TOOLS

To arrange flowers, you don’t need a lot of supplies or even much storage space. In fact, all the necessary materials can fit easily into a toolbox or a drawer. Many of them (including twine, plastic wrap, and rubber bands) may be found in your kitchen cabinets; the rest are available at garden and home centers, hardware stores, and nurseries.

TRIMMERS

Just as cultivating a garden requires diligence and care, keeping your tools in top shape means maintaining them properly. Wipe damp spots dry every time you put tools away, for example, and refresh edges each season with a sharpening stone.

FLORAL SHEARS Use these short, serrated blades to trim pliable stems (like those of tulips or dahlias). The handles are designed to be nonslip and comfortable to hold.

SECATEURS Mini pruners like these can clip woody stems and branches with ease; switch to household scissors to clip off excess leaves.

FLORIST KNIFE A jack-of-all-trades tool, it slices through tough stems. For safety’s sake, place the blade at an angle to the stem, then pull the stem away from you, using the pad of your thumb to control the blade, as when peeling an apple.

STEM STRIPPER This gadget lets you remove thorns and excess leaves without harming the stem. Kevin prefers the claw-shaped variety to disk-style strippers.

BUNDLERS

Chances are, you’ll be submerging the following items in water, so make sure they are made from materials that won’t deteriorate.

TWINE Reach for this when you need to gather a bunch of blooms or tie stems to a stake. Corralling a bouquet also makes it easier to keep flowers in place when cleaning the vase. Biodegradable natural twine is a better choice than nylon or acrylic twines; look for raffia, sisal, or jute.

FLORAL WIRE This flexible green aluminum wire blends in with stems. It’s great for adhering stakes, pinecones, berries, and other accents. The higher the gauge number, the finer the wire; stick with finer gauges to avoid bruising stems.

RUBBER BANDS These offer a simple solution for gathering bouquets. Any household bands will do, but seek out clear or green elastics that will blend in with the stems when arranging in a transparent vase.

STABILIZERS

You probably won’t need all of the following tools for simple bouquets, but they are useful in order to position flowers precisely in elaborate displays.

FLORAL GUM Tacky gum stabilizes flower frogs and protects vases from scratches. Also called floral adhesive or floral putty, it’s nontoxic and easy to peel off, so it won’t taint your water quality or vase. Kevin prefers floral gum sold in a roll, like tape, as it’s easier to tear off pieces of the desired size.

FLORAL TAPE Water-resistant floral tape comes in two versions: a transparent tape perfect for making invisible tape grids (see this page), and a stretchy, self-adhesive tape for making wreaths, boutonnieres, or corsages. The tape comes in multiple widths; the narrowest is generally the most useful. Opt for the stretchy kind (often green or brown) to bind stems and for flower crafts.

JELLY JAR Invert a jar within a vessel to add tiers to arrangements. Or use jars to corral flowers in bigger or less practical vessels (such as baskets)—simply affix to the bottom of the vessel with floral gum.

FLOWER FROG Made of metal, glass, or ceramic, flower frogs come in multiple shapes, sizes, and materials (see this page for examples). They help position and arrange floral stems; secure them to the base of your vessel with floral gum.

FLORAL FOAM An anchor for flowers and stakes, the spongy foam also supplies water to stems (see this page for more).

CHICKEN WIRE This stainless-steel mesh (also known as floral netting) can be used to make a support system to hold stems in place (see this page for more).

WATER CAPSULES Use one of these vials to keep flowers hydrated, not just in transport but also in a bouquet, when a stem is too short to reach the water in your vessel.

PLASTIC WRAP Line nonwaterproof vessels with this kitchen-staple-turned-liner to prevent rust and damage.

SUPPORTS

Structural supports keep arrangements looking tidy and polished and are essential if you’re using certain vessels, such as a shallow dish or a wide-mouthed vase, to keep the stems stationary. You can of course use flower frogs (see photo on this page), which come in many shapes, types, and materials to suit different arrangement needs. Many florists use floral foam; Kevin and I tend to rely on other methods, but if you choose foam, seek out an environmentally friendly brand. (Oasis Floral Foam Maxlife and plant-derived Floral Soil are good options.) Make sure to saturate it thoroughly with water (this process can take a couple of hours) before cutting and inserting into your vessel. If you don’t have a flower frog or foam on hand, below are two do-it-yourself options that will work just as well.

