FA Summer 2015_OFC:FA Summer 2015_OFC 12/04/2015 12:29 Page 1

FL WER
Arranger
THE UK’S BIGGEST-SELLING
FLORAL DESIGN MAGAZINE
THE

Easy step-by-steps Cutting-edge

Wedding European
flowers designs

£1,500 Cool callas

worth of prizes 02

to be won 9 770046 421060

SUMMER 2015 £4.20
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PHOTOGRAPH JÖRG MANEGOLD/ LEHNER WOLLE3 IDEAS & INSPIRATION n

designer Christian Platzner

wool FM Flausch Mirabell
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Welcome
SUMMER 2015
Volume 55
Issue 2
A letter from
The Flower Arranger’s
Editor, Judith Blacklock

PHOTOGRAPH LEWIS KHAN

M any of us don’t have a garden large
enough to grow flowers for cutting.
In my London garden I cut my foliage
prunings rather than flowers to bring
indoors but Angela Coulton’s article has
inspired me and I will be filling every
nook and cranny in my patch with seeds rather than shrubs and COVER DESIGN
vegetables this coming year. A summer medley of Dianthus (carnation),
Hydrangea, Alchemilla mollis, Symphoricarpus
I love this colourful issue of the magazine, which is packed and Chrysanthemum, with detail provided by
with articles coming from different angles but all sharing the OASIS® Home & Hobby, Lehner Wolle3 Woolfelt,
in a semi-sphere covered with Stachys byzantina
common theme of cut flowers. Wool may not be a product that leaves.
you immediately associate with the warm days of summer but Designer Derek Armstrong
Lehner Wolle3 in Austria have created products that work every Photographer Oliver Gordon

month of the year with our favourite medium.

Hardwick Hall was the location for the North Midlands Area Show.
This was one of the most magnificent places I have had the
fortune to use as a backdrop for floral designs. The staff at this Editor
Judith Blacklock
National Trust property were delightful – so accommodating and 52 Suffolk Road, London SW13 9NR
thrilled to be involved with flowers. It was a truly wonderful event Email: [email protected]

and I thank everyone involved. Advertising

Cabbell Group, Deer Park Studios,
Oliver Ferchland and Carles J. Fontanillas are the international 12 Deer Park Road, London SW19 3TL
For display and classified advertisements
designers featured in this issue of The Flower Arranger. contact Kathryn Levell
Tel: 020 3603 7939
Their designs are inspirational and innovative, using a wealth of Email: [email protected]
beautiful plant material. Distribution
All distribution enquiries, contact Ann Gibson
Ann Gibson is on the board of the editorial team. Her daughter Tel/Fax: 0191 581 8178 Mon–Fri 9am–5pm
was married last year and Ann has written (together with her Subscriptions
daughter, of course) an amusing account of how they worked For single magazine subscriptions
contact Warners
together to create the perfect wedding flowers. Tel: 01778 392491 Fax: 01778 421706
Email: [email protected]
While in Cumbria last year I visited the Lakeside Hotel for my Address: The Flower Arranger, c/o Warners,
mother’s birthday and was thrilled to find an impressive exhibition The Maltings, West St, Bourne, Lincs PE10 9PH
Subscribe online: www.nafas.org.uk
of Moorcroft pottery there. Nearly every Collector’s Club piece
was decorated with flowers and suddenly I was on a mission! I am
delighted to have an article about the flower decoration on this
iconic British pottery and also to be able to offer two magnificent
prizes to winners of a competition. In another competition we have
12 free tickets to see Sunny Afternoon, the hit musical about
The Kinks, in the best seats! I saw this production courtesy of a
friend of my daughter and it was so good I just knew that flower
© NAFAS 2015
arrangers, many being of a very special vintage, would love it too.
‘All profits from NAFAS Enterprises Ltd
My best wishes to you all this summer go to the National Association of
Flower Arrangement Societies’
Registered charity no. 1101348
Judith

2 THE FLOWER ARRANGER SUMMER 2015

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Contents
IDEAS & INSPIRATION STEP-BY-STEPS
4 Oliver Ferchland 22 Perky pepper
25 Carles J. Fontanillas 24 Nuts and bolts
35 A cut above 24 Bouquet of
36 A contemporary contrasts
window ledge 30 Summer sizzler
31 Beautiful bark
43 Take five
53 Summer by the sea
63 Painting peonies

FEATURES
10 Growing flowers for
a British wedding
14 W. Moorcroft Ltd
26 30 top tips
27 Put down your
knitting needles!

38 Inspiration from
around the world
47 Glimmer
48 The 1920s

READER COMPETITIONS
9 Win a pair of
tickets to see
the West End FLOWER FESTIVAL
musical & EXHIBITION
Sunny
Afternoon 16 ‘Florescence’ at
Hardwick Hall
23 ‘Painting Paradise’
at Buckingham Palace

REGULARS
32 Zantedeschia (calla lily) 60 You be the Judge
44 Could I have done better? 66 Shopping
50 Perfect harmony – the art 67 Books
of creating wedding 68 From the Chairman
flowers to remember of NAFAS
15 Win a pair 52 Cruise liner flowers 69 The Flower Arranger
of Moorcroft 54 The Victorian table subscriptions
vases worth 56 Decorating the table for 70 You be the Judge results
nearly £800 weddings and events 71 Classified advertising

THE FLOWER ARRANGER SUMMER 2015 3

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n IDEAS & INSPIRATION

All images in this article are from BELOW AND LEFT Lathyrus, Phytolacca,
‘Floral Contemporary’ by Olivier Dupon Dianthus, Cotinus, Phlox, Lysimachia, Ammi,
(Thames & Hudson 2014) Rhodochiton, Achillea, Oncidium and
blackberry in a homemade ‘vase’ in the form
of a disc projecting from a central axis.
Designer Oliver Ferchland

RIGHT The rhythmic flow of plant material in

this design was intended to give the
impression of deliberate composition.
Included are Triticum (wheat), Allium,
Sandersonia, Gloriosa, Viburnum, Zinnia,
Dianthus (carnation), Cotinus, Anethum (dill)
Alstroemeria, Amni, Asparagus asparagoides,
Phytolacca and Rubus (blackberry).
Designer Oliver Ferchland
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Oliver Ferchland
Oliver Ferchland has been working with flowers since the age of 14.
Now a German Master Florist, his work
takes him all over the world.
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n OLIVER FERCHLAND

Oliver has developed a naturalistic style

of design that is innovative and
exciting. When planning a design he
first identifies a core idea or material
and then works on several experimental
ideas at the same time, before arriving
at his preferred outcome.
He believes that cut
flowers should ‘dance
and be free’ which is
exactly what we see in
the designs on these pages.
He has captured grace in
motion here for our enjoyment.

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OLIVER FERCHLAND n

The sheer joy in this handtied design

of Gloriosa, Zinnia, Xanthorrhoea
(steel grass), Sandersonia, Gerbera,
Anethum (dill), Dianthus (carnation),
Helichrysum and Asparagus
asparagoides (smilax). The structure
was created with fine raffia and glue.
Designer Oliver Ferchland

THE FLOWER ARRANGER SUMMER 2015 7

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n OLIVER FERCHLAND

8 THE FLOWER ARRANGER SUMMER 2015

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READER COMPETITION n

Win a pair of
tickets to
Sunny Afternoon
in the West End!
We're giving six lucky readers the
chance to win a pair of tickets worth
over £120 to Sunny Afternoon at the
Harold Pinter Theatre in the West End.

ABOVE & LEFT The free movement in this structure emphasises its
independence from any rigid form. Plant material used includes
Oncidium orchids, Xanthorrhoea (steel grass), Anthurium, Allium,
Lunaria (honesty), Rubus (blackberry), Phytolacca and Xerophyllum
(bear grass).
Designer Oliver Ferchland

Critics and audiences are raving about the West End's

New ‘Great British Musical’ (The Times).
With music and lyrics by Ray Davies, a new book by Joe
Penhall and direction by Edward Hall, Sunny Afternoon
depicts the rise to stardom of The Kinks. Set against the back-
drop of a Britain caught mid-swing between the conservative
50s and riotous 60s, this production explores the euphoric
highs and agonising lows of one of Britain's most iconic bands
and the irresistible music that influenced generations.
Featuring many of the band's hits, including:
You Really Got Me, Waterloo Sunset, Dedicated Follower
Of Fashion, All Day And All Of The Night, Lola, Sunny
Afternoon and many more.
TICKETS AND INFORMATION
For more information and to book tickets visit
sunnyafternoonthemusical.com or call 0844 871 7622.
Further
information TO ENTER
To be in with a chance of winning a pair of tickets, visit
Oliver is available for hotticketoffers.com/competition/afternoon and enter
workshops and competition code 'Flower' followed by your details by 10 July.
demonstrations.
Email: [email protected] Terms and Conditions
l Competition closes 10 July 2015 l Non transferable
Website: www.kings-class.de l Tickets valid for Mon–Thurs l No cash alternative
Facebook: www.facebook.com/oliver.ferchland.3 performances until 15 October l Additional expenses are the
(exclusions may apply) responsibility of the prize winner
l Subject to availability l Not for resale

THE FLOWER ARRANGER SUMMER 2015 9

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n FEATURE

Angela Coulton shares

her experience in
creating a bespoke and
very British theme for
wedding flowers

GROWING FLOWERS
for a BRITISH WEDDING
he idea of growing the flowers for flowers of the sort your grandmother from one reliant on the standard range

T a wedding has taken hold in the

last few years, fuelled by vintage
trends and the desire of many couples
used to know is likely to result in a very
large bill and perhaps more flower miles
than you ever imagined, since the
of flowers all year round, to one working
with the seasons and championing
British growers, and where we cultivate
to create a more bespoke, handmade, majority of flowers sold in the UK are many flowers and herbs that are simply
meaningful occasion. To grow all your grown abroad these days. not available via the wholesale markets.
own flowers, ensuring that they are Instead, I would like to suggest a There are some really good books and
perfectly in bloom for a specific date, way of creating a highly individual look, websites about growing cut flowers (see
requires not just time and space but without the stress of the full DIY page 12) but I found the amount of
also nerves of steel. But to go to a high approach. It is based on my own information overwhelming initially, so
street florist and order ‘cottage garden’ experience of transforming my business here are my top tips for beginners.

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GROWING FLOWERS FOR A BRITISH WEDDING n

Limited space A little more space to grow. If you choose the long-
stemmed ‘Spencer’ varieties, feed them
If you are short of space, limited to a If you have a bit more space grow ‘cut regularly and cut every day to stop pea
balcony or small garden, grow herbs. and come again’ annuals. These are the pods forming, they will proliferate.
They will provide the scent that is flowers that have proved their worth in While annuals are often shown
missing from modern commercially my Lancashire cutting garden in all growing in mixed borders, they flourish
grown flowers, and add delicacy to sorts of summers, from cold and wet to and flower more consistently if you can
bouquets and arrangements. baking hot. If they flower early, just plant them in blocks in dedicated strip
My favourites are: Santolina start cutting and they will keep coming beds. It is easier to support them with
chamaecyparissus (cotton lavender), back. Centaurea cyanus (cornflower) horizontal netting this way too, which
Lavandula, Origanum (marjoram), and Scabiosa (scabious) are available in will ensure nice straight stems. For a
Mentha (mint) and Salvia officinalis shades of burgundy and pink as well as May or June wedding, sow hardy annuals
(sage) all of which have beautiful foliage the more familiar blue shades and will such as cornflowers the previous autumn
and flowers. Coriandrum sativum flower prolifically from relatively small if you can. They will flower earlier and
(coriander) grows rapidly from seed and plants. Long-stemmed ‘cutting’ produce larger plants this way.
quickly produces delicate white flowers varieties of Ageratum are very reliable
like miniature cow parsley. Petroselinum producers. The same is true of Phacelia
FAR LEFT ‘Whiter Shade of Pale’ garden rose
crispum (parsley) seedheads are also which is sold as a green manure but
posy enhanced by delicate grey-green herbs,
very useful if you leave plants to bolt. grows very quickly, with flowers like a poppy seedheads and Astrantia.
Foeniculum vulgare (fennel) and cross between Nigella and Limonium BELOW High summer bouquet with Rosa ‘Sweet
Anethum graveolens (dill) are both (statice), lasts ages and attracts bees Avalanche’, home-grown Nigella, Salvia sclarea
fantastic for larger arrangements from too. Lathyrus (sweet pea) cost a fortune (clary), Ageratum, Achillea and herbs
mid-summer onwards. to buy as cut flowers, but are really easy Designer Angela Coulton
PHOTOGRAPHS ANGELA COULTON

