Floral Design Quotes

The white marble surface was inlaid with semiprecious stones in seamless floral designs and in chaste calligraphy, shaped stones, jeweled stones, delicate and free-figured. The surface ran cool and smooth. Traceries of black Koranic figures covered the longer sides of the tomb with a smaller group on top. My hand moved slowly over the words, feeling for breaks between the inlay and marble, not to fault the craftsmen, of course, but only to find the human labor, the individual, in the wholeness and beauty of the tomb.

He had on a hat with a pizza design on it, and a loud floral button-down.

Her hair was totally Indian Woolworth perfume clerk. You know - sweet but dumb - she'll marry her way out of the trailer park some day soon. But the dress was early '60s Aeroflot stewardess - you know - that really sad blue the Russians used before they all started wanting to buy Sonys and having Guy Laroche design their Politburo caps. And such make-up! Perfect '70s Mary Quant, with these little PVC floral appliqué earrings that looked like antiskid bathtub stickers from a gay Hollywood tub circa 1956. She really caught the sadness - she was the hippest person there. Totally.' TRACEY, 27

He slipped his arms into the scarlet woollen cassock and fastened the thirty-three buttons that ran from his neck to his ankles—one button for each year of Christ’s life. Around his waist he tied the red watered-silk sash of the cincture, or fascia, designed to remind him of his vow of chastity, and checked to make sure its tasselled end hung to a point midway up his left calf. Then he pulled over his head the thin white linen rochet—the symbol, along with the mozzetta, of his judicial authority. The bottom two-thirds and the cuffs were of white lace with a floral pattern. He tied the tapes in a bow at his neck and tugged the rochet down so that it extended to just below his knees. Finally he put on his mozzetta, an elbow-length nine-buttoned scarlet cape.

Inside, on a bed of black velvet, lay an exquisite perfume bottle designed from rose-colored glass caged in a silver overlay that twined about the glass like living vines. In the very center of the oval shaped bottle, the silver was formed into the image of a lily in full bloom. It was likely the most precious and expensive gift Lily had ever been given. She ran her fingertips over the delicate silver work before lifting the bottle from its velvet bed to allow the candlelight to shine through the rose-colored glass. She noticed then a folded slip of paper still in the box. Setting the perfume bottle in the valley of her lap, she lifted the paper and broke the tiny wax seal. In his precise, slanted script, Lord Harte had written: I was unforgivably remiss in not having a gift for you the other night. I chose the elements for this blend myself. It made me think of you. Lily brushed her thumb over the ink before setting the note back into the box. Then she shifted the bottle and removed the glass stopper. The scent wafting from the bottle was light, but heady. She noticed first the rich notes of clove and honey before her senses were claimed by the smooth, velvety scent of jasmine. Lily closed her eyes, allowing the aromatic infusion to settle into her awareness. There was another element hidden deep within the perfume. A layer of earthiness that warmed her blood. Sandalwood. Lily was enthralled. It was a complex and lovely scent. Floral and exotic, light and dark. Impossibly sensual. And it made him think of her. Something deep and fundamental spread through her core, and she understood why young ladies were warned so often not to accept gifts from gentlemen. It was a personal and intimate thing to acknowledge how he had wanted her to have something he chose himself.

Rosie’s heart swelled with pride. She had poured her heart, her soul, and her life savings into this venture. Rosie had spent hours painstakingly deliberating over every inch of the shop. Her past life as an interior designer meant she knew just how to make the shop into the welcoming time capsule that made her heart soar every time she stepped inside. There was a herringbone floor, finished with a walnut stain, which was complimented by the dark wallpaper adorning the walls, covered with floral blooms in muted pinks, blues, yellows, oranges, and whites. It was dramatic - the perfect backdrop to selling snippets of people’s lives. Velvet pink lampshades with tassels hanging from the ceiling flooded the shop with light. Rosie had displayed the vintage clothes, jewellery, shoes, bags, and accessories in several ways. From shelves made of driftwood, an up-cycled antique sideboard, and brass clothes rails.

