquet at right, in the designs on the previous pages, and also in the chair decoration below, where Rachelle used Deco Twist wire as the base for a garland. She then was able to fashion portions of the wire into tight coils that could be used as a textured foundation for gluing first a leaf, then other diminutive floral materials. Two batteryoperated LED light strands add sparkle to the design.

23 AUGUST 2010 62

how-to’s for dream themes

MINERAL BLENDS To make the scrollwork arch seen on pages 42-43, first measure pieces of flat wire all to the same length, about 20 inches. Fill the Ellipses Urns with foam and insert a tall upright piece of river cane in each one. It’s important to secure the bottom of the river cane with short pieces inserted around it, to keep the tall piece from wiggling too much in the foam. Add the scrolls to the river cane with UGlu.

LUSH TIMBER and LUMINOUS OCEAN The bouquets on pages 57, 58, 61 and 62 were all made in a Gala bouquet holder, which aids in creating a round shape. The large windows (“design ports”) offer a lot of foam surface for multiple insertions. They make it easy to add downwardflowing insertions, like the smilax seen here (the first step in creating the bouquet on page 57), which is also wound around the top. Rachelle took advantage of the clear, ergomically designed handle to add LED lights into the handle itself as well as to the surface of the bouquet on page 61. CLASSICAL PASTELS The necklace on page 55 is built on a wire foundation that incorporates a crescent shape covered with dusty miller (seen at right). Joyce cut the shape out of cardboard and glued the velvet-textured leaves to it. Then she fashioned the necklace frame to incorporate the crescent, along with faux diamonds on long stems and silver aluminum wire, all wrapped together with silver bullion. To this frame she glued stephanotis florets (using floral adhesive, of course), studded with gems in the center. The boutonniere on page 55 similarly incorporates a cardboard rectangle wrapped with dusty miller and silver bullion

GRAPHIC ELEGANCE The bouquet on page 48 incorporates a trendy shade of turquoise applied to looped bundles of bear grass. The bear grass, in turn, is anchored in an Oasis European Bouquet Holder. This holder consists of a disk of Maxlife floral foam that rests on top of a supporting disk of Styrofoam, with a handle underneath. The result is a strong, flat canvas, much like a disk-shaped Sculpting Sheet, for creating distinctive bouquets. First, Joyce secured the bear-grass bundles to the holder: she bound each bundle at the base, near the stem ends, with a wired wood pick, and inserted both the stem ends and the pick directly into the holder. Then she looped and re-attached the bundles to the holder with another wired pick. Finally, she sprayed them in place with Design Master Turquoise before adding the rest of her floral materials. b


AUGUST2015 2010 63 24 SEPTEMBER

where to buy

continued on page 64

For more information on merchandise featured in Flowers&, contact the supplier directly. Direct links to most suppliers can be found on the Flowers& website, 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.

FEATURED SUPPLIERS Accent Décor, Inc. Call 800-385-5114 or visit Acolyte. Call 888-ACOLYTE (226-5983) or visit Alexandra Farms. Call 305-528-3657 or visit


Berwick Offray. Call 800-327-0350 or visit

pages 8-9 G3 Recycled Glass Sea Mist containers, Garcia Group Glass. Tangiers Green Ice polyester ribbon, Berwick Offray.

Design Master Color Tool. Call 800-525-2644 or visit


Direct Export Co. Call 888-881-0055 or visit

pages 10-12 Thick clear glass Rosie Posie Vase, Syndicate Sales. Button wire and flat wire, Smithers-Oasis.

SHE’S GOTTA HAVE IT, pages 40-63

MINERAL BLENDS, pages 40-42 Lemon Pompon garden roses, Alexandra Farms. Gilded monstera leaves and lily grass, Wm. F. Puckett. Flat wire, Smithers-Oasis. Diamond Taffeta Butter tablecloth, Wildflower Linen. Ellipses Urns and Chloe Tray, Accent Décor.

HAUTE SPICE, pages 44-47 Sedona Mocha tablecloth, Wildflower Linen. Piano roses, Alexandra Farms. Hammered Copper Egg Bowl, Jamali. Metallic finish copper spray, Design Master.