THE FLOWER ARRANGER SUMMER 2015 11

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n GROWING FLOWERS FOR A BRITISH WEDDING

Feature flowers All of these are flowers that are more

difficult to grow without significant
When to cut
I would suggest that you plan to space and/or a heated greenhouse, As you approach the big day, be sure to
purchase the larger feature flowers that depending on where you live in the UK. cut at least 24 hours before you plan to
will provide the centre and height for Dahlias are perhaps the exception, and begin arranging. Cut on a slant in the
larger arrangements. Roses remain a there are lots of subtle-coloured and evening or early morning if the weather
staple for weddings and, as the images smaller headed varieties now available is warm and put straight into a
show, herbs and annuals can transform which are worth seeking out if you are scrupulously clean bucket of fresh
a basic bunch into a unique bouquet. planning a mid- to late-summer wedding. water as you cut them. By clean I mean
Sadly, English-grown roses are rarely washed out with hot soapy water and a
available but ask your florist for other drop of bleach. I personally don’t find
seasonal British Grown flowers. In May
Buying direct flower food necessary but others swear
and June Dianthus barbatus (sweet You may also be able to buy direct from by it. I just leave flowers in a cool place
william), Matthiola (stock), and Paeonia small British flower farmers. The Flowers such as a garage to have a good long
should all be available. English peonies from the Farm network has featured in drink, ideally overnight. Sweet peas are
have a very short season but late May to The Flower Arranger before and now has the exception and I cut these the day
end of June is the best time. Later, in over 200 members around the UK. Find before an event.
June and July, Antirrhinum, Delphinium, out if there is a grower near you on their Do not be afraid of growing and using
Helianthus (sunflower) and Moluccella website www.flowersfromthefarm.co.uk. garden flowers, they last at least as well
(bells of Ireland) come through followed Many will supply mixed buckets of as any you can buy and are, literally,
in August and September by Aster, Dahlia flowers and may be able to grow miles fresher. You never know, you might
and Gladiolus. Asiatic and Oriental lilies, specific varieties or particular colours if just become a British flower grower!
and Eustoma (lisianthus) should be you contact them well in advance (six ANGELA COULTON
available throughout the summer. months at least).
LEFT Early June brings English peonies and
sweet williams, with classic cornflowers, ammi
and scented pinks – Dianthus ‘Gran's Favourite'
Designer Angela Coulton

Resources
GROWERS
Find a flower grower near you:
www.flowersfromthefarm.co.uk
SEEDS
Chiltern Seeds – a very wide range
including unusual varieties and
colours of Scabiosa, cornflowers
and grasses:
www.chilternseeds.co.uk
Higgledy Garden – great selection
and advice for beginners:
www.higgledygarden.com
Kings seeds – very good range of
sweet peas: www.kingsseeds.com
Sarah Raven – great colour
combinations and guidance on
best flowers for cutting:
www.sarahraven.com
BOOKS
Louise Curley, The Cut Flower
PHOTOGRAPHS ANGELA COULTON

Patch – Grow Your Own Cut

Flowers All Year Round
(Frances Lincoln, 2014)
Georgie Newbery, The Flower
Farmers Year – How to Grow
Cut Flowers for Pleasure and
Profit (Green Books, 2014)

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GROWING FLOWERS FOR A BRITISH WEDDING n

BELOW A dainty, highly scented, sheaf-style
posy of lilac sweet peas and mixed lavenders
including Lavendula ‘Hidcote’ and
L. ‘Ellagance Ice’, thyme flowers and
Stachys byzantina leaves.
Designer Angela Coulton
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n FEATURE

W. Moorcroft Ltd
A potted history of floral design
he Moorcroft story began when William’s botanical style, which The company is still thriving

T James Macintyre & Company, a

utilitarian pottery factory in
Burslem, Stoke-on-Trent, set up an art
fused the very best of the grace and
movement of Art Nouveau with Arts and
Crafts design, soon won awards from
today, producing quality decorative
ware in limited editions, with special
designs being produced for the
pottery department in the Arts and across the Atlantic in St Louis in 1908 thriving collectors’ club by the art
Crafts tradition. The company’s quest to Europe, including a gold medal at the pottery’s studio of five talented
for a designer to run this decorative Paris Exhibition in 1925 just over ten designers as well as pieces from
side of production ended in 1897 with years after he had set up his own factory many accomplished guest designers.
the employment of William Moorcroft. under his own name. Queen Mary was a But it is Moorcroft’s connection to the
His designs soon included ‘Florian great admirer of Moorcroft pottery and world of floral delights that has seen
Ware’ which was based around designs the company was appointed ‘Potters to the company win medals at Chelsea
of British wild flowers, such as Her Majesty the Queen’ in 1928. (2014) as part of the City of Stoke on
Narcissus and Centaura (cornflower). Moorcroft continued to produce Trent’s Garden and at Tatton Park
There was already a family history in floral designs into the 1930s using (2008) for Moorcroft’s own garden.
botanical art, but William had also more and more exotic flowers as Some designs such as Anna Lily from
studied the chemistry of ceramics at inspiration. Waratah (c.1932), a design Moorcroft designer, Nicola Slaney,
the Royal College of Art. His new, based on an Australian flower has continue to sell well in the Moorcroft
incredibly labour-intensive process, particular appeal to Antipodean catalogue over a decade after their
used a slip-trailing method known as collectors. In 1946, W. Moorcroft Ltd’s launch. Other floral wonders are
tube lining that was then filled with Royal Warrant continued when short-lived, often as limited editions,
metallic oxides. This became what is William’s son, Walter, took over the but remain testaments to design
known in the world of applied arts company on his father’s death. excellence.
today as ‘Moorcroft’. Uniquely fired Walter’s style was characterised by
twice, these first pieces of Florian Ware ‘broad florals’ that encapsulated the
heralded the arrival of colourful designs boldness of the Swinging Sixties, yet
of intricacy, brilliance, and clarity. the subtle, elegant shape and colour
palette retained the classic Moorcroft
allure. Like his father, Walter was
rooted in the natural world. As the
Moorcroft colour palette expanded,
and air travel introduced new horizons,
Walter’s eyes turned to new design
possibilities and glimpses of Bermuda
started to appear in the Moorcroft
design archives. The door to a whole
new world had been opened.
PHOTOGRAPHS COURTESY W. MOORCROFT LTD

William Moorcroft’s revived cornflower design Walter Moorcroft’s Bermuda lily designs, Walter Moorcroft’s Hibiscus was in production
c1913–1914 introduced 1973–1975 from around 1950 until the mid 1980s

14 THE FLOWER ARRANGER SUMMER 2015

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COMPETITION n

A pair of highly collectable

Moorcroft pottery vases
worth nearly £800 to be won
The Flower Arranger has teamed up with Moorcroft
to offer the following fantastic prize of two
Meadow Bells vases. Designed by Paul Hilditch in
a limited edition of 25 and worth £395 each, the
trumpet-necked vases stand 25 cm high and are
decorated with glorious snakeshead fritillaries.
TO ENTER
Just pick the correct answer to the following question:
Question: Name the designer of the Meadow Bells Moorcroft vase
a) Paul Moorcroft
b) Allen Williams
c) Paul Hilditch
Send your answer on a postcard, together with your name, address, telephone
number and email, to: W. Moorcroft Ltd, Sandbach Road, Burslem, Stoke-on-Trent,
ST6 2DQ to arrive by 1 August 2015.
If you do not wish to be contacted by W. Moorcroft Ltd please write
‘Do not add me to your mailing list’ on your entry.

Rennie Rose by Moorcroft’s senior If space permitted, we could show contrasting Moorcroft glazes to create a
designer, Rachel Bishop, is pure genius. many more Moorcroft floral designs true feast for the eye – a feast that any
In a decadent display of colour, it that fuse the forms within surface flower arranger would appreciate!
foregrounds claret roses that melt into patterns and shapes with the wonderful CATHERINE GAGE
lavender-purples with the same depth
of hue found in the velvety, sweet-
scented roses of traditional cottage
gardens. Without a doubt the Moorcroft LEFT The ‘Anna Lily’ range from Moorcroft
designer Nicola Slaney has remained a popular
designers of today have the colour-
choice for collectors since it was first launched
trained eye of horticulturists. over fifteen years ago.

Find out more

about Moorcroft
Moorcroft
www.moorcroft.com
www.facebook.com/
moorcroftpottery
email: [email protected].
Moorcroft Collectors’ Club
Tel: +44 (0) 1782 820510
Moorcroft Heritage Visitor Centre
and Museum
Tel: +44 (0) 1782 820515
Factory tours are available.

THE FLOWER ARRANGER SUMMER 2015 15

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Great Hall – The Banqueting Table

All round, polychromatic designs using a
generous mix of plant materials. These
were linked with ‘bronze net’ ribbons
containing flattened x Cuprocyparis
leylandii. A selection of appropriate
artefacts and fruits were included.
Plant material included Alchemilla,
Alstroemeria, Antirrhinum, Dianthus,
spray Chrysanthemum, Eryngium, mini
Gerbera, Gladiolus, Lilium, Helianthus,
Fatsia, Rubus tricolor, Stephanandra
incisa, ting-ting, spathes, apples, lemons,
peppers and pineapples.
Designers Anita Butt and Sue Underhill

The North Midlands Area was pleased to hold their Area Competition and
Exhibition, Florescence at Hardwick Hall. The home of Bess of Hardwick
was acquired by the National Trust in 1959 and can be found near
Chesterfield in Derbyshire.

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FLOWER FESTIVAL n

Florescence
at Hardwick Hall
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n FLORESCENCE

fter four judicious marriages,

A Bess of Hardwick had acquired

sufficient wealth to build this
prodigious Tudor mansion around 1587.
It is a house full of treasures with a fine
collection of 16th to early 17th century
needlework, Flemish tapestries, Persian
table-carpets, original portraits,
coloured plaster friezes and much more.
The walled garden has an abundance of
herbaceous borders and some formal
plantings. An Elizabethan knot garden
filled with herbs of every kind stimulates
the senses and provides an opportunity
to linger in an oasis of calm.
This then was the stunning backdrop
for our show which was open to any
member of NAFAS to enter. Some class
titles reflecting the rooms or the
historical period gave extra atmosphere
to the competition. In addition, there
were twenty exhibition designs, and
five photography classes. Some
contemporary designs were included
providing a contrast to the more
traditional style of exhibits.
In addition to the Hardwick
experience and being able to immerse
themselves in this historic atmosphere,
visitors were able to participate in
‘hands on’ activities or watch mini
demonstrations on each day of the show.
It was a wonderful location in which to
display our art and to showcase the work
of our talented and skilled designers.
JUDI CRIPPS

ABOVE & BELOW Metal stands and an urn had been painted gold with a ‘flash’ of silver. A soft drape
had been laid across the protective coverings. Plant material included blue Delphinium, pink
peony, Rosa ‘Esperance’, Eustoma (lisianthus), Dianthus ‘Prado’, Rosa ‘Heaven’, Astrantia, Danae
racemosa (soft ruscus), variegated Polygonatum (Solomon’s seal), Physocarpus, Eucalyptus, Hosta
‘Autumn Gold’, Polystichum setiferum ‘Pulcherrimum Bevis’, P. braunii, Clematis and spray roses.
Designers Barbara Smith and Freda Barnes
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FLORESCENCE n

ABOVE Hand-woven, Japanese basketry

created rhythm through the base of the
fireplace. Kenzan were placed in pebble
pots which stood on triangular bases.
The ‘drainpipe’ containers were a copy of
a Japanese original and all staging was
painted with National Trust ‘White’.
Plant materials included Zantedeschia,
Alchemilla, copper beech, Crocosmia
(montbretia) leaves, Hosta and dyed cane.
PHOTOGRAPHS THOMAS DE HOGHTON (LEFT & TOP RIGHT), DAVID CONNOR (BOTTOM RIGHT)