So I was just sitting in the dining room feeling sorry for myself. “What am I going to do?” Almost as soon as I asked that question, the answer came. “End it all.” Oh, I don’t know what possessed me. I really don’t have any idea at all. But I got up and walked over to a window. Well, that window was painted shut, so I went to another window. That one led out to a gangway, a stairwell, where I figured no one would find me until my body started to smell. No, that wouldn’t do. I looked at the front windows. One was a picture window that didn’t open, but then I couldn’t jump from those windows on the sides, either. Children played out front and that would be so traumatic for them. Besides, after I thought about it a little more, I realized something else that was very important: I wasn’t wearing pants. I didn’t wear pants back then. I was wearing a dress that Mama had made for me. Oh, I remember that dress. It was sleeveless, real tight in the waist with a long flared skirt. It was a white dress, white with a floral pattern, some kind of design in it, and that design was pink. That was one of my favorite dresses. I couldn’t stand the thought of jumping in that dress. More important, I couldn’t stand the thought that my skirt might fly up. Just then, as I was thinking about all that, the phone rang. It was a reporter. He was thinking about doing a follow-up story on me and he wanted to know what I was planning to do. Well, I couldn’t tell him I was planning to jump out the window. So I said I wanted to go back to school and become a teacher. I turned around as if to ask, “Who said that?” Now, I don’t know to this day where it came from, but he said he would take me to register for classes. I mean, he was just going to carry me down to the college and walk me through it. That was fine with me, because I didn’t even know where to go. I hadn’t exactly given this a whole lot of thought. As it turns out, the place to go was Chicago Teachers College. He took me there and, unfortunately, we were told that registration for classes had just closed. Before I even got a chance to start thinking about those windows back home again, he somehow convinced them to admit just one more student, and that’s how it all started. That’s how I was able to start over. I was going to go to college. I was going to become a teacher. I would be able to work with children, to teach them, to help shape them, to introduce them to a whole world of possibilities. In the process, a whole world of possibilities was opening up to me. Throughout my life I have heard a great many stories about how people received the call to their life’s mission. I have to smile when I recall how I received mine. For me, the call came by phone, from a reporter.

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Consider McCormick Foods, a 126-year-old company that sells herbs, spices, and condiments. By 2010, the company’s traditional growth strategies had run their course. McCormick had already expanded into a full range of food seasonings and established a foothold up and down its supply chain, including operations in farming and food preparation. The company was running out of growth options. CIO Jerry Wolfe heard about Nike’s move into platform-building. Could McCormick do the same? Wolfe reached out to Barry Wacksman, a partner at R/GA, a leading New York design firm that had helped Nike design its platform. Together, they hit on the idea of using recipes and taste profiles to build a food-based platform. Wolfe and Wacksman used McCormick’s taste laboratories to distill three dozen flavor archetypes—such as minty, citrus, floral, garlicky, meaty—that can be used to describe almost any recipe. Based on personal preferences, the system can predict new recipes an individual is likely to savor. Members of the McCormick platform community can modify recipes and upload the new versions, creating ever-expanding flavor options and helping to identify new food trends, generating information that’s useful not only to the platform’s users but also to managers of grocery stores, food manufacturers, and restaurateurs.18

The main rectangular swimming pool ran perpendicular to the house, which you wouldn't know because it was almost completely covered in a cloud of white. I walked closer, stunned at the beautiful lotus and water lily blooms floating beneath my feet. A glass aisle was laid across the center. You felt like you were walking---or sitting--- in a Monet painting. Complementary flowers lined the sides of the aisles, with chairs extending on either side of the now-concealed pool deck. I had no idea what wizardry kept the central flowers from floating freely, but my sister would walk down the aisle above a lush bed of white blossoms. Beside it, the ornamental gardens had been tented for the reception. Cedric had managed to integrate the existing stone sculptures (French, Greek, and Italian antiques, of course) into the design. Tables dotted the scene, covered in custom cream linens with Italian lace overlays. Cut crystal stemware and antique silverware donned each place setting and would sparkle later that evening from the glow cast down from the crystal chandeliers overhead. And the flowers. The all-white flowers also created a table-runner effect that filled the entire length of each table and spilled over and down the sides. A backdrop and stage had been erected at the end opposite the house, then covered in a cascade of white peonies and roses and mirrored by florals draped around the doorframes and windows of the back of our house. It was an enchanted garden, rivaling that of a royal wedding.