GRAPHIC ELEGANCE, pages 48-51 Ashley garden roses, Alexandra Farms. Turquoise and Flat Black spray color, Design Master. European Bouquet Holder, Smithers-Oasis. Print Polka Dot Black/White tablecloth, Wildflower Linen. Harper Bowl (tilted glass on black pedestal), Orion Compote (footed glass bowl in black), Circus Vases, and Jumbo Pearls, Accent Décor.




pg 55

pages 52-55

pages 60-62

Noble Pique White tablecloth, Wildflower Linen. Jeweled buckles, Dazzleline Chain, stemmed gems, Kara’s Kisses Twinkle gems, and Grecian magnetic boutonniere holder, Fitz Design. White Mist fatsia, plumosus, and eucalyptus leaves, Wm. F. Puckett. White O’Hara garden roses, Alexandra Farms. Refine (at right) and spherical Mystique (with clear glass base) white glass vases, orb-shaped, flat-bottomed Flat Candleholders in white glass, and clear Sphere Garland, Accent Décor. Corsage pins in pewter and decorative wire, Smithers-Oasis.

Milano Turquoise tablecloth, Wildflower Linen. Low bowls with obsidian finish, SNK. Marlow Vases, Accent Décor. Beaded garland in aqua, Sullivans. LED lights, Acolyte. LED Light Strand and Gala bouquet holders, FloraCraft. Deco Twist wire in aqua, pg 49 Lion Ribbon.

Fitz Design. Call 800-500-2120 or visit FloraCraft. Call 800-253-0409 or visit Garcia Group Glass. Call 800-241-3733 or visit Jamali Garden and Floral Supply. Call 212-979-0108 or visit Lion Ribbon. Call 800-551-LION or visit Pioneer Imports & Wholesale. Call 888-234-5400 or visit Smithers-Oasis. Call 800-321-8286 or visit

LUSH TIMBER, pages 56-59 Renzi Stand, Broken Raw Cork, and Virginia Cork Piece Round, Accent Décor. Homestead Cappuccino tablecloth, Wildflower Linen. Purple glass votive cups, SNK. Gala bouquet holders, FloraCraft. Rattan curls, Direct Export. Roll of moss, Pioneer Imports.

SNK Enterprises. Call 800-531-5375 or visit Sullivans, Inc. Call 800-456-4568 or visit Syndicate Sales. Call 800-428-0515 or visit Wildflower Linen. Call 866-965-7775 or visit Wm. F. Puckett. Call 800-426-3376 or visit

pg 59

what’s in store

FALL FAVORITES Autumn’s when the entertaining season begins— and Teleflora has some great ideas for fall centerpieces and décor. The hand-glazed Bounty of Beauty serving bowl, FDA-approved for serving and storing food, makes a valued keepsake when the flowers are gone. The ceramic Country Pumpkin comes with all the trimmings: lid pick, liner, care card and pick—and even a removable jack-o’-lantern face cling (not shown). Call 800-333-0205 or visit

JUST ADD FLOWERS The Wedding Lantern with LED Candle from Hiawatha Evergreens comes pre-greened with salal, cedar, huckleberry and oregonia surrounding an ivory LED candle. Fine wisps of bear grass accent the greens; the ornate lantern stands 14.5 inches tall and is sold through wholesale florists. Call 800-421-4791 or visit

DEM BONES Featuring whimsical candy skulls, new Day of the Dead ribbon from Reliant Ribbons, Bows & Trims adds fun and style to designs and decorations for both Halloween and Dia de los Muertos festivities. Available in black on white or white on black, the ribbon comes in a 2½-inch width on 10-yard spools. Call 800-886-2697 or visit

MY NEW FLAME As versatile as it is beautiful, the new one-inch LED Flicker Flame (CandLED-it™) from Candle Artisans and Patrician Candles can be used in many ways: with any type of artificial candle, candle holder or votive cup, but also, popped directly into a bouquet or corsage. Call 800-241-3733 or visit


industry events For the most recent additions to Teleflora Unit Programs, go to and click on Design Education to access the Floral Event Calendar in the Unit Program section.

NATIONAL AND INTERNATIONAL SEPTEMBER 9-12, AMELIA ISLAND, FL SAF Annual Convention, Ritz Carlton. Call the Society of American Florists at 800-336-4743 or visit

OCTOBER 28-30, BOGOTÁ, COLOMBIA Proflora, Corferias Convention Center. Visit

DECEMBER 7-23, ATLANTA, GA FloraMart market dates for fall/ Christmas 2016 merchandise, FloraMart. Visit

JANUARY 2-15, 2016, ATLANTA, GA FloraMart market dates for fall/ Christmas 2016 merchandise, FloraMart. Visit

JANUARY 12-14, 2016, ORLANDO, FL The Special Event, Orange County Convention Center. Visit



Michigan Unit, Sympathy Designs with Tim Farrell, Mayesh Wholesale. Call Debbie Custer at 734-455-7377.