Designers Mary Wadsworth, Rosemary Hannah

and the Ichiyo School of Ikebana

RIGHT Passionate about herbs and the

scent of summer my design in the still
room at Hardwick Hall used an antique
wooden bowl as the container for a design
more about fragrance than design. Using
herbs and flowers entirely from my garden
I set about collecting Paeonia lactiflora
(peony), Matthiola incana (stocks) and
Consolida orientalis (larkspur) with
Mentha x piperita f. citrata (orange mint)
and Mentha suaveolens (apple mint),
Salvia officinalis (sage), Origanum
majorana (marjoram) and Lavandula
angustifolia (lavender). Alchemilla mollis
(lady’s mantle) although not scented just
finished the design.
Designer Ann Barnes

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n FLORESCENCE

LEFT An array of glorious

summer flowers – Hosta
flowers, Dianthus, Alchemilla
mollis, Lavandula and Sedum
in a 1950s white Spode
waterlily bowl supported by
scrumpled 5 cm chicken wire
with the ends hooked over the
bowl to secure.
Designer Shelagh Barnes

The polychromatic colours of

this all-round pedestal design
complement the tapestry
chairs placed close by. There is
little foliage used in this design
just an eclectic mix of summer
flowers – Alchemilla mollis,
Alstroemeria, Antirrhinum,
Delphinium, Dianthus,
feverfew, Hydrangea, lilies,
Moluccella laevis (bells of
Ireland) and roses.
Designer Shelagh Barnes
(and Carolyn Wise)

RIGHT Inspiration for this

design was taken from the
PHOTOGRAPHS THOMAS DE HOGHTON

subtle colourings of the

tapestries. An oriental lily,
Lilium ‘Manissa’, was the focal
flower and carnations, foxtail
lilies, and Rosa ‘Dolomiti’ were
added in shades of cream.
Other plant material included
blue Hydrangea, Agapanthus
and Eryngium.
Designer Rosemary Garratt
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FLORESCENCE n

THE FLOWER ARRANGER SUMMER 2015 21

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n STEP-BY-STEP

Perky
pepper
As I am not keen on the
taste of yellow peppers
I wondered what to do
with this one from a
mixed pack. I added a
few simple ingredients
and created this
inexpensive and
fun design.

SKILL LEVEL H BEGINNER METHOD

PHOTOGRAPH DAVID CONNOR LINE DRAWING RACHEL POOLE

1 Fill the vase with wet Alternatively you could roll 5 Insert two wooden
Flowers and foliage floral foam then trim the and staple the leaf if the barbecue or cocktail sticks
l 8 large Hedera colchica
foam so that it is level with stems are not sturdy into the base of the pepper
‘Sulphur Heart’ (ivy) leaves
l 7 or 8 yellow mini Gerbera
the top of the container. enough to push and push it into the centre
through. of the design. The pepper
l 2 Typha leaves
2 Roll the ivy leaves, should sit directly on the
Mechanics and sundries inserting the stem back
l acrylic cube vase
foam for maximum stability.
through the leaf to create
l wet floral foam
l wooden barbecue or
a tube. 6 Place the Typha leaves in
cocktail sticks the foam at a slight angle
l yellow pepper 3 Place the leaf tubes into then loop over the top and
l wire hairpin the foam around the edge secure with a wire hairpin.
of the cube. LYNN BOTTAMLEY
4 Add the mini Gerbera,
following the line of tubes. Designer Lynn Bottamley

22 THE FLOWER ARRANGER SUMMER 2015

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EXHIBITION n

Painting Paradise
‘For “Paradise”… means nothing
more than a most pleasant
garden, abundant with all pleasing
and delightful things, of trees,
apples, flowers, vivid running
waters, song of birds and in effect,
all the amenities dreamed of by
the heart of man…’
LORENZO DE’ MEDICI (1449–92)

Painting Paradise: The Art of the

Garden, the new exhibition at The
Queen’s Gallery, Buckingham Palace,
explores the many ways in which the
garden has been celebrated in art over
the last 500 years. With more than 150
paintings, drawings, books, manuscripts
and examples of the decorative arts
from the Royal Collection, including
some of the earliest and rarest surviving
records of gardens and plants, it is a
must for all devotees of flower arranging.
The exhibition is arranged in a
number of sections – Paradise, the
Sacred Garden, the Renaissance Garden,
the Baroque Garden, the Botanic Garden,
the Landscape Garden, the Horticultural
Garden, the Garden Inside and the
Language of Flowers – so there is
something for everyone here.
Cut flowers are celebrated in works
by Jakob Bogdani, Maria van Oosterwyck,
Daniel Seghers and Henri Fantin Latour,
PHOTOGRAPH ROYAL COLLECTION TRUST / © HER MAJESTY QUEEN ELIZABETH II 2015

among others. These early works

showing paintings of flowers in vases
will be fascinating for students of floral
design. The decorative arts in the
exhibition will also be of particular
interest. There are flower designs on
porcelain from the Meissen, Sèvres and
Rockingham factories, and on silver,
furniture and textiles, including The Sunflower Clock (vase Le Boitteux) c.1752 Vincennes Porcelain Factory. Soft-paste porcelain,
stunning Gobelins tapestries. In the green-lacquered wire (for the stems), gilt-bronze mounts.
19th century, the Language of Flowers
was translated into precious items: you
can see the brooch presented by Prince
Albert to Queen Victoria in celebration
Information
of their betrothal in 1839 and fans The exhibition runs from 20 March to 11 October 2015 and is open daily from
belonging to Queen Victoria and the 10 to 5.30 (last admission 4.15). Tickets cost £10 (concessions £9.20, under-17/
Princess Royal. There is work by Carl disabled £5.20). For further information phone 020 7766 7301 or go to
Fabergé and one particularly beautiful www.royalcollection.org.uk. A beautiful accompanying publication, Painting
piece, ‘Bleeding Heart’ from c. 1900, has Paradise: The Art of the Garden by Vanessa Remington, is published by Royal
flowers suspended from gold stems so Collection Trust (£45 or £29.95 from Royal Collection Trust Shops).
they move gently as if blown by the wind.

THE FLOWER ARRANGER SUMMER 2015 23

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n STEP-BY-STEPS

SKILL LEVEL HHH EXPERT SKILL LEVEL HHH EXPERT

Nuts and
bolts Flowers and foliage
l Rubus tricolor
l Heuchera ‘Plum Pudding’
l Weigela florida
Flowers and foliage
l 16 Vanda orchid heads
l 25 Dianthus (carnation)
l 12 Cotinus coggygria (smoke bush)
l 7 pink roses l 20 Ophiopogon leaves
The idea of mixing l 6 pink Gerbera l 35 Craspedia

industrial and natural Mechanics and sundries

l 10 Alchemilla mollis
l 10 Chamelaucium (wax flower)
l 4 pieces of birch bark 25 x 10 cm
materials appealed to l 8 nuts and bolts
l 5 Chrysanthemum

l square plastic container Mechanics and sundries

me and I think the shiny l wet floral foam l 30 stub wires 1.6 mm gauge
bolts contrast nicely l mitsumata sticks l 1 m stem tape
l 90 stub wires 0.6 mm gauge
with the rough texture METHOD l glass tubes

of the bark. 1 Drill two holes slightly bigger

than your bolt at each end of METHOD
the bark pieces. You could use a 1 Group the 1.6 mm gauge wires
leather punch if you are not together and secure the bottom
confident with a drill. 10 cm with stem tape.
2 Join two 2 Open up the unsecured
pieces of bark ends of the wires to create
together with the a semi-circular shape.
nuts and bolts,
continuing until 3 Take three of the
you have created lighter 0.6 mm wires
a square box-like and twist a few times
structure. around each other.
Repeat with the
3 Find a square plastic remaining wires
container such as a recycled until you have
salad box from the supermarket, 30 pieces.
which will fit neatly inside and
fill with wet floral foam.
4 Firmly push the mitsumata
sticks into the foam.
Alternatively you could use
stripped willow twigs.
5 Place groups of foliage into
the foam along with some
Weigela flowers and foliage.
6 Insert the roses in a column
and intersperse with Gerbera.
PHOTOGRAPH DAVID CONNOR LINE DRAWINGS RACHEL POOLE

Place a Gerbera towards the

lower back of the container to
help create depth.
LYNN BOTTAMLEY

Do you know?
Mitsumata sticks are 4 Join these pieces by twisting to the
a by-product of the stronger wires at the top of the
Japanese paper-
semi-circular frame to create a ‘cloud’.
making industry.
The inner bark is used 5 Place the flowers and leaves in glass
to make some types
tubes, filled with water, through the
of Washi paper.
frame at regular intervals.
CARLES J. FONTANILLAS
Designer Lynn Bottamley www.floos.org

24 THE FLOWER ARRANGER SUMMER 2015

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IDEAS & INSPIRATION n

Carles J.Fontanillas
International designer Carles J. Fontanillas has created a stunning ‘Bouquet of
Contrasts’ with traditional form and proportions but using new techniques.
A metal structure enables the placement
of fresh materials where needed.
Step-by-step instructions have
been included for our more
‘ambitious’ readers!

Designer Carles J. Fontanillas

PHOTOGRAPHS OLIVER GORDON

THE FLOWER ARRANGER SUMMER 2015 25

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n FEATURE

30 TOP 15 Make a handy watering 23 Search charity shops for

device from a small empty pinholders and vintage vases.
plastic bottle with a piece of
tubing inserted through a
24 Many hollow-stemmed

TIPS
flowers, such as Delphinium
hole in the screw top. This is
and Hippeastrum
ideal for small arrangements
(amaryllis), benefit from
and for refilling orchid tubes.
being filled with water and
Words of wisdom for floral designers 16 A lovely arrangement in having their stem plugged
the centre of a window will with cotton wool prior to
1 To make flowers and 8 Be careful at what height be lost against bright light, being placed in a design.
foliage last longer keep you work in order to protect so try to create a strong
them away from direct light your back. backing of dark leaves.
25 If it is difficult to water
your arrangement place ice
or a heat source.
9 Wilting roses recover cubes on the floral foam
2 The warmer the room the rapidly when the stem ends where they will gently
more intense the fragrance are placed in a couple of release water as they melt.
of the flowers. centimetres of very hot water
for a short time and then
26 Be careful when placing
3 Allow foam to soak in
plunged into cold water.
posy pads with sticky pads
still water that is deeper on the back on painted
Protect the heads with paper
than the piece you are surfaces as they can pull off
while they are in the hot water.
soaking. Never attempt to the paint when they are
wet the foam by forcing 10 Wash all containers in removed.
under water or putting water containing a small
under the tap. amount of bleach in order to
27 If you want flowers to
kill bacteria.
17 If you are arranging last the optimum time do
garden-flowering shrubs such not place them with fruit for
11 Make a hole with a as Syringa (lilac) or Viburnum as it ripens the ethylene gas
sturdy stem or pencil in opulus ‘Roseum’ remove all given off shortens the life of
floral foam to help insert the leaves so that the flowers many flowers.
soft stems. can drink water more easily.
28 If you wish to cover
12 Put together your table 18 Tiny orchid tubes are mechanics quickly and

PHOTOGRAPHS CRANBERRIES: © GITUSIK/FOTOLIA CARNATIONS: © AMPHOTOLT/FOTOLIA LILAC: © LEXXIZM/FOTOLIA

arrangement in its final useful when you need a easily use bun moss. The
location. The kitchen direct source of water for soft moss is also a calm resting
draining board is rarely or short-stemmed flowers. place for the eye. Pin it in
going to be the same height position with wire. It lasts for
as the dining-room table.
19 To strengthen a
ages if kept damp and can
4 Use fresh cranberries Hippeastrum (amaryllis)
be left outdoors.
instead of threading 13 Narcissus should be insert a bamboo cane or
Hypericum on flexi-grass or used alone as their sap garden stick in the hollow 29 The cooler the room the
bear grass. They will keep in shortens the life of other stem. Wrap florist’s tape longer your flowers will last.
your salad box in the fridge flowers. If you want to round the base of the cut
for up to six months. combine them with other stem to stop it curling.
30 Never lose your passion
for our art. In a world full of
flowers, use an apple corer
5 If you want a single to make a hole in the floral
20 Keep a soft make-up negative thinking, look into
flower at the top of your brush in a plastic tube in the heart of an old-
foam into which you can
arrangement – for example a your workbox. It is useful for fashioned rose or put a tiny
place small bunches.
spray Chrysanthemum – cut brushing pollen off petals. vase of snowdrops on a
a small flower from a spray mirror so that you can see
and insert it into a longer
21 If you cover your foam
the beauty lying within and
with thin plastic film to
stem of the same flower. your heart will fill with joy.
avoid drips from hanging
6 If you are using designs make small holes
glycerined or dried plant with a skewer or kebab stick
NOTE The Flower Arranger is
material in a fresh exhibit first before inserting a stem.
distributed to NAFAS Flower
seal the end of the stem with If you don’t do this the film
Clubs by the Area Flower
clear nail varnish before will seal the end of the stem
Arranger Officers (AFAOs).
placing in wet foam. so it can’t take up water.
They are the unsung heroes
7 After using scissors or 22 When cutting garden of the movement. At our
secateurs wipe them clean 14 Avoid purchasing plant material always carry get-together the Editor
and dry before putting them Dianthus (carnation) in a bucket of water with you asked them for their best
away to avoid spreading thundery weather as they into which you can place the tips to pass on to our readers
bacteria. can wilt. cut stems. and here they are.
FA Summer 2015_text:FA Summer 2015_text_ 27/03/2015 14:59 Page 27