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The loft looked different in the daylight. The cushions against the window seat were a bright mango, the hand-embroidered pillows stitched with the same color in blossoming wildflowers. The artisan had painted floral designs on the dresser, on the wardrobe, and around the floor-length mirror. Outside, the rain had given way to verdant foliage and strong redbrick buildings, interspersed with colorful colonial row houses and Victorian homes.

Turning, I opened my mouth to respond, but the words died on my tongue. Dressed in a navy dress that was fitted at the bust and flared out around her lush hips where a floral design reached up from the hem, Liv was stunning. Blonde hair curled around her face, and the tiniest hint of makeup had been applied to her eyes. She was a vision, and she was going out with another man.

In a realm of soft hues and blooming blossoms, a young girl lay amidst a field of flowers, a celestial veil gracing her features with a gentle, translucent touch. Her arms extended gracefully above her, eyes closed, she seemed to dance on the edge of dreams. The flowers painted the canvas in shades of blue, purple, and pink, their petals swaying in a tender breeze. Dew-kissed blades of grass formed a sea of diamonds, reflecting the soft glow of an unseen moon. As the girl stirred in her slumber, a distant echo of horse steps reached her ears, a melody that danced through the flowered meadow. Slowly, she rose from her flowery bed, the veil slipping away like morning mist to unveil her enchanting presence. Her gown, a masterpiece of celestial elegance, cascaded around her. A floor-length creation in light blue, it cradled her form with a sweetheart neckline, the bodice adorned in gold, floral designs. Layers of tulle formed the flowing skirt, adorned with accents of blueish flowers, and a train that trailed behind her like a comet's tail. Around her neck hung a pendant, a crescent moon cradling a star, both crafted from silver and adorned with blue gemstones, a twin to the one she wore in the enchanted garden. Her golden locks, a cascade of loose curls, framed her face with ethereal grace, flowing like strands of sunlight. Awakening from the meadow's embrace, her deep blue eyes sought the source of the approaching steps. With a sense of dreamlike purpose, she floated towards the sound, the forest mist enveloping her like a lover's caress. In the heart of the foggy woodland, a clearing revealed itself, trees standing sentinel in the distance. From the shroud of mist emerged a figure on horseback, a man in the regalia of a medieval warrior. The horse, a noble steed of white, carried him forward with determined grace. His attire, a tapestry of dark fabric and gilded accents, spoke of a history steeped in honor and battle. High collars and embroidered shoulder pads, buttons, and chains of gold, all adorned his form. His cape billowed behind him, a canvas of golden threads dancing in the breeze. Their eyes met innocence and determination woven together in the tapestry of fate. As he approached, still astride his noble mount, he extended a hand, a silent invitation. With an innocence that matched the morning dew, she lifted her hand to meet his, and at that moment, the world seemed to swirl and dance around them.