Western Pennsylvania Unit, Holiday Designs with Vonda LaFever, Pittsburgh Cut Flower. Call Janet Woloszyk at 412-818-0791.



Ohio Buckeye Unit, Everyday Designs with John Hosek, Nordlie, Inc. Call Elizabeth Stoecker at 330-364-5521.

New York Capitol District Unit, Holiday Designs with Tom Bowling, Gulderland Elks Lodge. Call Cheryl Knott at 518-237-4622.



Ohio Buckeye Unit, Sympathy Designs with Tim Farrell, Nordlie, Inc. Call Donna Traylor at 513-932-3361.

Penn Jersey Unit, Everyday Designs with Kevin Ylvisaker, Pennock Company. Call Linda Bogarde at 215-547-4552.



Heartland Convention (Nebraska Florists Society), program includes Fall & Christmas Designs with Hitomi Gilliam, Omaha Comfort Inn & Suites Central. Call Sylvia Samuel at 402-612-2588 or visit

New Jersey Garden State Unit, Christmas on a Budget with Jerome Raska, Sieck Wholesale Florist. Call Steve Rogala at 732-251-0049.

OCTOBER 18, ST. LOUIS, MO Lewis & Clark Unit, Sympathy Designs with Susan Ayala, LaSalle Wholesale. Call Jon Kuhlman at 314-965-8440.


JANUARY 20-22, 2016, FORT LAUDERDALE, FL Tropical Plant Industry Exhibition (TPIE), Broward County Convention Center. Call the Florida Nursery, Growers and Landscape Association at 800-375-3642 or visit

CENTRAL REGION SEPTEMBER 11-13, IOWA CITY, IA Iowa Florists Association Convention, Johnson County Fairgrounds. Call Marcia Goodman at 319-399-1023 or visit

SEPTEMBER 13, JAMESTOWN, ND North Dakota State Florists Association, program includes Holiday Designs with Susan Ayala, Civic Center. Call Gretchen Barnick at 701-251-2030.


SEPTEMBER 12-13, ORONO, ME Maine State Florists Association Convention, Black Bear Inn & Conference Center. Visit

SEPTEMBER 16, CHESHIRE, CT Connecticut Unit, Everyday/Holiday Designs with Tom Bowling, Northeast Floral Education Center. Call Lee Reiske at 203-366-8458.



SOUTHEAST REGION SEPTEMBER 13, CONWAY, SC South Carolina Unit, Everyday Designs with Cindy Tole, Econolodge Restaurant. Call Steven Jones at 843-248-6893.

SEPTEMBER 20, ROANOKE, VA Blue Ridge Unit, Fall & Christmas Designs with Julie Poeltler, TFS Wholesale. Call Calvin Mitchell at 434-845-2309.

SEPTEMBER 27, SILVER SPRING, MD DC-MD-VA Unit, Parties & Events with Alex Jackson, Potomac Wholesale. Call Wanda Stone at 301-662-0606.

OCTOBER 4, RICHMOND, VA Colonial Virginia Unit, Wedding & Body Flowers with Vonda LaFever, Strange’s Greenhouse. Call Cindy Reynolds at 804-360-2800.

SEPTEMBER 12-13, LAS CRUCES, NM New Mexico State Floral Association Convention, program includes Wedding Designs with Gerard Toh, New Mexico Farm and Ranch Heritage Museum. Call Esther Davis at 575-430-4554.

SEPTEMBER 13, JACKSON, MS Central Mississippi Wholesale, Fall & Christmas Open House with John Hosek. Call Ken Strickland at 601-923-8536.

SEPTEMBER 15, OKLAHOMA CITY, OK Oklahoma Unit, Holiday Designs with Joyce Mason-Monheim, Greenleaf Wholesale. Call Jill Tipton at 405-275-9057.


Penn Jersey Unit, Sympathy Designs with Gerard Toh, D’Anjolell Funeral Home. Call Marjie Versagli at 610-647-9311.

Ozark Florist Association Convention, program includes Party Designs with Susan Ayala, Downstream Casino, Resort & Conference Center. Call Fran Davis at 800-333-8580.