PHOTOGRAPH JÖRG MANEGOLD

Put down your

knitting needles!
Use wool in your floral creations to achieve a quirky and contemporary look
THE FLOWER ARRANGER SUMMER 2015 27
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n PUT DOWN YOUR KNITTING NEEDLES!

heep’s wool is Wool cords Wool felt

S becoming
increasingly popular
as a superb accessory
Thinly spun woollen, wick-like threads that are
available in different thicknesses, wired (below left)
and unwired (below right).
Available in different
thicknesses in single, bi or
multi colours.
when working with flowers.
Wonderfully soft, it is also
water-repellent, which
means it can be wrapped
directly around jars, pots
and vases. It is available in
a wide range of colours
that will harmonise
beautifully with all sorts
of flowers and is colour-
fast, so it will not fade.
Wool offers unlimited Uses: Uses:
possibilities. Here are some • to bind bouquets • to wrap around house plants
of the most popular • to create detail banding and charming tassels or large tubs in the garden
products, with suggestions • for wrapping round containers • to use around foam rings
for ways in which they can for door and table
be used. decoration
• to cover foam because the
felt is water-resistant, light
proof and colourfast
• to weave through garlands
and swags
• to create place mats or to
cover boxes
• to make into hand-crafted
flower and novelty
accessories

Wool roving ‘Lunte’

This is a soft sheeps’ wool.

PHOTOGRAPHS (LEFT) FRANKY BOLLINGH (RIGHT) OLIVER GORDON

Uses:
• covering containers with
small amount of spray glue

PREVIOUS PAGE ‘Cobbler, stick to

your trade!’ – a design using Wool
wick yarn ‘Flausch Mirabell’
wrapped round jam jars.
Designer Christian Platzner

LEFT The stems were created with

Wool wick yarn ‘Flausch Mirabell’
and the cones, balls and hearts
are Fine wool ‘Lunte’ wrapped with
wired wool cord.
Designer Franky Bollingh

28 THE FLOWER ARRANGER SUMMER 2015

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Lehner Wolle 3
In 1969 Lehner began producing
twines that were then primarily
for carpet weaving. Today one of
the company’s main activities is
the manufacture of exciting wool
products for the creative floral
designer, not to mention a weed
and slug deterrent made from jute
for the garden. To learn more, take
a look at www.lehnerwolle3.com

An innovative container
created with Wool wick
yarn ‘KW Kärnten Walk’
Designer Philipp von Arx
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n STEP-BY-STEP

Summer sizzler
What could be more refreshing and
cooling on a summer day than the
lemon and lime colours of flowers
and citrus fruits? Add a touch of
orange to create a zing, toss the
components into a vase, then sit
back with a G&T and enjoy.

SKILL LEVEL HH ENTHUSIAST

Flowers, foliage and fruit

l 3 Fatsia japonica leaves
l 3–4 Griselinia littoralis
l 4 yellow mini Gerbera
l 4 orange mini Gerbera
l 3 Phormium ‘Yellow Wave’
leaves
l 3 lemons
l 3 limes
l 4 Alchemilla mollis leaves
l 4–5 stems of Alchemilla
mollis (lady’s mantle)
flowers
Mechanics and
sundries
l half a brick of floral foam
l foam tray or similar low dish METHOD
l pot tape
l 12 kebab sticks 1 Place the soaked foam in 3 Make a line down the
l green tape your container, then take a centre of the foam with the
length of pot tape around to Griselinia.
make secure.
4 Create a wavy line of mini
2 Trim the tips of the Fatsia Gerbera down the centre.
leaves into a semicircle and
layer at one end of the foam.
5 Split the Phormium
leaves and make elongated
loops to counterbalance the
Fatsia leaves.
6 Cut the lemons and limes
in half to give the appearance
of water lilies and mount on
kebab sticks. Create groups
on each side of the design.
7 Layer Alchemilla mollis
leaves towards the front of
the design, then fill in the
gaps with the frothy flowers
PHOTOGRAPH OLIVER GORDON

and smaller leaves of the

Alchemilla.
JOHN ASTLEY

Designer John Astley

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STEP-BY-STEP n

Designer Lynn Bottamley

Beautiful bark
I had been given lots of Eucalyptus bark and 5 Continue
until you have
needed to find an interesting use for it. I loved a volcano-shaped structure.
the end result and hope you do too. 6 Insert your plant material – except
for the Senecio rowleyanus – in groups
SKILL LEVEL HHH EXPERT METHOD of the same type for maximum impact.
PHOTOGRAPH DAVID CONNOR LINE DRAWING RACHEL POOLE

1 Place OASIS® fix on the bottom of 7 Curl the aluminium wire by winding

Flowers and foliage the frogs and adhere near the centre of it around the handle of a wooden spoon,
l Hosta ‘Whirlwind’
the plate about 10 cm apart. then lay it over the top of the design.
l Heuchera ‘Green Ivory’
l 2 Anthurium ‘Previa’ 2 Cut the soaked foam in half 8 Drape some pieces of Senecio
l 3 Gerbera
horizontally and place on the frogs so rowleyanus over the top to finish.
l 3 Rosa
l 2 or 3 Dianthus (carnation)
that the two pieces lie side by side. LYNN BOTTAMLEY
l Senecio rowleyanus Chamfer the outside edges of the foam
by cutting off the corners at an angle.

Tip
Mechanics and sundries
l floral fix
l 2 plastic anchor pins (frogs)
3 Tightly twist a wire around the centre
l 30 cm diameter flat plate
of each piece of bark. You should then
have two legs of wire about 7 cm long. Use .90 stub wires to twist around the
l brick of soaked floral foam
bark. They are much stronger than
l 30–40 stub wires 20 cm long (0.90 gauge)
l 30–40 pieces of Eucalyptus bark each
4 Insert the wired bark into the foam any of the decorative wires available.
at an angle so that it just covers the You may need to use pliers if you do
about 15 x 3 cm
not have strong fingers.
l decorative aluminium wire edge of the plate.

THE FLOWER ARRANGER SUMMER 2015 31

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n FEATURE

Zantedeschia (calla lily)

In the last decade Zantedeschia, has been one of the most popular flowers
for events, weddings and funerals. Its long, sinuous stem and immaculate
flower head give a beauty coupled with austerity that is irresistible.
The Flower Arranger asked How do you recognise a fresh How should the flower be
Rob Geerlings, of the Dutch firm Zantedeschia? conditioned?
G. Geerlings and Sons about this A fresh calla is tightly curled. As it If you add a small amount of sugar to

PHOTOGRAPHS TOP: COURTESY WWW.FLOWERCOUNCIL.ORG LEFT & RIGHT: COURTESY WWW.CALLA.NL

popular cut flower and pot plant. matures the bract opens and the the water this will stop the stem end
inflorescence at the centre becomes curling. You then also need to add a
How did Zantedschia become known more visible. The form of the calla minuscule amount of bleach to kill any
as the calla lily? flattens slightly, is less upright, as once bacteria that the sugar creates.
Calla is not really the common name pollination has taken place there is less If the stems are soft and floppy
but the first official name given by interest in the plant concealing the cut 10 percent off the end and then
Linnaeus in 1753. It was known as Calla insects. The flowers on the infloresence roll them tightly in a wet newspaper.
aethiopica which is different from the become green as they mature. Soak the stems overnight in a vase or
popular coloured types grown today, bucket, then remove the paper and
though they share the same family they will once again become stiff. This
Araceae or aroids. is the same technique used for
straightening tulips.
Which varieties are most commonly
purchased? Do callas grow from tubers, bulbs or
In order of sales: rhizomes? Do the stems continue to
1. ‘Crystal Blush’ 6. ‘Odessa’ grow once cut like the tulip?
2. ‘Ventura’ 7. ‘Mango’ Most Zantedeschia grow from tubers.
3. ‘Romance’ 8. ‘Promise’ However arums, which are part of the
4. ‘Garnet glow’ 9. ‘Picasso’ same family, grow from a rhizome.
5. ‘Safari’ 10. ‘Florex Gold’ They do not continue to grow once cut.
Calla aethiopica (white arum) can be
Which part of the Zantedeschia is
harvested closed and will open in the
the actual flower? ‘Crystal Blush’
is the top-selling vase whereas the coloured callas will
What you think is the flower is in fact
variety at G. Geerlings not open if cut closed.
the bract. The actual flowers are on the
and Sons
infloresence or spike inside the bract.

32 THE FLOWER ARRANGER SUMMER 2015

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ZANTEDESCHIA n

THIS PAGE A design using Zantedeschia

‘Odessa’ and Zantedeschia ‘Sandersonia’
Designer Astrid van den Berg

THE FLOWER ARRANGER SUMMER 2015 33

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n ZANTEDESCHIA

I believe I have seen dyed

Zantedeschia. Is this possible?
Light colours can be easily dyed. The
flowers can also be waxed so that they
last for a considerable amount of time.
Some flower designs require a
soft, pliable stem and the trick is
to remove a sliver of stem from base
to flower. Obviously this damages
the stem to a certain extent, but
how much?
This is not the ideal solution. If you
leave the Zantedeschia out of water for
a short time, it will be easy to
manipulate the stems without
damaging them.
Why do Zantedeschia make the
perfect pot plant?
Zantedeschia are available in a vast
range of sizes and colours and can be
positioned anywhere in the house (and
even as a border plant in the garden).
The flowers last for weeks and as they
come from a tuber, the tuber can be
saved and replanted the following year
for a second flowering.
I have heard that a needle-point tip
to the leaf is the mark of a healthy
plant. Is this true?
The tip of the leaf has a slender point
like that of a needle and can hold a
droplet of water. This is used to hydrate
the plant when needed and therefore
make it last longer.
JUDITH BLACKLOCK (QUESTIONS)
ROB GEERLINGS (ANSWERS)

LEFT A design using Zantedeschia ‘Cameo’

Designer Astrid van den Berg

Zantedeschia ‘Flame’ Zantedeschia ‘Garnet Glow’ Zantedeschia ‘Odessa’

PHOTOGRAPHS COURTESY WWW.CALLA.NL

34 THE FLOWER ARRANGER SUMMER 2015

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INSPIRATION n

A
CUT
ABOVE
he container was a bargain at

T £3 in a local high street store.