In a realm of soft hues and blooming blossoms, a young girl lay amidst a field of flowers, a celestial veil gracing her features with a gentle, translucent touch. Her arms extended gracefully above her, eyes closed, she seemed to dance on the edge of dreams. The flowers painted the canvas in shades of blue, purple, and pink, their petals swaying in a tender breeze. Dew-kissed blades of grass formed a sea of diamonds, reflecting the soft glow of an unseen moon. As the girl stirred in her slumber, a distant echo of horse steps reached her ears, a melody that danced through the flowered meadow. Slowly, she rose from her flowery bed, the veil slipping away like morning mist to unveil her enchanting presence. Her gown, a masterpiece of celestial elegance, cascaded around her. A floor-length creation in light blue, it cradled her form with a sweetheart neckline, the bodice adorned in gold, floral designs. Layers of tulle formed the flowing skirt, adorned with accents of blueish flowers, and a train that trailed behind her like a comet's tail. Around her neck hung a pendant, a crescent moon cradling a star, both crafted from silver and adorned with blue gemstones, a twin to the one she wore in the enchanted garden. Her golden locks, a cascade of loose curls, framed her face with ethereal grace, flowing like strands of sunlight. Awakening from the meadow's embrace, her deep blue eyes sought the source of the approaching steps. With a sense of dreamlike purpose, she floated towards the sound, the forest mist enveloping her like a lover's caress. In the heart of the foggy woodland, a clearing revealed itself, trees standing sentinel in the distance. From the shroud of mist emerged a figure on horseback, a man in the regalia of a medieval warrior. The horse, a noble steed of white, carried him forward with determined grace. His attire, a tapestry of dark fabric and gilded accents, spoke of a history steeped in honor and battle. High collars and embroidered shoulder pads, buttons, and chains of gold, all adorned his form. His cape billowed behind him, a canvas of golden threads dancing in the breeze. Their eyes met innocence and determination woven together in the tapestry of fate. As he approached, still astride his noble mount, he extended a hand, a silent invitation. With an innocence that matched the morning dew, she lifted her hand to meet his, and at that moment, the world seemed to swirl and dance around them. Yet, just as the dance was about to begin, Princess Mehjabeen's eyes fluttered open, the enchanting dream slipping away like mist beneath the twilight.

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Dozens of shiny brass wall sconces created the sort of dim and atmospheric lighting I'd only ever seen in old movies and haunted houses. And the room wasn't just darkly lit. It was also just... dark. The walls were painted a dark chocolate brown that I vaguely remembered from art history classes had been fashionable in the Victorian era. A pair of tall, dark wooden bookshelves that must have weighed a thousand pounds each stood like silent sentinels on either end of the room. Atop each of them sat an ornate brass, malachite candelabra that would have seemed right at home in a sixteenth-century European cathedral. They clashed in style and in every other imaginable way with the two very modern-looking black leather sofas facing each other in the center of the room and the austere, glass-topped coffee table in the living room's center. The latter had a stack of what looked like Regency romance novels piled high at one end, further adding to the incongruity of the scene. Besides the pale green of the candelabras, the only other color to be found in the living room was in the large, garish, floral Oriental rug covering most of the floor; the bright red, glowing eyes of a deeply creepy stuffed wolf's head hanging over the mantel; and the deep-red velvet drapes hanging on either side of the floor-to-ceiling windows.

Tis the season for holiday parties and who better than Camille Styles to offer some smart ideas for keeping it festive.  Styles has a very popular lifestyle blog and the author of a new book, Camille Styles Entertaining: Inspired Gatherings and Effortless Style (one of our Best of 2014 in Crafts, Home & Design ).    The book has party ideas for every season so we asked her to share one for the holidays.  As it happens, she wrote about hosting a Holiday Cookie Swap Party just as we finished 12 days of cookie recipes . Cookies and cocktails--I'm so there. This cookie swap party is one of my favorite gatherings in my new book,Camille Styles Entertaining: Inspired Gatherings and Effortless Style . The book features fresh, inspirational party ideas for every season. Brimming with creative hors d'oeuvres and cocktail recipes, floral design tips, and inspiring table designs—it’s a guide to the simple details and creative shortcuts that make everyday moments feel special.