BUILDING A TAPE GRID

One of the easiest tricks for floral arrangements is creating a grid of tape across the opening of the vessel. “A tape grid creates the illusion of volume,” says Kevin. “It can make just a handful of flowers look like twenty or more stems.” A tape grid is especially useful for floppy flowers that require structural support. To build, attach strips of clear floral tape in a grid across the opening of the vessel (see photo above; we used green tape to demonstrate), with about ½ inch of overhang. Your grid size may depend on the size of stems you’re using, but a general rule is to space your strips about ½ to 1 inch apart. To secure, run another length of clear tape around the entire outside rim, trapping the overhanging ends. To hide the outer edge of tape, tuck foliage or small flowers around the rim of the container.

MAKING A CHICKEN WIRE BALL

If you’re using an opaque vessel, you can use chicken wire to create a sturdy cage-style flower frog. Use strong clippers to cut a section of wire netting from the roll, and ball it up to fit inside your vessel, trimming as necessary (if scratching is a concern, first line the vessel with plastic wrap or use a slightly smaller bucket or jar as a liner). You can manipulate it within the vase to suit your needs; it should provide a handy set of spaces in which to insert each of your stems.

Flower frogs hold stems upright or at an angle. The objects, important in Japanese flower arranging, weren’t actually called frogs until they made their way across the Pacific: Americans thought they looked like the amphibian, and the name stuck. Pincushion frogs have beds of needles (best for skinny stems like those of poppies); others may be sets of hairpin loops or domed cages (better for thicker stems such as lilies). You can also find novelty shapes—including flowers and, of course, green frogs. Some of the frogs in my collection are from flower or garden shops; others were antiques shop or flea market finds. Still others were a happy discovery in the flower room at Skylands, which overflowed with flower-arranging supplies when I bought the house.

VESSELS

Anything used to display flowers should be at once practical and decorative, serving as a tool and an aesthetic element. The right vessel can inspire an arrangement, emphasize its shapes and colors, highlight a particular flower, or lend sparse blooms a feeling of abundance.

CYLINDERS

With a similar diameter top to bottom, the simple geometry of a cylinder accentuates and props up gracefully arching stems of flowers like azaleas and tulips. The cylinder’s modest lines also showcase twisted branches and whimsical vines without competing with them. Tall, wide cylinders work particularly well for long-stemmed blooms, such as sunflowers. Bundles of flowers that may slouch in a trumpet vase, such as poppies, are likelier to spring to attention in a cylinder of the same volume.

1 Swirl glass vase, 1930s, from Akro Agate, once the largest manufacturer of marbles in the U.S.

2 White pillow vase by McCoy Pottery, based on a Chinese design

3 One of a pair of 1930s copper fluted vases

4 Tall matte vase from the American Arts & Crafts movement

5 Jasperware prunus (tree blossom design) mantel vase

6 English stoneware jar from the 1920s, originally used for marmalade or mustard

7 Japanese lacquerware vase, likely an example of maki-e gold inlay

8 Early 1900s Fulper Pottery vase with Elephant’s Breath glaze

9 Post-war German porcelain vase with molded flower design, by A.K. Kaiser

10 Silver thumbprint bud vase, by Elsa Peretti for Tiffany & Co.

SPHERES

These containers boast an ample interior and slightly narrower neck, and include fish bowl–shaped vessels, classic rose bowls (designed to prop up heavy blooms), and bubble bowls, as well as those more elongated at the top and bottom, such as ginger jars. Stems have room to spread out inside of the vessel, while the narrower mouth keeps blooms from flopping to the sides. Cluster flowers, including hydrangeas and lilacs, look especially charming in sphere-shaped vessels.

1 American pressed-glass rose bowl with inlaid sunflower pattern

2 Midcentury Revereware copper rose bowl, made in Rome, New York

3 1930s European Art Deco glass ball vase

4 Nineteenth-century glass, originally used as a fish bowl

BOTTLES

The slender neck of a bottle vase brings out the elegance of slim-stemmed blooms like roses or lilies. Display a bottle alone, in a pair, or lined up as a set. You can buy bottle vases, or repurpose containers intended to hold other things. If you’re using more than one vessel in a display, vary the styles or heights to give the arrangement a sense of playfulness. Large bottles play up the minimalist look of flowering branches, such as magnolias. Small ones are perfect for single poppies or sprigs of wildflowers.