I really loved its elegant shape
but I felt that the rather eye catching,
highly glazed and brightly coloured
surface was unsuitable for a class
entittled ‘A Cut Above’ at the Aldershot
Diamond Anniversary Show.
I dealt with the surface very
successfully by sticking the attractive
reverse side of Rubus tricolor from the
garden over the pot. This was a time-
consuming task and it took several
hours to obtain the desired effect –
plus extra hours to dry fully.
I then chose the other components
to create an elegant design to
complement and enhance my
inspirational container. The cream
ivy branch resting on the rim became
the mechanics over which I shaped
my flexi-grass hiding the joins or ends
by binding with delicately coloured
green wool. Wool and buttons are
fashionable components at the
moment and I decided to include two
drops of different-sized pearl buttons
and several small spheres of wool.
These I placed among pale green
dried Hydrangea heads.
The stars of the design, chosen
to bring the required sophistication
and textural impact, were my home-
grown white Phalaenopsis orchids
which flower prolifically on the
window sill above my kitchen sink!
They proved to be the required
contrast to create my interpretation
of ‘A Cut Above’.
BARBARA COLLIER
PHOTOGRAPH OLIVER GORDON

Designer Barbara Collier

THE FLOWER ARRANGER SUMMER 2015 35

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PHOTOGRAPH THOMAS DE HOGHTON

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IDEAS & INSPIRATION n

M idelino sticks and aluminium wire were

woven through the squares of two lengths
of OASIS® Copper Floral Mesh to create a
structure for the window ledge. This was then
manipulated into waves and the ends tied with ribbon.
The top of the structure was decorated with copper
wire and gold tassel thread. Plastic tubes were covered
with wool and attached with coloured cable ties into
which an assortment of brightly coloured flowers were
arranged.
SILVANA GRAY-PERRY

THE FLOWER ARRANGER SUMMER 2015 37

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n IDEAS & INSPIRATION

INSPIRATION
from around the world

Designer Nicole Duquesne

38 THE FLOWER ARRANGER SUMMER 2015

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INSPIRATION FROM AROUND THE WORLD n

Top designers from

across the world
came to WAFA
Ireland and created
these arrangements
specially for The
Flower Arranger.

Nicole Duquesne
France
‘Dreaming on the moon’
The roundness of the vase and its
colour, with oxides of copper, were the
inspiration behind this composition
pictured on the left. Among the
fantastic palette of orange, blue, purple
and dark-grey, I chose purple Dianthus
‘Farida’. The circlular form is taken up
by the ring of metal creating a space
that highlights the mass of Dianthus
(carnation) and the pink weaving that
matches the colour of the flowers.
Cordyline leaves provide a contrast
while their pointed shape adds an
interesting balance in this design.

Shahimah Sayeed
Pakistan
‘Textural Contrasts’
The inspiration for the design pictured
on the right came from the wonderful
colours and textures of the sculptural
pieces from an old weathered tree.
Several were glued together to form the
vertical structure which was then
hinged to a base. The plant material
has been put in tubes neatly glued to
the pieces of wood.
I then added elegant Vanda ‘Black
Magic’ orchids, Zantedeschia ‘Vermeer’,
PHOTOGRAPHS OLIVER GORDON

green Amaranthus and Hypericum

‘Cool Romance’ and H. ‘White Condor’
to create a contrast. The velvety flowers
of Cycas revoluta in the centre and
the curled seed heads of the palm at
the back provide depth and interest.
The addition of Tillandsia was a final Designer
touch to soften the design. Shahimah Sayeed
FA Summer 2015_text:FA Summer 2015_text_ 27/03/2015 14:59 Page 40

n INSPIRATION FROM AROUND THE WORLD

Marion Shaw
New Zealand
My brief for the arrangement
on the right was to create a
design typical of New
Zealand influenced by our
plant materials, colours,
techniques and textures.
Phormium tenax – the New
Zealand flax’s dried flower
stalks (claddies) have been
painted, for the vertical line.
A claddie stalk has been
mitred and glued together
for added interest, the
aluminium wire binding
takes the chartreuse colour
of the vase through the
design.
Hapene, a commercial
process of producing
Phormium leaves in a dried
form, have been misted with
silver, pink and blue paint to
depict the colours of a
polished Paua shell.
Phalaenopsis blooms
complete the design.

Pritesh Shah
Kenya
‘Creative Contrasts’
The glossy smoothness of
a trio of lime-green Ficus
elastica leaves provides
great contrast to the panel
of loofah slices pinned onto
corrugated cardboard and
PHOTOGRAPHS OLIVER GORDON

overlaid with Vanda ‘Yellow

Magic’. A cushion of
Chrysanthemum ‘Feeling
Green’ set next to coffee
beans completes the design
pictured on the left.

Designer Pritesh Shah

40 THE FLOWER ARRANGER SUMMER 2015

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Designer Marion Shaw

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n INSPIRATION FROM AROUND THE WORLD

Christopher White

PHOTOGRAPH OLIVER GORDON

Ireland
I have a wonderful kidney-shaped glass Campanula ‘Champion Blue’ and my
container which complements all flowers favourite flower Dahlia ‘Weston Spanish
beautifully and looks great on a coffee Dancer’. These have been combined
table. Here I have used Alstroemeria with laurel and the copper Pittosporum
‘Apollo’, Nerine bowdenii ‘Alba’, tenuifolium ‘Tom Thumb’.

Designer Christopher White

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STEP-BY-STEP n

Take five
I love vibrant bloom Chrysanthemum
and thought that these deserved a
similarly vibrant container. Hunting
through the kitchen cupboard, I found
just the thing – a melamine salad bowl!

SKILL LEVEL H BEGINNER 2 Insert foliage into the

foam by layering the Hosta
Flowers and foliage
leaves and the Alchemilla
l Hosta ‘Gold Standard’ mollis then grouping the
l Alchemilla mollis Sedum and Rubus separately.
l Sedum spectabile
l Rubus tricolor leaves 3 Add the Chrysanthemum
l 5 Chrysanthemum ‘Anastasia’ to the foam making sure
l 2 Typha leaves that you push them well in –
Mechanics and sundries the heads are quite heavy so
l wet floral foam you need to make sure that
l salad bowl they don’t wobble about. It
l plastic anchor pin (frog) and
is also a good idea to strip
OASIS® Fix or pot tape
l pin
most of the leaves from the
Chrysanthemum stems as
this helps to give nice clean
lines to the design.
METHOD 4 Insert the Typha leaves
at an angle and loop them
1 Secure the wet floral round, attaching them to the
foam in the bowl. You can
top Chrysanthemum stem
either stick an anchor pin to
with a pin. This will create
the bottom of the bowl or
some enclosed
tape over the
space, which
top of the foam
helps to balance the
with pot tape.
visually heavy container.
LYNN BOTTAMLEY
PHOTOGRAPH DAVID CONNOR

Designer Lynn Bottamley

THE FLOWER ARRANGER SUMMER 2015 43

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n FEATURE

Could I have done better?

Anthologia – a pedestal class featuring fresh plant material
his was the class title to be interpreted at the World Flower Show in Dublin. A dictionary definition of ‘Anthologia’

T is a miscellany, an assortment or collection. The Flower Arranger asked seven of the exhibitors to comment on
their designs and the judges’ comments. Here they are.

1st Rev. William McMillan 2nd John Chennell

This arrangement won both first prize in the class and a I chose Anthologia because it was a pedestal design and I
Special Award for ‘Innovation’. could use garden plant material. This was important to me,
particularly as the World Flower Show is not going to be close to
us for many years to come. The pedestal is a branch of Mahonia
japonica. The greenhouses were a gift from a flower arranger
and the 30 or so flowers and shrubs came from my garden.
As a competitor we all go in to win but any card or
comment by the judges is proof that they noticed your
design and after all, their decision is final.
I could never repeat this design – it was exactly how
I planned it and it worked out perfectly. I was awarded
second prize but the icing on the cake was the Horticultural
Excellence Award, which meant that all the hard work
collecting the plant material had paid off.
JOHN CHENNELL

To be considered innovative was a pleasant surprise but

also a bit of a shock to this 83 year-old competitor, although
spending most of the allotted time on his knees perfecting
the panel work may have had something to do with the latter.
His painstaking positioning of the various succulents was
true art and some compensation for the friends whose
gardens he had plundered. The pedestal arrangement was in
fact comparatively traditional, albeit with spectacular rare
blooms. Hindsight suggests that using Eremurus was unwise
as it tends to wander at will rather than stand to attention.
SHEILA J. MCMILLAN ON BEHALF OF THE REV MAC

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COULD I HAVE DONE BETTER? n

Commended Margaret Fairhurst

My design turned out almost exactly as I had hoped. My
favourite medium is garden plant material reinforced with
green Anthurium and Moluccella laevis to keep the theme
green. In hindsight perhaps the central fungi is a little eye-
catching. The class was well represented with beautiful exhibits
by other National Demonstrators who also used a wealth of
garden plant material. We are blessed with so much material
in this country which should be used more widely in exhibits.
MARGARET FAIRHURST

3rd Gerry Reid Commended

The idea for my pedestal design was simply a collection
Mary Griffiths
of flowers in a bucket! I had an old galvanised bucket that Researching the class title
was tall enough to become a pedestal so all I had to get lead me to the idea of a
were the flowers and foliage. From the florist I ordered lilac ‘collection of flowers’.
Delphinium, Florigene Dianthus ‘Moon Aqua’ and ‘Moon I decided to proceed with a
Light’ and pale pink Dianthus, pale pink Antirrhinum, summer theme to benefit from
pink Eustoma and Rosa ‘Memory Lane’, R. ‘Amnesia’ and the timing of the Show. I chose
R. ‘Sweet Avalanche’, lime-green Moluccella laevis and soft, delicate pinks and white
grey Eucalyptus, pink lilies and a lime/lilac Hydrangea. with wonderful and bounteous
From my garden I picked Stipa gigantea, Stephanandra foliage as a contrasting
tanakae, honeysuckle, Rubus tricolor, Hosta sieboldiana backdrop. I had an open Arum
and a lovely grey quilted Hosta ‘Barwick Beauty’. I was as my focal flower with others
fortunate to be able to use the last of a rambling rose, flowing through the design.
Rosa ‘May Queen’. Sadly the heat in the
PHOTOGRAPHS OLIVER GORDON

Unfortunately some of the Eustoma stems had to be competition hall was so

placed into tubes on canes to extend them and there was intense that this central flower had to be removed and the
not enough water, so they wilted between the end of staging rhythm and the impact of the design was lost.
and judging. Quite rightly my design had to be down-pointed. Reflecting on my choice of design, I would have preferred
In hindsight I should have used a taller pedestal or placed a larger crescent design at the base to integrate with the top
the one I used on a small plinth to give better proportions more. All in all, I was delighted to receive my ‘Commended’
and balance with the second placement. as this was such an amazingly high standard of class.
GERRY REID MARY GRIFFITHS

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n COULD I HAVE DONE BETTER?

Commended Emily Broomhead No award Wayne Ramsay

My pedestal, designed to depict the gatherings of a Plant The judges said that the pedestal (pictured below) needed to
Hunter, had tough competition in a large class with 19 entries. come forward but I disagree. As far as I am concerned it was
The vine basket was lined with moss and filled with a collection an excellent tropical arrangement and deserved an award. I do
of orchids. Mini Cymbidium dangled among Tillandsia, not believe there was anything wrong with the placement.
Senecio rowleyanus and Ceropegia woodii. The pedestal was WAYNE RAMSAY
painted the same colour as the backdrop so that it disappeared,
giving the illusion that the vine stem was supporting the basket.
While the selection, condition and arrangement of plant
material worked well, a taller design would have filled the
overall space better. I also feel there should have been
slightly more space between the two placements.
EMILY BROOMHEAD

No award Deirdre Ryan

I knew my anthologia (pictured right) would be a collection
of flowers and I spent weeks deciding which to select. They
PHOTOGRAPHS OLIVER GORDON

had to predominate in the design and last for six days during
the heat of summer so good conditioning was vital. I was
very pleased with the arrangement when it was finished.
I had a stand made as light as possible which was then
painted the same colour as the background and I cut the
steel grass a few inches from the base to give the impression
that the design was floating.
DEIRDRE RYAN

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IDEAS & INSPIRATION n

Glimmer
T his candlestick
created for the
North Midlands Area
Competition at Hardwick
Hall was made of several
components:
l a two-part plastic
OASIS® Compote Bowl
for the foot and neck
l wooden dowelling and
a cardboard tube for
the central column
l a card top/pelmet and
card base glued onto
felted plyboard
l patterned and plain
sides of handmade paper
to cover the candlestick
and base
Midelino sticks, Shoenus
(flexi-grass), pressed forget-
me-nots, daisies, hogweed,
small ferns and dainty
Anthemis leaves decorated
the stick and base, together
with deconstructed, air-
dried bluebells and Vinca
(periwinkle) flowers. The
large stylised flowers had
wired spider’s web frames
onto which Helleborus and
Geranium petals were
attached. Stems of forget-
me-nots and daisies were
glued onto the candle to
complete the design.
MAGGIE CONNOR

EDITOR’S NOTE I was

not surprised to hear
PHOTOGRAPH DAVID CONNOR

that Maggie’s design

was awarded a First
and a Special Award
for Outstanding
Craftsmanship in the
‘Glimmer’ class.
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The
1920s
The hat, shoes and evening bag were
part of a display in the ‘Cut Velvet’
bedroom at Hardwick Hall.
This bedroom was the one used
by Evelyn Cavendish (1870-1960),
Duchess of Devonshire, during her
many visits to Hardwick Hall.
The scene was set as if the Duchess
had just arrived and her clothes and
accessories had been laid out for her.
The hat
The main component for the
1930s style cloche hat was
half a styrofoam ball onto
which Stachys leaves were
glued. This was edged with a
strip of rattan webbing
threaded with China grass. The
hat was then decorated with a
large bow made from
preserved burgundy Magnolia
leaves and finished with an
assortment of decorative beads and pins.