These are for you.  You have two choices.  You can use them when Rachel’s gone, or you can wait until she’s back, and I’m sure she’d be happy to help you.” He studied me for a moment then walked out of the kitchen, turning toward the bathroom.  I followed a few steps behind. A startled yelp escaped me when I rounded the corner and caught sight of a naked backside.  Without much thought, I tossed the soap and toothbrush in and slammed the door shut. “You could have waited until I put the stuff in there,” I said through the door as my heart thundered in my ears.  I took a steadying breath and heard the water turn on, the clink of his dog tag hitting the sink, then the shower curtain move. Who would have thought he would even know how to use a shower?  I hadn’t.  On the way home, I’d started to think of all the different things I would need to explain, like making sure to position the curtain inside the tub.  Standing outside the door, still reeling from the view I’d gotten, I realized I might see the same thing again if I didn’t get him a towel. I’d packed two bath towels.  Purchased from a discount store, they both sported gaudy floral designs.  I grabbed one and waited outside the door again until I heard him splashing in the shower.  Then, I knocked. “I have a towel for you,” I said through the door.  “If you’re still in the shower, I can open the door and toss it on the toilet seat.  Okay?”  I didn’t hear anything.  No surprise.  “Okay, I’m coming in.”  I waited a moment for any indication that I shouldn’t enter. When the water continued to run, I cautiously opened the door.  As soon as I saw a clear path to the toilet seat, I tossed the towel.  Standing just inside the bathroom with my hand wrapped around the door handle for a quick exit, I paused.  His new toothbrush rested on the sink. “My toothpaste is the one marked with the pink nail polish on the cap.  I’ll let you use it as long as you promise not to squeeze the tube from the middle.” His answer took the form of an accurately aimed splash of water over the top of the shower curtain.  I barely dodged it. “You’re cleaning that up.” I

The father, for his part, had waited until they arrived, in the midst of the hustle and bustle of people and the cries of the shoeshine boys and the importuning of beggars, he explained that it was book by a journalist that had come out a couple of years ago but was still selling, that the guy was uncouth but the book, from what he had heard wasn't bad. Elaine tore off the wrapping paper, saw a design of nine blue frames with trimmed corners, and inside the frames saw bells, suns, Phrygian caps, floral sketches, moons with women’s faces, skulls and crossbones and dancing demons, and all seemed a bit absurd and gratuitous, and the title, Cien años de soledad, exaggerated and melodramatic. Don Julio put a long fingernail over the E of the last word, which was backwards. ‘I didn’t notice till I’d already bought it’, he apologized. ‘If you want we can try to exchange it.’ Elaine said it didn’t matter, that she wasn’t going to get on the train with nothing to read because of a silly typo. And days later, in a letter to her grandparents, she wrote: ‘Send me something to read, please, I get bored at night. The only thing I have here is a book that the señor gave me as a going- away present, and I’ve tried to read it. I swear I have tried, but the Spanish is very difficult and everybody has the same name. It’s the most tedious thing I’ve read in a long time, and there’s even a typo on the cover. It’s incredible, it’s in its fourteenth printing and they haven’t corrected it. When I think of you reading the latest Graham Greene, it doesn’t seem fair.

By the time Columbus discovered America, the Indians were already using beads for decoration. Beads were made from shells, bones, claws, stones, and minerals. The Algonquin and Iroquois tribes of the eastern coast made beads from clam, conch, periwinkle, and other seashells. These beads were used as a medium of exchange by the early Dutch and English colonists. They were called “wampum,” a contraction of the Algonquin “wampumpeak” or “wamponeage,” meaning string of shell beads. The purple beads had twice the value of the white ones. The explorer, followed by the trader, missionary and settler, soon discovered that he had a very good trade item in glass beads brought from Europe. The early beads that were used were about 1/8 inch in diameter, nearly twice as large as beads in the mid-1800’s. They were called pony beads and were quite irregular in shape and size. The colors most commonly used were sky-blue, white, and black. Other less widely used colors were deep bluff, light red, dark red, and dark blue. The small, round seed beads, as they are called, are the most generally used for sewed beadwork. They come in a variety of colors. Those most commonly used by the Indians are red, orange, yellow, light blue, dark blue, green, lavender, and black. The missionaries’ floral embroidered vestments influenced the Woodland tribes of the Great Lakes to apply beads in flower designs. Many other tribes, however, are now using flower designs. There are four main design styles used in the modern period. Three of the styles are largely restricted to particular tribes. The fourth style is common to all groups. It is very simple in pattern. The motifs generally used are solid triangles, hourglasses, crosses, and oblongs. This style is usually used in narrow strips on leggings, robes, or blankets. Sioux beadwork usually is quite open with a solid background in a light color. White is used almost exclusively, although medium or light blue is sometimes seen. The design colors are dominated by red and blue with yellow and green used sparingly. The lazy stitch is used as an application. The Crow and Shoshoni usually beaded on red trade or blanket cloth, using the cloth itself for a background. White was rarely used, except as a thin line outlining other design elements. The most common colors used for designs are pale lavender, pale blue, green, and yellow. On rare occasions, dark blue was used. Red beads were not used very often because they blended with the background color of the cloth and could not be seen. The applique stitch was used. Blackfoot beadwork can be identified by the myriad of little squares or oblongs massed together to make up a larger unit of design such as triangles, squares, diamonds, terraces, and crosses. The large figure is usually of one color and the little units edging it of many colors. The background color is usually white, although other light colors such as light blue and green have been used. The smallness of the pattern in Blackfoot designs would indicate this style is quite modern, as pony trading beads would be too large to work into these designs. Beadwork made in this style seems to imitate the designs of the woven quill work of some of the northwestern tribes with whom the Blackfoot came in contact.