5 English green glass bulb-forcing vase (also known as a hyacinth glass)

6 Early-twentieth-century Japanese bronze bud vase

7 Bohemian spirits flask or decanter from the nineteenth century, originally used to sell liquor

8 Modern (1960s) Swedish blown-glass vase

9 Edwardian-era silver-plated bud vase

10 Tall smoked blown-glass vase from the 1970s

11 Jadeite bud vase made by Jeannette Glass Co. in the 1950s

12 Cylinder bud vase based on an apothecary beaker

13 Victorian water lens vessel, originally designed to magnify the light of a candle

PAILS

Buckets and urn-like vases gradually widen from bottom to top, though not as dramatically as trumpets (following). Fill the generous opening with billowy blooms of peonies or trumpet-shaped daffodils. The unfussy shape also imparts a less formal quality to flower-shop stalwarts like roses and lilies. Frogs and cages fit easily into pail shapes, affording you plenty of room to arrange flowers as you see fit.

1 Contemporary American earthenware cream-colored planter

2 Nineteenth-century English copper luster-ware bucket with relief molding

3 Vintage (1930s) fluted shot glass

4 Contemporary gilt striped porcelain vase

5 Stoneware flowerpot in gray finish by Ben Wolff Pottery in Connecticut

6 European flip glass with engraved landscape design

7 Vintage (1930s) ribbed copper flower pot

8 Silver-plated, handled ice bucket from the 1920s

LOW BOWLS

This shape is more versatile than you might think. Equipped with a flower frog or ring, it makes a striking foundation for graceful, flowering branches, such as azaleas, or a group of flowers with tall, sturdy stems, like lilies. Cutting the stems and floating a bloom or two in the water also makes a lovely centerpiece; flowers such as dahlias and camellias work especially well in floating arrangements. Keep the water level in the bowl high enough so that the bloom can sit above the rim and be observed from the side as well as from overhead.

1 Depression-era glass bowl based on the Tudor style

2 Old Paris porcelain openwork basket-weave vessel with attached gold rim and handle

3 Vintage green Depression glass (or “satin glass”) flower ring, used to float small flowers within a larger vessel

4 Antique Japanese rusted cast-iron brazier, originally filled with lighted coals and used for portable heat

5 Late-nineteenth-century Japanese bronze low bowl

TRUMPETS

The conical structure of a trumpet vase shows off a burst of flowers with tall, graceful stems, such as lilies, tulips, or sweet peas. Radiating upward and outward, the flowers visually lengthen the curvature of the vase’s rim. Parfait glasses are a good example of the trumpet shape; they work wonderfully for small arrangements.

6 Sterling-silver bud vase from the 1920s

7 English tall blown-glass trumpet vase

8 French floral-painted, gold-handled urn dating from 1810 to 1820

9 Venetian golden amber blown glass vase from the 1920s

10 French painted cast-iron trumpet vase, likely used as a memorial vase by a gravesite

11 Early-twentieth-century British white ironstone vase

FLOWER-SPECIFIC VESSELS

Vases have been a means for creative expression for almost as long they’ve been used to contain things. As craftsmen imagined forms to best accommodate regional flowers, their utilitarian task turned into an art form. Japanese flower baskets (hanakago), for instance, possess a haunting sculptural quality, taking on organic shapes and textures determined by the type of bamboo used and by the specific weaver’s style. The striking spouts on the tulipiere, created by Dutch ceramists in the seventeenth century, accommodate not only tulips but also other blooms. Each spout pools into a common water reservoir—simplifying arranging and maintenance. I’m an avid collector of distinctive, flower-specific vessels like these, which are simultaneously functional and decorative. Learning about the origins of these pieces—and then sharing their interesting stories with others—is half the fun of collecting them.

