Last spring I went up to NYC to meet and study with Ariella Chezar for a day at the Flower School NY. My mind was blown. It also happened to be my first introduction to the NYC flower market and the beginning of a beautiful and supportive friendship with Sullivan Owen.

This spring Sullivan and I went back to the Flower School NY to study with another world-famous, amazingly talented and humble designer, Shane Connolly. To say I was smitten by this charming Irish man who was the “Artistic Director of Flowers” for the royal marriage of the Duke and Duchess of Cambridge, William and Kate, is an understatement. He is unbelievably down to earth and a big champion for using locally-grown and seasonal materials. In particular, I love that he is promoting the idea of using potted plants that can be re-planted after the big day. I’ve always had a soft spot for potted centerpieces, but it’s usually a tough sell. Shane also detests floral foam. I’ve never seen anyone quite so vehement about it aside from myself and Ellen Frost.

As Shane discussed his work for some of the world’s most elite families, he reminded us that it’s important to always check our egos at the door, no matter how prestigious our work becomes. Ultimately it is the client’s special day, and we are there to serve them, not our own motives. So true!

In the morning, the class learned from Shane how to create a completely wired bridal bouquet, his signature look. I can’t say that I’m a complete convert, but I was unexpectedly inspired by a technique I’ve long known but typically avoided. For me,wiring blooms has always felt like the antithesis of “natural”, and I’ve been staunch about not doing it. As I watched Shane masterfully create one of the most delicate and seemingly natural bridal bouquets I’ve ever seen, I began to realize that sometimes wiring blooms can actually make for a more natural lines in the bouquet than if the blooms were all kept on their stiff stems. It’s certainly nice to be able to twist a bloom to a very specific spot in the composition and know that it will stay there and not snap. While I don’t have the patience to wire every single bloom and piece of foliage the way Shane does, I do believe I’ll be wiring more than I ever have before.
Shane paid me such a high compliment on my finished bouquet (pictured below), I blushed and nearly melted. He said it reminded him immensely of Constant Spry’s work. Such a sweet and lovely thing to say. Perhaps he tells all his students that. I was tremendously flattered regardless.

The second half of the day-long intensive master class was spent making giant arrangements with flowering branches, or, as the Brits so charmingly call them, “blossoms”. Since the large clear glass vases with the wild cherry branches were lovely but fairly simple, Shane also taught us his trick for making a lush fresh garland to encircle the bottom. He uses acetate ribbon, rather than wire or rope, as his base for the garland. A simple tip like this is what makes taking floral design courses totally worth it even for experienced designers like myself. I will never shudder at the word “garland” again thanks to Shane’s brilliant idea.

I was totally exhausted by the end of the class, but the fun in the city wasn’t done. Sullivan and I had a delightful florist double date at the Nomad with Sarah and Nicolette. Such a perfect way to end a very memorable day.

I wonder who I’ll study and toast with next spring in NYC? Clearly it’s happily becoming an annual tradition!