Maine Unit, Everyday Designs with Tim Farrell, T&B Celebration Center. Call Barbara Frye at 207-942-7386.

Central Texas Unit, Holiday & Christmas Designs with Susan Ayala, Bill Doran Wholesale. Call Becky Stirnkorb at 254-547-6321.

WESTERN REGION SEPTEMBER 23, KENT, WA Washington State-Puget Sound Unit, Holiday Events Designs with Jerome Raska, DWF. Call Laurel Stromme-Dede at 425-481-8844.

OCTOBER 16-18, GREAT FALLS, MT Montana Florists Association Convention, Heritage Inn. Call Kari Johnson at 406-771-6828 or visit

OCTOBER 25, ALHAMBRA, CA Los Angeles Coastal Counties Unit, Everyday Trends with Alex Jackson, Almansour Court. Call Bruce Wataru at 323-829-5831.

NOVEMBER 6-8, PORTLAND, OR Ninth Moon Floral Design Showcase, featuring Louisa Lam AIFD, CPFD and other top designers, Lan Su Chinese Garden. Visit

advertiser links


Advertisers’ websites are hyperlinked on the Flowers& website. Go to and click on “Advertisers in This Issue.”

EMPLOYMENT Florasearch, Inc.

ACCENT DÉCOR, INC. 800-385-5114




ALEXANDRA FARMS 305-528-3657


CANDLE ARTISANS 800-241-3733




DAKOTA PRODUCTS 800-241-3733






DOLLAR TREE DIRECT 877-530-TREE (8733) FLOWERBOX 866-396-1185



KAY BERRY 800-426-1932


KRISTIN & COMPANY 800-433-0983







RELIANT RIBBON 800-886-2697


ROYAL FLOWERS 800-977-4483




Refrigerators For Flowers

Combo walkins, storage, reach-ins 800-729-5964


Portland, Oregon


SEMINOLE 800-638-3378


SMITHERS-OASIS 800-321-8286


SNK ENTERPRISES 800-531-5375




TELEFLORA 800-333-0205



POSY POCKETS 864-654-6977

SYNDICATE SALES 800-428-0515

E-mail: Website:




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

John Toomey Co

(800) 421-0052

Wedding Aisle Runners Rentals & Sales UPS Shipments

White Cotton Runners



wholesaler connection ARIZONA PHOENIX Conroy Wholesale Florist The Roy Houff Company CALIFORNIA FRESNO Designer Flower Center INGLEWOOD American Magazines & Books OAKLAND Piazza International Floral SACRAMENTO Flora Fresh SAN DIEGO San Diego Florist Supplies SANTA ROSA Sequoia Floral International FLORIDA PENSACOLA American Floral Wholesale of Pensacola Carlstedt’s, LLC GEORGIA OMEGA Hornbuckle Wholesale Florist HAWAII HONOLULU Flora-Dec Sales ILLINOIS CHICAGO The Roy Houff Company NORMAL The Roy Houff Company WHEELING The Roy Houff Company

KANSAS WICHITA Valley Floral Company KENTUCKY LOUISVILLE The Roy Houff Company LOUISIANA BATON ROUGE Louisiana Wholesale Florists LAFAYETTE Louisiana Wholesale Florists MASSACHUSETTS BOSTON Jacobson Floral Supply MICHIGAN WARREN Nordlie, Inc. MINNESOTA MINNEAPOLIS Koehler and Dramm ROSEVILLE North American Wholesale Florist, Inc. MISSOURI ST LOUIS LaSalle Wholesale Florist NEW YORK CAMPBELL HALL Alders Wholesale Florist OHIO DAYTON Nordlie, Inc. NORTH CANTON Canton Wholesale Floral

PENNSYLVANIA PITTSBURGH Keystone Ribbon & Floral Pittsburgh Cut Flower Company SOUTH DAKOTA SIOUX FALLS North American Wholesale Florist, Inc. TENNESSEE NASHVILLE The Roy Houff Company



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TEXAS HOUSTON Pikes Peak of Texas VIRGINIA NORFOLK The Roy Houff Company RICHMOND The Roy Houff Company WASHINGTON TACOMA Washington Floral Service CANADA BURNABY, BC Kirby/Signature Floral Supply MISSISSAUGA, ON Hofland

Sell Flowers& in your store! for extra profits Select any quantity— no minimum

MALAYSIA SELANGOR Worldwide Floral Services

Whatever you don’t sell we buy back!

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