The evening bag

The bag was constructed using a piece of dry foam cut to
shape and then covered with Stachys leaves. For the shell
motif on the front of the bag, preserved burgundy Magnolia
leaves were cut to shape, glued on and edged with pearl-
headed pins. The handle was made using a piece of willow
decorated with wire and beads and the top edge of the dry
foam was covered with reindeer moss. Finally, small flower
tubes were carefully inserted into the foam to hold the
PHOTOGRAPHS THOMAS DE HOGHTON

Cymbidium orchids.

The shoe
Stachys leaves were glued directly onto the shoe which was
then decorated with beads. The inside of the shoe was lined
with preserved burgundy Magnolia leaves to tone in with the
other accessories.
JANET FRITH

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IDEAS & INSPIRATION n

Designer June Borrowdale

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n FEATURE

Perfect harmony
THE ART OF CREATING
WEDDING FLOWERS TO REMEMBER
lanning which flowers to use at wedding’ – which is what you get, without any problems because I would

P a family wedding and how to

present them calls for maximum
creativity and team work as Ann Gibson,
I suppose, for making them wait nine
years! At least by this point my future
husband knew what he was letting
choose the type of design but leave
the decision about materials and
finishing touches to her. It is a strong
the mother of the bride discovered himself in for… family trait to be arty and creative
when her daughter Alexandra married and spend time making things just
Sam Gibson-Massey and her daughter The Mother of the Bride: Alex got that bit different.
Victoria was maid of honour. pay-back when she and Sam put in a
special request to hold a two-day event The Mother of the Bride: Garden
The Mother of the Bride: It’s a truly in the pasture land next to our house. materials formed the base throughout
exciting time when your daughter They had decided to get married in a and included Corylus avellana
announces that she is engaged very small church on the Saturday ‘Contorta’ (contorted hazel), Rhamnus
especially when you have a real inviting just 24 guests, and then have alaternus ‘Argenteovariegata’,
passion for flower arranging. Now is the a blessing in the garden on Sunday, Pittosporum tenuifolium,
moment to turn all those floral dreams followed by a party for 140 people. Physocarpus opulifolius and Fatsia
into reality. After getting carried away It was wonderful to completely japonica. Purchased flowers were
with essential arrangements I made immerse myself in the planning aspect Chrysanthemum ‘Shamrock’, green
the big mistake of talking about the of the flowers. Alex’s father is Scottish Dianthus (carnation), purple Eustoma,
weekend far too much and was shot and we all have a deep love for that spray Chrysanthemum ‘Kermit’,
quite a few stares – hope my son in law country with its proud heritage and small white Gerbera and our beloved
never has to endure those! emblems. It was for this reason that Eryngium oliverianum.
tartan was to play a big part, with kilts Alex chose the design for the
The Bride: It’s a whirlwind of happiness and bagpipes very much in evidence. table arrangements which required
and excitement getting engaged, saying I immediately suggested Eryngium to prior craft work and special
‘Yes’ and then trying to set a date for represent the thistle, as it is one of my mechanics to ensure that they stood
the big day. I’m sure every bride would flower-arranging favourites. Alex loves the test of time over the two days.
agree. As soon as I told Mum and my peacock feathers and they were to be Tartan ribbons were added and
sister Victoria the news they were included throughout. glass tubes put in place ready for
thrilled and went straight into overdrive the special day when friends would
to get the planning started. The degree The Bride: I knew I was in the best add the fresh flowers.
of Mum’s involvement soon became possible hands with Mum’s creative It came as no surprise to our
clear when she started calling it ‘our flare and talent. We came together nearest and dearest that at every
FA Summer 2015_text:FA Summer 2015_text_ 27/03/2015 15:00 Page 51

opportunity we made use of a number granted and my hair was duly The Mother of the Bride: On to the
of quirky artefacts we had, such as adorned on both days by Mum and cake, which was to be a ‘cheesecake’.
wooden frames rescued from a Victoria, using mainly peacock We selected the components from a
previous festival, antique wooden feathers and purple Vanda orchids local artisan cheese shop and I had the
drawers and organ pipes. Why not? along with a perfect antique peacock utmost pleasure in arranging them on
The crossed bamboo within the brooch given to me as a wedding gift various boards, with a crate in the
frames allowed the couple to attach a by a very dear friend. picture decorated with grapes and gyp.
photo montage they had put together I just loved it and it was much admired
on contorted hazel branches and enjoyed by all the guests who
decorated with small nosegays of willingly tucked into cheese and biscuits.
Gypsophila, Eustoma and Eryngium
in glass tubes. The Bride: The time Mum and I spent
We draped voile over the drawers together planning, creating and having
and placed some large contorted fun resulted in some breath-taking
hazel branches with more flowers in designs that were more than I could
tubes flowing down the sides. To the ever have hoped for. And we now have
PHOTOGRAPHS MATT HUMPHREY (www.matthumphreyimages.com)

bride and groom this represented incredible memories of the journey

their treasures. leading to the most important and
The organ pipes were built up in special weekend of my life. I wouldn’t
front of the main altar of the church, have been able to get there without her
where the register was to be signed, standing by my side.
and decorated with flowers and
foliage, together with some The Mother of the Bride: Throughout
antiquated sheet music. Alex surprised me by how much she has
gleaned over the years while watching
The Bride: Quite early on in the from the side-lines. Her choices delighted
process, I decided I didn’t want to Mum made my dress too. I certainly me. They were very simple and rustic,
carry a bouquet and suggested having asked a lot of her and kept her busy! echoing the spirit of the whole event.
a mini arrangement in my hair Peacock feathers also featured on the She even continues to use the table-
instead. Mum thought this was a back of my dress to merge with the arrangement mechanics at home and I
great idea, so without much creation in my hair. I really did feel couldn’t be more proud, in every respect.
description needed, my wish was overwhelmingly proud in every sense. ANN GIBSON & ALEXANDRA GIBSON-MASSEY
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n FEATURE

Cruise liner flowers

Julia Föhl is working as a florist on a cruise ship with AIDA Cruises.

The Flower Arranger asked her about her exciting job working with flowers.

How did you find this position? What is your accommodation like? What sort of arrangements are
While working in London on a German I have a single cabin with a window. It is requested?
scholarship a friend of mine who was wonderful to have such an amazing view. Many guests love the semi-tropical
working on a cruise ship told me that it flowers of Madeira such as Strelitzia and
was an exciting opportunity I should Where does your ship visit at the Heliconia.
not miss. I asked lots of questions and moment?
then applied in writing to AIDA Cruises Guests join the ship at Grand Canaria. What are your duties on board?
asking if they had any openings. The boat then travels to Madeira, I am responsible for a small flower shop
Lanzarote, Fuerteventura, Tenerife and that also sells gifts, preserved and silk
What qualifications did they require? back to Grand Canaria a week later. flowers. I do weekly arrangements for
They wanted someone with full training the reception, the art gallery and the
and a minimum of one year’s experience. Where do you purchase flowers? on-board hospital as well. Guests order
They also wanted fluent English. Other Each week I get my first big flower flowers for special occasions such as
cruise companies require similar delivery in Tenerife. This will have been birthdays or wedding anniversaries.
qualifications. For this sort of position ordered four days in advance and the They can also order flowers for a table
all cruise lines are looking for someone flowers are delivered to the ship. in one of the seven restaurants.
who is self-motivated, flexible and My supplier cuts roses and gerberas
hard-working and a good team player. fresh that morning but he also Do you have other non-floral duties?
Being curious about other countries supplies other flowers from Holland. Yes, I also help at the check-in on
and cultures is considered a plus. Most of In Madeira I top up with flowers embarkation and do pool duty. I love
the crew members today are from Asia, from the flower market. They have this, as you get to know other people
but there are also many people from wonderful Strelitzia, Leucodendron, and learn more about life on board.
Ukraine, Russia and EU countries. Zantedeschia and Lilium.
Does it get rough at sea?
It does get a bit rough sometimes.
Funnily enough people never seem to
expect it, even though they are on a
ship! If they get seasick, though, it is
not a problem as we have excellent
doctors on board and they take good
care of the passengers. There are some
big waves out there – I have seen some
that were 8 metres high!
JULIA FÖHL
PHOTOGRAPHS AIDA CRUISES

LEFT Julia creating a handtied

arrangement in the flower shop
aboard the AIDA Cruises ship.

52 THE FLOWER ARRANGER SUMMER 2015

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STEP-BY-STEP n

Summer by the sea

This light and airy design uses a variety of different textures and forms
to create that special seaside feel. It will look beautiful on the table
during a lazy summer evening meal.

SKILL LEVEL H BEGINNER METHOD

1 Soak your foam and place in 3 Cut the foliage into small pieces and
Flowers and foliage the container. Ensure at least 2.5 cm insert in the foam, starting with your
l 4 stems of Salix ming fern and then incorporate the
of the foam extends above the rim
l 1 stem of Asparagus umbellatus (ming fern)
of the dish. Eucalyptus.
l 1 stem Eucalyptus cinerea
l 3 stems of Eustoma (lisianthus)
2 Twist the bare stems of Salix into 4 Using the Eustoma place the first
l 1 stem of Eryngium (sea holly)
a circle using reel wire to secure flower in the centre of the design.
l 2 stems of Chamelaucium (wax flower)
and place around the rim of the Insert the remaining flowers and buds
Mechanics and sundries through the design.
container.
l half a brick of floral foam
l low, round container 15–20 cm in diameter 5 Add the Eryngium.
l reel wire
6 Complete by adding the
Chamelaucium in small clusters.
CHARLOTTE DARBY
PHOTOGRAPH OLIVER GORDON

Designer Charlotte Darby

THE FLOWER ARRANGER SUMMER 2015 53

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n FEATURE

The Victorian table

Q
ueen Victoria came to the Guests would be invited to enter the the table, bowls of beautifully arranged
throne in 1837 and died in dining room only once all the dishes fruit pyramids, dishes of cakes and
1901. Over this long period were on the table. This meant that by sweetmeats, large epergnes, many-
fashions changed, not only in the time they were served, most of the branched candelabra and vases filled
architecture, clothing, and furniture but food was cold. In contrast, service ‘à la with flowers.
also in dining. The most significant russe’ required hot food to be carved, if Many hours were spent at dinner so it
development was that service ‘à la necessary then transported direct from was important for the hostess to have
française’, when a variety of dishes the kitchen and served immediately to the table looking attractive with perfect
were served at the same time, was the guests, with the removal of dishes china, cutlery and napery, as well as
replaced by service ‘à la russe’, which and plates before the next course. As a decorative arrangements. Warne’s Model
saw dishes served in sequence. result, there would be large areas of Cookery and Housekeeping Book,
Before the change, the large selection empty space on the immaculate white published in 1869, gave instructions for
of dishes on the table meant that there tablecloth. These were filled by placing the lady of the house on how to be sure
was little room for any ornamentation. in perfect symmetry down the centre of that the servants carried out their duties

