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Heres my version of flower arranging: Wrestle flowers onto drainboard. Shred paper covering. Whack bunch with chefs knife. Cram into vase. Add water. Poke gingerly at stems, trying to rectify damage done. Regard results skeptically.
Finis.
As an actress, Ive received my share of bouquets. In fact, during my play
Blown Sideways Through Life, I became quite picky about what was delivered
to my dressing room. Hmmph. Bit fussy, I would sniff. After the show closed
and the flower-importer boyfriend had, um, ended, I decided to take matters into my own hands. Go to the
sourceLondon, where flower arranging is a cultural imperativeto study with the master, Kenneth Turner. In England,
Turner is a Martha Stewartstyle fixture (Kenneth Turner books, Kenneth Turner store, Kenneth Turner school) known for his cheeky juxtapositions
artichokes paired with pink roses and for rustic arrangements of gloriously explosive proportions. When the emir of Kuwait entertained the queen of
England at Claridges, it was Turner whom he first summoned.
So here I go, to tiny South Molton Street, a pedestrian-only thoroughfare off
posh New Bond Street, past Londons chicest lined up for their morning lattes.
The reception room at the Kenneth Turner Flower School is filled with Turners
own poplarscented candles and willow-patterned Spode china and elegantly trousered
women smiling. With my coffee and biscuit, I perch on a bench and look around. My classmates are more than
ladies who lunch, theyre ladies who garden. Theres an Hermes-encrusted Japanese woman, two Swedish
expats, an English garden writer, and a Uruguayan florist.
We bustle in to a large, sunny room with a worktable running against one wall, a platform for the teacher, and a grand mirror suspended from the ceiling for
aerial views of the arrangements soon to be in progress. Plus, at each workstation: Galvanized buckets filled with chicken
wire and glue guns and staple guns and chubby little scissors with orange handles. Our very own
aprons. And the flowers. Oh, the flowers. Buckets and tubs filled to overflowing with velvety balls of peonies, teeny pink spray roses, perfumy
lilacs, blobby buttercups. The smell in the room is not just the smell of flowers, but that of water and dirt and
moss - the place smells alive.
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From Left: Turner binds rosemary to what will be a candle holder;
creates a chicken wire souffle in a moss-covered plastic bowl; adds
Oriental lillies as an anchor; introduces double parrot tulips and spray
roses for "height, colour, impact"
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I'm here for two days. Tomorrow is the master class with Kenneth Turner
himself; todays subject is how to arrange garden flowers. Our teacher, Turner
acolyte Sharon Melehi, snips and shakes and considers the various blossoms she's
inserting into a plastic bowl filled with a scrunched soufflé of chicken wire. As she works,
she tosses out advice: Bash woody stems; cut fleshy stems cleanly at an angle to maximize water
absorption. Soak flowers for a day before arranging them. Drinking puts them in top
condition. (Funny it works the Same way for me in London!)
She finishes and we file past her frothy construction, murmuring our admiration. Then we try to duplicate it.
Everyone smiles lovely smiles at one another while reaching for the most perfect branch of lilacs. We stagger back to our workstations with armfuls of flowers and push the stems through
the mesh, trying to achieve the same insouciance that Sharon did. The Uruguayan
florist is the leader of the pack. Mine, I'm sorry to say looks as though its just woken
up from a nap. Sharon helps it along, moving stems so they hang more naturally
concentrating colors, until, to my amazement, it all starts to make sense.
We pause for a
stylish school lunch of poached salmon and various salads and breadsNo dessert? tut the women. In
the afternoon, Sharon fills an oasis (a green foam ring) with white flowers (Casablanca lilies, Bianca roses).
then pours a punnet of huge, perfect strawberries in the middle, like strawberries in a great blob of cream,
she says. Yum. She tells us were ready to tackle some real building. We each sulk a
thick branch of birch into a tub of plaster, cover it with chicken wire, attach Dixie cupsize terra-cotta pots at winsome
angles, fill them with red and pink geraniums, then hjde the chicken wire by weaving it with
sheaves of rosemary. Squishy carpet moss is packed into all the pots. At the top of the branch we fasten another pot
in which we place a giant Kenneth Turner candle. We line up our planters in two rows,
and the effect is fantastic"We do this for brides," Sharon says, and I
imagine Titania from A Midsummer Nights Dream traipsing down such a magic corridor.
At the end of the day, as we struggle
on the stairs toting our first arrangements, one of my classmates (wearing the largest diamond I
have ever seen on a human hand) offers me a lift. Waiting on the corner is a gleaming
mahogany-colored Bentley and uniformed chauffeur. A perfect mode of
transportation after such a day.
The next morning we finally meet the
man. His hands fascinate melong. elegantly formed hands that are chapped and
thickened from years of wet work. Turner holds a flower and exclaims: Oh, look at this Nicole
rose gorgeous! I think, How many roses has he arranged, and
yet he still sees this one? His fingers pass tenderly over a peony and
it... opens. When I try it. I snap the head off. I watch him and try again,
gently fluttering my fingers and it opens!
One after another, Turner creates
arrangements that range from a green-and-white cluster of hellebore, Bells of
Ireland, and laburnum to a nine-foot-tall, three-tiered wall fountain. Balancing
on high stools in our aprons, with Kenneth Turner notebooks and pencils in our
laps, we scribble emphatic bits of Turner wisdom. Turner is always emphatic:
Not arrangements . . . tapestries! Dont dither about, sticking one
red rose here, another there. Think groupingspockets of color. Why
approach fruits and vegetables simply as accents? Consider them containers,
centerpieces. He plunges some burnt-orange Leonidas roses next to a clump of
magenta somethings. Look at that! he says. Yves Saint Laurent colors!
Standing on a ladder while
constructing the aforementioned trebled extravaganza, hes so intense, so
committed, that even if we all tiptoed out, I think hed keep going. Wiring a
bowl and covering it with moss, he becomes so adamant about how securely this
must be done that he brandishes it over his head and whips it around, bits of
moss flying off and pelting the squealing ladies. Who love it.
After lunch, we choose from buckets
of amaryllis and parrot tulips and
ferns
and roseswere serious, were inspired, its our turn to create.
Finally, everyone stands back nervously as Kenneth walks up to each arrangement.
critiques it, and then . . . fixes it. Whoa. Its like a magic trick. He just
takes one flower out or shoves a few more in or calls an assistant to bring a
new stem, and the difference is breathtaking. He certainly fixes mine. Her
first arrangement and its not a total abortion! he declares of my shaggy
attempt.
Back home, I still grab a paper cone
of flowers at the deli, but I no longer just hack at it and jam the bunch into a
jar. I stop for a moment and really look at my paltry six tulips or
budget-conscious carnations. Then I start fishing in the vegetable crisper and
the fruit bowl.
Taken from Travel & Leisure May 1999
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