Elane Photography’s owners were fined more than $6,000 for declining on religious grounds to photograph a same-sex commitment ceremony. A small family bakery was fined $135,000 for refusing to bake the wedding cake for a same-sex wedding. And seventy-year-old Barronelle Stutzman was sued for declining to make floral arrangements for a same-sex wedding.8 Stutzman, who has employed gays and lesbians since opening her store, had for ten years designed arrangements for the couple that sued her. Her only objection was to lending her artistic talents to their wedding celebration. Here

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I figured my odds were about as good as those of a floral design consultant in a biker bar.

When they reached the top level, Susan turned to the left. The corridor had raised wallpaper in a classic floral design and nothing else. No small tables, no chairs, no pictures in frames, no Oriental runners. They passed by maybe a dozen rooms, only two with doors open. Myron noticed that the doors were extra wide and he remembered his visit to Babies and Children’s Hospital. Extra wide doors there too. For wheelchairs and stretchers and the like. When they reached the end of the corridor, Susan stopped, took a deep breath, looked back at Myron. “Are you ready?” He nodded. She opened the door and stepped inside. Myron followed. A four-poster antique bed, like something you’d see on a tour of Jefferson’s Monticello, overwhelmed the room. The walls were warm green with woodwork trim. There was a small crystal chandelier, a burgundy Victorian couch, a Persian rug with deep scarlets. A Mozart violin concerto was playing a bit too loudly on the stereo. A woman sat in the corner reading a book. She too started upright when she saw who it was. “It’s okay,” Susan Lex said. “Would you mind leaving us for a few moments?” “Yes, ma’am,” the woman said. “If you need anything—” “I’ll ring, thank you.” The woman did a semi-curtsy/semi-bow and hurried out. Myron looked at the man in the bed. The resemblance to the computer rendering was uncanny, almost perfect. Even, strangely enough, the dead eyes. Myron moved closer. Dennis Lex followed him with the dead eyes, unfocused, empty, like windows over a vacant lot.

It occurred to me that Kimmy’s litany of interior decorating facts was probably designed to distract me from what was really going on at the White House, although I didn’t read anything sinister into it; it was most likely standard White House tour procedure. Guests were led through the building all the time, and it made sense that they would be told things about paint color and floral arrangements rather than “In the room behind us, the president is currently meeting with military advisers about thwarting a top secret cabal that is plotting World War Three. . . .