54 THE FLOWER ARRANGER SUMMER 2015

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correctly. One passage has the following and careful planning. The gardener had The table here typifies the Victorian
PHOTOGRAPH THOMAS DE HOGHTON

guidance about decorating the table for to make sure that he had the appropriate love of all things overdressed and their
a small supper party. ‘A lady has full flowers and plants available – ferns, exuberant use of floral ornamentation.
space for exercising her taste at the fuchsias and geraniums were the It was inspired by prints and articles
supper table. A good eye for colour will favourites. He was also expected to from the 1860s and 1870s. Tall, slim
give great charm to the arrangement. provide colourful leaves and trails of glass vases were used to simulate the
With flowers, fruit, frothed whipped foliage to lay in patterns on the March stands with large, shallow clear-
creams, coloured jellies, and all the tablecloth. plastic bowls for the base and smaller
elegance of sweet dishes, she can In 1861 a Mr T. C. March won first bowls attached to the top of the vases.
scarcely fail to offer a perfect picture of prize at the Royal Horticultural Show The middle vase is on a clear-glass cake
gastronomic beauty to the eye.’ for his design for the table. It comprised stand. Glass compotes were used to
Society hostesses vied with each a glass dish for the base with a slim carry fruits and leaves, with silver
other to produce ever more elaborate glass rod supporting a glass dish at the platters for fruits, nuts, leaves and
decorations, especially for grand top. The rod had to measure 24 inches flowers and foliage. Asparagus ferns,
banquets. Large palms and ferns, from the tablecloth to the top: this was leather-leaf, roses, freesias and
arches decorated with ivy, floral considered the ideal height to allow Dianthus were the main flower. The
garlands and potted plants appeared people to see across the table. He fringed posies around the edge of the table
on tables causing one critic to remark the upper and lower arrangements with were linked with soft ruscus and the
that it was like having a picnic in a ferns inserting forget-me-nots, lily of water-lily napkin held three pink roses.
tropical forest. the valley, pansies, roses and grapes PAT LAGUE
Professional florists were sometimes with trailing foliage round the stem.
hired for very grand occasions but in The March stand, as it came to be known,
most cases the butler and the gardener went into production and became an Designers Gail Bearman, Jan Boylett,
Eileen Dennison, Jackie Dunk, Diane Edwards,
were responsible for the decoration of essential addition to decoration to the Wendy Ducker, Joy Gomm, Carol Hampshire,
the table which took considerable time dining table. Fran Lunn, Jose Stead, Jean Stichbury

THE FLOWER ARRANGER SUMMER 2015 55

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n FEATURE

Decorating the table

FOR

weddings and events

Larry Walshe, designer Top tips your mind as you design your table.
An impactful and memorable party
extraordinaire, shares When it comes to decorating your table does not need to be hugely expensive,
for an event, the possibilities really are but should be rich in detail, so here
his tips for success endless. With my own clients, I do try are a few tips to ensure your table is
to avoid using the word ‘theme’. dressed to impress.
Instead, I try to ascertain the look that
elebrity florist Larry Walshe

C is one of Britain’s premier

luxury floral designers.
Based in London, his lavish,
is desired. I find this seemingly simple
task is crucial in ensuring the overall
aesthetic created is not only as
envisaged, but appears cohesive,
Linen
Always apply an underlay below the
linen when dressing a table. This
abundant use of texture and colour
consistent and memorable. If you are reduces the awareness that you are
coupled with a distinctive vision
unsure of where to begin, you may wish dining from hired furniture and adds an
delivers opulent, memorable and
to draw inspiration from a colour, a enhanced finish once the cloth is hung.
dramatic floral displays that
favourite bloom or a current trend. When selecting linen, I recommend
transform weddings and events
Social media platforms such as choosing a good quality cotton. Being a
both in the UK and abroad.
Pinterest can also be an excellent little heavier, this will drape well and
Here he shares his top tips on
resource. create an excellent finish. Be mindful of
decorating your table for an event.
Whatever initial choices you selecting pure linen as this will crease
make ensure these remain clearly in easily and become difficult to control.

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Furniture How to create an effective simple design

If you are hiring chairs for your
party, I would recommend Repetition Decorating the plate
researching the options available at
The use of repetition can be a very Where possible, I like to include a
the initial design stages. These play
simple and effective tool to creating charger plate to each table design.
a huge part in the overall aesthetic
a modern and contemporary Doing so frames each place setting,
and a complementary selection can
aesthetic. brings the outer spaces of the table to
really help to transform a space.
In the photograph below we have life and further enhances the floral
massed green roses to create a design to create a cohesive look.
Lighting veritable carpet of blooms. We have An effective way to accessorise and
Lighting is incredibly important to styled the table using detailed but finish your table designs is to add floral
your overall look and will ultimately unobtrusive glassware and chunky details to your charger plates or napkins.
make or break the atmosphere created. glass candle votives in multiple I find this particularly successful when
When adding lighting to your party it designs to complement, but not creating simple floral pieces or when
is worth remembering to cover the distract from the central display. working with linen cloths that contrast
following areas – task, ambience and To create impact, we then added a strongly with the flowers selected. For
atmosphere. Adding pin spot lights to single matching rose at each place example coloured blooms on white
your tables will allow guests to see and setting to draw the design linen help pull the central detail in an
eat. Uplighters around the space will throughout the entire table. outward direction and balances the
add an ambient glow in keeping with overall appearance of the table.
the theme or effect you are looking to
achieve. Candles on the table will add
atmosphere through the evening.

Crockery, cutlery and glassware

When hiring crockery, cutlery and
glassware for your party, I would
advise researching and making
selections in line with your vision at the
early stages of your design. These will
heavily impact the atmosphere and
overall look of the table. These details ABOVE A mass of green roses create a
will create visual excitement and help contemporary table centrepiece.
to bring your floral displays to life. ABOVE RIGHT Roses in full bloom add a
finishing touch to each place setting.

Napkin detail RIGHT White Phalaenopsis orchids make a

wonderful addition to each place setting and
The addition of a single bloom to a extend the design down the full length of the
napkin is an incredibly simple and table.
effective way to finish a design. This BELOW Massed blushed-coloured flowers create
an opulent design for the summer table.
finishing touch could also be offered
Designer Larry Walshe
to each guest as a gift to take away
at the end of the evening.

Stationery
Creating stationery that is consistent
with your theme adds further detail
and impact to your overall design.
Today, there are so many possibilities
thanks to a plethora of creative
companies, that one may move
beyond the traditional table plan and
PHOTOGRAPHS ALEX FREEMAN

name place cards. Whatever you are

creating, remember to reference your
original inspiration to ensure a
seamless and consistent outcome.
Stationery does not need to become
a costly addition; many ideas can be
made at home by hand to add a
personal touch to your party.

THE FLOWER ARRANGER SUMMER 2015 57

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n DECORATING THE TABLE FOR WEDDINGS AND EVENTS

Using colour
The use of rich, vibrant colours can Prix’, Vanda ‘Moon Blue’, tulips and
really transform a space and Ranunculus balanced with a zesty
communicate the tone of your party. injection of lime green Viburnum BELOW Platinum-enriched glassware enhances
In the design below we have used an opulus ‘Roseum’. A silver leaf lined the opulence of this rich and colourful design.
opulent palette featuring Rosa ‘Grand vessel completes a striking display. Designer Larry Walshe

58 THE FLOWER ARRANGER SUMMER 2015

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Using the décor of the room

When creating a design, be mindful
of the existing décor. Try to work with
the surroundings to inform your
choices and respect your limitations
as this will result in a more cohesive
and complementary aesthetic.
Inspiration can be drawn from
definite style choices within a room.
Through the use of repetition or
complementary colour selection you
can find the resulting impact of your
overall piece is further enhanced.

Candlelight
I personally love to add candles to
every design; in fact, the more the
better in my opinion. Clustering and
scattering candles across the table in
various sizes, heights and shapes
creates a veritable feast for the eyes
and will add that final finishing
touch to your creation. The soft glow
they emanate will also add a
wonderful atmosphere to your party.
Do take care to warn that lit candles
can be dangerous if left unattended.
PHOTOGRAPHS ALEX FREEMAN

RIGHT Try adding a contemporary perspective

to your designs by creating massed displays
which match your décor.
BELOW Adding clusters of candles in varying
shapes and sizes create visual variety and
inject a soft warm glow to your design.
Designer Larry Walshe

Working to Creating something

a theme different
You may find that you are creating a When working with clients, I personally
table with a very clear theme in mind. make a habit of not concerning myself
When doing so I recommend over how I would construct and deliver
identifying the defining features of this a design when I am in the creative
theme and using these as your initial stage. Some may consider this rather
point of inspiration. Accessorising and foolish, however I find this ensures
styling your design so that it is no I never inhibit the creative process
longer just a central feature but an through worrying about how I will
extension of your entire table will make it come to life. I also never, as a
transform the overall impact created result, rely on repeating designs I have
and wow your guests. Here we have executed before. Be bold, think original
extended the design with an eclectic and whatever design you conceive,
mix of clear glass bud vases, vintage tea remember to keep it personal and
sets, candles, laser-cut stationery and a packed full of details to entice and
neon hare to create a curious, playful excite your guests.
and memorable dining experience. LARRY WALSHE

THE FLOWER ARRANGER SUMMER 2015 59

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You Be The Judge

In this feature we ask you to be the hat a huge privilege it was to judge at WAFA Ireland,
Judge and work out what Award, if W on behalf of NAFAS.
It is customary at WAFA Shows to judge in panels of three
any, each exhibit received. Turn to with the host country represented on each panel. As a
consequence of the last minute withdrawal of one of the
page 70 and see how well you did… International Judges my fellow Judges, Sunniva and Diane
were both
from Ireland –
no interpreter
required!

1 2

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YOU BE THE JUDGE n

Class title: Delight in the Detail Turn over for

more exhibits
Show: WAFA World Show, Ireland
‘Delight in the Detail’ was one of the three classes As always with judging, we were looking for the effective
allocated to our panel. In essence this was a semi- use of the elements and principles of design and specifically,
imposed class – competitors were provided with a black plant material and accessories, appropriately selected to
metal frame which was positioned centrally within the create detail and cause delight in the viewer. We were not
space allowed. disappointed and greatly enjoyed judging this class.
ALAN BEATTY

3 4

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n YOU BE THE JUDGE

5
Awards given
1st C

2nd C

3rd C

6
62 THE FLOWER ARRANGER SUMMER 2015
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STEP-BY-STEP n

PEONIES
Helen Campbell demonstrates
how to paint the perfect peony
using watercolours
ainting flowers is always a joy but attempting to

P capture all the different colours and tones can be a

daunting prospect. However with a little practice and
patience, you will find that you too can create a work of art. I
have put together a seven-step tutorial here to show you how
to paint this lush, vibrant peony.
I have deliberately kept colours to a minimum so, if you
are completely new to painting, you won’t need to buy lots of
paints. You will quickly see that watercolours don’t need to be
weak and watery but rather, with careful application, and the
slow build up of layers, you can produce strong, bold results.
As you work through the tutorial remember that it is
important to let each layer dry completely before starting on
the next. It is also important to make sure that the thicker
washes are not too thick – you don’t want them to become
‘muddy’. The other descriptions I use when referring to
washes are ‘watery’ (more water than pigment producing a
weaker colour) and ‘creamy’ (more pigment than water Take a photograph like the one above for reference, and then produce an
outline pencil drawing to start with. If you prefer you can use the outline
producing a stronger colour).
drawing below to trace from.
The pencil drawing should be clean and not sketchy so I
have supplied a good strong outline for you to trace should
you wish to.
I work from photographs that I take myself, either in situ,
or in my studio. The reference photograph for the peony was
taken from a sunny spot in my garden.

Materials
I use hot pressed paper and love the brand ‘Arches’
which has a particularly smooth surface. I use one
brush which is a pure sable ‘spotter’ no. 3 size. This
gorgeous little brush has shorter bristles than regular
brushes and a strong, resilient point. I use it in a similar
way to a felt-tip pen, rather like colouring in.
Colours:
l Permanent Rose
l Perylene Violet
l Scarlet Lake
l Sap Green

THE FLOWER ARRANGER SUMMER 2015 63

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n PAINTING PEONIES

METHOD
1 Once you are satisfied with the pencil drawing, you can 3 Once the tonal values are correct you can turn your
apply your first wash. For this, mix a watery wash of attention to adjusting the colour of some of the petals. Up to
Permanent Rose. This is the body colour of the peony and can this point you have applied Permanent Rose, but if you look
therefore be taken over the entire flower (being careful to stay carefully at the reference photograph, you

Tip
within the pencil lines). This base wash will eventually need will notice that some of the petals have
adjusting in terms of both colour and tone. You may find it a more reddish shade. For this you will
easier to paint one petal at a time, as working on smaller areas need to mix Scarlet Lake to a creamy
will stop any hard edges forming and give you greater control consistency. Note that not all of the petals Use the tip of the
brush to get right
of the paint. If you find that you are left with hard edges, these will have this reddish shade, so take care into the corners.
can easily be softened using a clean, damp brush. to apply it only where it is needed.

