Where does your love for flowers and botanical structures come from? How far back does that go?

OH WOW, I would say it began when I was 18 and started floristry school. The industry at the time had some new age leaders in NYC, Amsterdam, London, Paris, Singapore and here in Melbourne, but it was a very small group and I felt like I could make moves in the industry with this medium. Floristry was starting to change, and I wanted to be a part of it. When I started my course, the whole world lit up in this way that was so electric. I had never found a medium that spoke to me more directly than nature. I had never had something be so completely consistent.

You describe finding flowers as a life-changing experience. What was it about floristry that resonated with you so deeply?

FLOWERS LEGIT CHANGED MY LYF. Floristry helped me get out of a really bad spot with substance abuse, a toxic relationship, and encouraged me to understand dreams and goals in a new way. I think that, in this way, returning to nature and the soil—and observing the beautifully perishable—made me reflect on myself as a living being: fragile and in need of care. I would say floristry saved my life through showing me a life cycle that was so delicate and incredible. Strong, soft and ever changing.

What inspires your botanical creations? Aside from nature itself, do you draw influence from any particular artists,landscapes, or cultural movements?

My influences come directly from the world around me and how it is pulsing at the time. I have a consistent style of the unconventional, grotesque, and unexpected. However, I do LOVE a trend. I love fashion, music, other florists work and I tank my brain with imagery all the time. 

What colours, shapes, textures are trending? How can I incorporate those design principles?

When I design, it pours from a place of wanting to challenge the eye whilst making something timeless. This isn’t always easy and I don’t always get it right, however I do believe I have mastered the art of elegance and punk to a degree that I’m happy with. Music is a huge one, artists like Nils Fram have affected my work in huge ways over a whole decade. The movement and embodiment in his work is something I always want to be a part of. Brrch Floral, Studio Lilo and Humid House would be my top 3 floral influences.

How does your current living environment play into your creations at Xflos?

Interesting question, to be honest, I’m not sure If my living situation affects my creations directly as much as it affects my ability as an artist and business owner to be well and present. I romanticise ritual in my homes and am a creature of habit. I currently live in an 1854 tavern that is full of quirks and high ceilings. Home for me is always the foundation of self care that I can then carry into creating at work. I keep home magic and quite free from Xflos. It’s where I water my own little garden so I can go plant everyone else’s.

Sustainability is a core value of Xflos. What specific practices do you implement to minimize your ecological footprint?

We never waste flowers, which is a huge one, we order to fulfil our work only and run back to the market if demand is high. We have a great green bin, recycling and general waste system and recycle as much plastic as we possibly can. We re-use chicken wire and foam until it disintegrates and try to not use much of either if we can help it. We use our vase water to water plants in store and reuse dry materials across multiple jobs.

How do you source your flowers, and what do you look for in the materials you use?

We source from several wholesalers in Footscray Melbourne who we have built relationships with over the past 10 years. They collect from the early morning market and we collect from them so we avoid getting up at 4am. That work life balance is important to us. In materials we look for colour, interest, shape, form, and anything peculiar or trademarked to our brand.

What role does seasonality play in your work, and how do you adapt your designs accordingly?

IT’S HUGE TBH! There are times of the year where parts of our expected flowers are completely out so we have to move with that. We look for similar shape, colour, and form amongst seasonal varieties so we can still achieve signature style and shape for our clients. 

With deep respect for the Wurundjeri Woi Wurrung people, the traditional custodians of the land you work on, how does this acknowledgment shape your approach to floral artistry and sustainability?

For me, it means paying the rent, it means being a part of community reparations, it means having your business reflect your political standpoint and showing up everywhere possible. We offer First Nations discounts and always refer an indigenous florist first when asked to do natives. 

How do you envision floral art playing a larger role in the healing of our planet?

I think through workshop I have found a way to engage people with their emotions and nature in a way that is very innocent, vulnerable, and beautiful. People are so enamoured by the natural world, it reminds them of why we are here, to take care, to find beauty, to help each other with growth. Getting people into their bodies and hands through floral art workshops is one of my favourite things to be able to facilitate. In terms of stand alone floral art that isn’t interactive, I would say it provokes thought around nature in places it otherwise wouldn’t and can be helpful for people to think more about the environment and the natural world which is energetically healing.

Looking back, what advice would you give to your 19-year-old self? What would you be most proud of?

I would say stop focusing so much on sexual endeavours, drink less, and learn how to budget. GO TO THERAPY! But there’s NO WAY I would’ve listened, and I don’t regret the journey it took me on. So I also would have no advice. Everyone gets to things when they are ready. I think I would be so proud of myself, I know she is, she can’t believe what we have done. I love her forever.