Unlike the pantries featured in interior design magazines, mine has no bespoke timber or marble finishes. It is, instead, a simple walk-in cupboard with pockmarked walls. And on its six shelves, painted white, the cycle of life is evident: eggs, nuts, seeds, spines, bones. A collage of primeval things born of nature, speaking of the land: oats, bark, leaves; and the sea: dulse, anchovies, mackerel. Things, now in tins and jars, that have absorbed the power of soil, oxygen, water and sun. And pickled things, suspended in time: mushrooms and cucumbers, noble-looking white asparagus spears erect in brine. Herbal and floral vinegars, sweet and fruity. Soot-black Persian dried limes, snow-white coconut milk, Sichuan peppercorns, Scottish heather honey, Japanese bonito stock, Turkish lokum, dried Polish mushrooms. A flavor atlas of the world.

The fortunate among us possess handmade quilts that grace our beds. Quilts are ideal blankets for the magical household, for the intricate patterns and loving attention devoted to their construction make them warm and safe things to wrap around us while we dream. Quilts can have magical designs, especially if an industrious sewer decides to create one. Knot and interlacing patterns are considered fortunate, as are floral or herbal designs. Some think that quilts with square blocks or bright colors hinder sleep, while the "Rising Sun" pattern is said to be one of the luckiest of all. There is magic in quilts. Tradition says they should be washed in melted snow to ensure that their deceased makers rest gently in the hereafter. And the first time you sleep under a new quilt or comforter, your dreams-good or bad-will come true.

Chanel would come to be known for a fashion sensibility distinguished by modern, airy lightness, crisp lines, and sparse adornments, but under Boy’s guidance (and with the help of his pocketbook), she indulged a somewhat different aesthetic sense at home. The avenue Gabriel apartment reflected Coco and Boy’s love of deep, golden tones, ornate lacquered furniture, mirrors in gilt frames, floral designs, English silver, Oriental vases, white satin bedding, and sofas piled with soft, puffy cushions—all enclosed by those dark folding screens.

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White contains a balance of all colors in the spectrum, representing both the positive and negative aspects of all colors. Given it’s properties and undeniable associations with purity, white tends to amplify and reflect other colors and textures in it’s path. This is probably why I’m often asked to design white on white florals for marketing initiatives. The blooms add a delicate and feminine touch to the brand message, while allowing the product or idea to stand tall and look high-end.

My love for paper floral design grew with each custom project and I’m now officially on a mission to embellished people’s lives, spaces and fabulous events!

Apply your own uniqueness to everything you undertake. Whatever you feel compelled to do—be it write music, design software, do floral arrangements, clean teeth, or drive a taxi—do it with your unique flair.

China tea, the scent of hyacinths, wood fires and bowls of violets—that is my mental picture of an agreeable February afternoon. —Constance Spry (1886–1960) Legendary British floral designer and author

Visual reminders of creation and Eden could be found throughout this meeting point between heaven, earth and the world below. Carvings on the entry pillars, doors and walls depicted palm trees, sacred floral designs and cherubim (1Ki 6:29). These were all motifs from the garden, whose story had always factored into the theology of Israel.

VINTAGE ROSE NAILS A simple floral print nail art design, perfect for spring! This eye-catching design will surely bring a vintage look to any outfit.

He led me towards the castle gate, an unnervingly massive thing with doors of heavy oak several times my height and carved with what I had taken for an abstract floral scene, but which, up close, was revealed as a head encircled with brooklime, leaves spilling from its eyes and mouth.

Lady Duff Gordon had been promoting Ascot gowns made of textiles woven in American mills to the readers of the papers to which she contributed columns. It had been her intention that her designs should be executed in a floral palette of pinks, blues and mauves. Now that that was out of the question, she reassured clients that ‘the present styles lend themselves most gracefully to mourning costumes’ owing to the pliancy of their fabrics.23 The supple laces and chiffons she advocated imbued countless ensembles with what was approvingly described as ‘a lightness and indescribably cool finish’.24 Considerable mileage was derived from filmy silk voile, but there was an abundance of ninon de soie, mousseline de soie, charmeuse and foulard too. ‘One realised how exceedingly pretty and tasteful black can be made to look if used properly, and not too, too conscientiously,’ marvelled the Bystander. ‘So long as the outer material is black, it matters not how gossamer-like its transparency – and that is the whole point about it.

I still had nightmares about tulle and floral designs.

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