2 Now you can assess the tonal values and begin to add 4 Next focus on the darkest tones which are at the base of
form to the petals. Prepare a thicker mix of Permanent Rose most of the petals. For this you will need to mix Perylene
(you want a creamy consistency). Referring to the reference Violet to a creamy consistency. Begin by painting over the
photograph, look for the darker colours of this particular existing colours. Once this has been done and you are happy
shade (not the very dark colours as you will use Perylene with the depth of colour, add a little water to the mix and
Violet for these). Note how the pink colour is lighter towards paint in the patterned lines that are on many of the petals.
the tip of each petal. Paint one petal at a time.

To soften the edges

where two colours
merge, simply clean
your brush in water,
dab off the excess on
kitchen towel and use
the brush to blend the
two edges together.

64 THE FLOWER ARRANGER SUMMER 2015

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PAINTING PEONIES n

5 The flower head is now complete so you can begin to paint 6 Build up the green colour with a creamy, thicker mix of
the stem and the two little leaves. For the first layer you will Sap Green and apply this to the darker areas of the stem. You
need to mix a watery wash of Sap Green. As with the flower, will see that the leaves have little veins. These are painted
this first wash can be taken all over the stem and leaves as ‘negatively’ by working round them using the thicker mix. Take
you will be applying the darker tones once it has dried. your time here and try to paint as close to each vein as you can.

7 With all the greens in

place, you will see that the
stem needs a bit of colour
adjustment. Add a little
Permanent Rose to the Sap
Green you have already
mixed and apply to the
darker areas around the
base of the petals and the
right-hand side of the stem.
Now take a close look at the
reference photograph. Do
any areas need adjusting?
Perhaps you could add a
further wash of Permanent
Rose here or there for extra
vibrancy? Finally step back
and admire your work!
HELEN CAMPBELL

Helen Campbell is an RHS award-winning Medalist. To find out more, visit her website: www.helencampbellart.co.uk

THE FLOWER ARRANGER SUMMER 2015 65

FA Summer 2015_text:FA Summer 2015_text_ 27/03/2015 15:01 Page 66

SHOPPING
NAFAS Enterprises Ltd
NAFAS Handbooks Chairman: Sue Brinton
Trading Chairman: Pat Penno
To gain ideas for show work and festivals NAFAS publish an extensive

8
range of handbooks on various aspects of flower arranging. The books
are written by experienced flower arrangers and are compact and
reasonably priced.
To see more products
More titles are available by visiting our online shop www.nafas.org.uk available from
NAFAS Enterprises Ltd
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To order
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UK price: WAS £7.50 UK price: WAS £7.50 ARRANGING Distribution Officer:
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It is advisable to telephone
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Please order from your

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Confirmation of prices and
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FA Summer 2015_text:FA Summer 2015_text_ 27/03/2015 15:01 Page 67

BOOKS
NAFAS Enterprises stock a wide selection of flower arranging titles. Reader offer
Prices for UK mainland NAFAS An ideal gift for

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BOOK Design and Interpretation
at Canterbury
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FA Summer 2015_text:FA Summer 2015_text_ 27/03/2015 15:01 Page 68

From the Chairman of NAFAS

Sue Brinton, Chairman Many Flower Clubs arrange outings OASIS®Home&Hobby
to gardens and shows, have talks on
of NAFAS, brings us up related subjects and sell NAFAS
Some of us live many miles from the
nearest florist or wholesaler for our
to date with NAFAS handbooks that will help you with all
flower arranging hobby, or perhaps the
styles of design, step-by-step.
events and happenings. Some Clubs also hold monthly or
next Club meeting is not soon enough
to buy what you need – remember that
For more details annual competitions for you to enter.
OASIS®Home&Hobby on line shop
Workshops, where everyone can
contact NAFAS join in, are another popular feature
carries a whole range of exciting
products for the flower arranger.
Headquarters on during the Club year and because
visiting Presenters are trained to a
0207 247 5567. NAFAS Area or National standard you
can be sure of the very best tuition.
As a Flower Club member you
Found in an antiques shop! have the opportunity to purchase
This beautiful little dish has survived 36 the Associations highly acclaimed
years and will remind many of you of quarterly magazine, The Flower
the wonderful ‘Northern Lights’ Arranger, at a reduced rate. You can Log onto the website
National Competitions held in also join in Area and National days www.oasishomeandhobby.co.uk
Blackpool back in 1979. when demonstrations, workshops, enter a unique code (which can be
shows and other events are on offer. obtained from your Area Chairman)
Once you become a NAFAS Flower and you will receive 5% discount on
Club member you will find yourself part your purchases. So, why not get
of a wider circle of people who want to shopping today!
share and enjoy the friendship that the
art of flower arranging brings. To locate NAFAS Workshops
your nearest Club simply contact
Do you love learning new floral
NAFAS. You won’t regret it.
techniques or enjoy exploring new
design styles? NAFAS hold seasonal
The Festive Flower and Food Show
workshops at Osborne House where
As National Chairman a qualified teacher will take you step-
I act as liaison between by-step through floral designs that
the Show Team and the you can complete and take home.
Board of Directors, All materials are provided as well as
reporting back to them on refreshments and lunch. For further
the progress of the Show details see page 70.
and seeking approval for specific aspects.
I am also responsible for the WAFA
Elimination Competition at the Show.
We return to Blackpool in November for
This is a competition which takes place
the Festive Flower and Food Show
every three years. The winner of this
where a range of stunning exhibits and
class will represent NAFAS by staging the
seasonal treats will be on display to
Honorary exhibit at the next WAFA World
tempt you at this special time of year.
Show, 18–25 June 2017 in Barbados.
See the inside front cover for more details.
This will be an exciting class of
21 stunning exhibits at the Show.
Have you ever wondered what a
A competitor, from each of the 21 Areas,
Flower Club is all about?
will have either won the heat in their
For an hour or two every Area or been a prize winner at their
month, like-minded respective Area Show prior to entering
people come together the final. Consequently the standard
to share interest in will be extremely high.
everything to do with The Class ‘Tis the Season’ will be
flower arranging. staged in the Renaissance Room which
You could find yourself afford maximum light to these large
discussing designs using floor standing exhibits.
just a few flowers or watching The Festive Flower and Food Show
larger designs being created before will be wonderful and exciting with SUE BRINTON
your very eyes. something for everyone. NAFAS NATIONAL CHAIRMAN

68 THE FLOWER ARRANGER SUMMER 2015

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FA Summer 2015_text:FA Summer 2015_text_ 27/03/2015 15:01 Page 70

n ‘YOU BE THE JUDGE’ RESULTS

Here are the results of the ‘You Be The Judge’ article on pages 60–62. How did your results
compare with those of the official Judges, Alan Beatty, Sunniva Sheil and Diane Gallagher.
1st Design 3 Sue Kehoe UK C Design 2 Glenis Bealing New Zealand
Immaculately staged and oozing with charm this exhibit invites the Phormium seedpod stems are used to integrate the lines of the black
viewer to look more closely. Visual integration of both the frame and its frame into the design in a clever and original way. In turn this repetition of
base is achieved by the careful application of lichen and other plant line and colour creates enclosed spaces, thus developing a rhythmic
materials. All of the aptly chosen flowers and foliage are in scale with pattern. The use of pearls and rolled leaves add to the interest. Further
each other and add delight and detail to the interpretation. This is detail is achieved by the intricate thread work in the centre of some leaves.
further accentuated by the inclusion of beads and other accessories Horizontal and vertical placements of sisal covered panels create different
which add a jewel-like quality. Additional depth is achieved by the levels and planes onto which fresh plant material has been attached. The
thoughtful placement of lichen covered twigs. visually strong black lines of the Phormium are concentrated around the
perimeter of the frame. Some of these need to be used a little more
2nd Design 4 Marion Hamilton UK centrally to balance the comparative weakness of the lighter coloured sisal
The choice of colours and textures of the wools, decorative beading, foliage panels and thus reduce the void area at the centre of the exhibit.
and flowers fuse together most effectively. Again the frame and base have
been covered to harmonise within the overall exhibit although the frame is C Design 5 Angela Merryfield UK
a little less well integrated than with the first prize exhibit. A variety of Superb craftsmanship characterises this exhibit. The detailing of weaving
spheres and circular forms covered in pussy willow, Stachys leaves and wool and plaiting gives great interest and entices the viewer to look more
introduce detail and variety, and all are complementary to each other. closely. Upon doing so tiny and delightful treasures (perhaps not clearly
Stachys covered rings placed on the horizontal plane create depth but there seen in the photo), are discovered within the centrally positioned
is just a slight feeling of flatness at the top of the smaller wool circle. triangular form. This area is a tapestry of delight but is too small in
proportion to the space it occupies. The circles of Aspidistra leaf are
3rd Design 1 Cherie Nummy UK dominant, needing to be smaller and more carefully placed – their
The shape of the rectangular frame is repeated in the felt and leaf ‘square’ positioning increases their impact.
covered frames which are well positioned in an angular manner to create
depth and interest. Lots of well executed techniques are on display and C Design 6 Jeanie Osborne UK
contribute to the detail within the exhibit. These include spheres covered The positioning of the driftwood creates a strong and dynamic line through
with plaited china grass and looped bear grass. The intricate form of the the frame. Woven circles embellished with groupings composed of dried
Astrantia flowers and bead-like formation of the Allium enhance both plant material, beading and decorative wire work add detail thus aiding the
the sense of detail and the softly harmonious colouring. Further detail interpretation. These also repeat the textural characteristics of the
includes rolled Stachys leaves and woven flax flowers. On the debit side, driftwood. Front to back depth is created by the positioning of these circles,
the felt covered frame is visually obvious at its front edge. This which could however have been better placed to negate the void areas
dominance could be diminished by the repetition here of some of the within the frame. While the Gloriosa enhance the overall colour harmony, a
detailing used elsewhere in the exhibit. different texture is needed as they are texturally too similar to the fern.

FLOWER ARRANGING
WORKSHOPS
at NAFAS HEADQUARTERS
Osborne House, London EC2

Dates available
Saturday 4 July 2015
Saturday 28 November 2015
Time
10.30am – 3.30pm

n Ideally situated just minutes from

Liverpool Street station in Devonshire
Square, London EC2M 4TE
n You will have the opportunity to
work with qualified tutors who will help
you create your own unique designs
n The cost of the day is £125.00
which includes all materials for two
designs, tea/coffee and lunch
n Why not make a weekend of it?
We can recommend hotels close to
headquarters which is near to
Spitalfields Market where you will find
lots of restaurants and snack bars

To register your interest apply to: The Education Secretary,

NAFAS, Osborne House, 12 Devonshire Square, London EC2M 4TE
T 0207 247 5567 E [email protected] W www.nafas.org.uk

70 THE FLOWER ARRANGER SUMMER 2015

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THE FLOWER ARRANGER SUMMER 2015 71

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n IDEAS & INSPIRATION

he title ‘Organic Art’ inspired me to celebrate organically grown Editor

T vegetables and plant material. I converted my husband’s broken
garden fork into a stand by screwing a metal plate into the handle. I then
Judith Blacklock
52 Suffolk Road, London SW13 9NR
Tel: 0208 748 2673
wired this to a sturdy birch basket. I glued some support canes to the Email: [email protected]

other half of the handle and inserted this in the foam making sure the Editorial Team
Jan Meloy (Chairman), Kath Egan,
two halves aligned from all angles. Helianthus (sunflower), Antirrhinum, Geraldine Forrest, Ann Gibson
broccoli, radishes, onions and poppy seedheads were added to a selection Botanical Consultant Dr Christina Curtis
of foliage in an informal manner with honeysuckle trails and jasmine Company Secretary
hanging from the basket. The fork was pushed into the ground and Paul Bonter, NAFAS Enterprises Ltd.
terracotta flowerpots, sunflowers and onions were placed around the tines Design
to repeat the forms in the basket. JOAN WOODHEAD Amanda Hawkes Tel: 01959 534103
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© NAFAS 2015
The quarterly magazine of the National Association
of Flower Arrangement Societies (NAFAS)
Osborne House, 12 Devonshire Square,
London EC2M 4TE
Tel: 020 7247 5567 Fax: 020 7247 7232
Web: www.nafas.org.uk
Email: fl[email protected]

ISSN 0046-421X

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