1 Early 1900s Japanese bamboo basket designed for Ikebana (the art of Japanese flower arranging connected to the principles of a love of nature)

2 Tiered ceramic centerpiece, traditionally used to hold small spring bulbs; this one is from Martha by Mail

3 Green earthenware, lead-glazed paintbrush holder, purchased on a trip to Morocco

4 Early-nineteenth-century English creamware tulipiere, one of a pair to display on a mantel

5 Vintage Royal Haeger double-leaf ceramic vase with an open top

Tulipieres are designed for tulip arrangements, but don’t have to be limited as such—it’s fun to use different flowers and foliage like these clematis and many varieties of rhizomatous begonia leaves. (I have long cultivated an extensive collection of begonias, and especially love their interesting and spectacular foliage.) This Delftware tulipiere, with individual corner spouts and a water reservoir in each tier, shares its country of origin, the Netherlands, with the tulips themselves. Launched in the sixteenth century, Delft tin-glazed pottery is marked by its distinct blue and white colors and patterns.

UNCONVENTIONAL VESSELS

Even if you don’t collect vases, it’s likely you have interesting arrangement options in your closets and cupboards. Once you learn about the common forms that categorize most vases, you’ll find potential in everyday items (shot glasses become bud vases; a soup tureen looks just right for an armload of fresh-cut roses). An unconventional vessel can accentuate aspects of your bouquet that a typical vase can’t. Gather tropical lilies in a colorful pitcher and the room suddenly feels warmer; small buds in egg cups seem picked precisely for the kitchen counter; and hydrangeas set in a fishbowl add a playful touch to any room. There is often no such thing as the perfect vessel—an arrangement comes together when you concentrate on its character and what you’d like it to convey, and then select a vessel that brings that idea to life. Remember not to overthink it—so much of the joy in flower arranging comes from trying something unexpected.

1 Gold vermeil (gold-plated sterling silver) pitcher, circa 1920s

2 Large-scale American glass leech bowl, used by doctors in the nineteenth-century practice of bloodletting

3 English ironstone gluggle fish jug

4 Egg cup in drab-ware, the distinctive olive-colored glazed earthenware line from Wedgwood, first produced in 1811 (this one was sold by Martha by Mail in the early twenty-first century)

5 Vintage copper pudding mold, used for making cakes, jellies, and other desserts

6 Midcentury hand-painted Italian pitcher with woodland motif

7 Late-nineteenth-century Chinese hand-painted porcelain sauceboat in the form of a crane

8 Nineteenth-century Old Paris banded and monogrammed porcelain teacup and saucer

9 Painted parrot pitcher

10 Chinese export porcelain fish vessel, from the nineteenth century

11 Early-twentieth-century Japanese tetsubin teapot, fabricated in iron with a cherry-blossom motif

12 Silver lidded pumpkin jar

13 Early-nineteenth-century English creamware lidded soup tureen

This parrot pitcher (a housewarming gift from Lee Radziwill when I bought my house on Lily Pond Lane in East Hampton) works surprisingly well as a flower vessel. Here, it allowed us to take advantage of the inherent whimsy it lent to the arrangement of giant lily blossoms with fun foliage. Together, the two give the impression of a robust bundle of tropical flora. Because the mouth of the pitcher is small, leaving less room for thick stems, Kevin used just the heads of the lilies in order to take advantage of their miniature, slender stems. From above, you might not even realize there’s anything special about the container—but it reveals an arrangement that packs a punch.

TECHNIQUES

PREPPING

Think of a flower’s stem as its lifeline. When you keep it nourished, clean, and hydrated from the moment it’s snipped, you’ll end up with blooms that stay fresh and lively for up to a week and possibly even longer. A crucial part of any lasting arrangement is the care that goes into the flower before it’s placed in the vase—and yet this is something many people overlook or underestimate. Kevin prides himself on getting the most from his arrangement flowers; here are a few of his most useful strategies.

TIME IT RIGHT Cut flowers from the garden in the early morning, when stems are firm and well hydrated, or wait until dusk, when they’re well nourished. Avoid cutting in bright sunlight or the heat of the day; flowers will lose water more rapidly then. Make sure to use a clean, sharp floral knife, garden clippers, or shears. (Dull instruments will tear up the parts of the plant’s stem that enable water delivery—leaving the blooms chronically thirsty.) Cut at a sharp angle, leaving a bit of stem on the plant, so there’s opportunity for new blooms to grow. For flowers with nodes (azaleas, for example), snipping just above a node maximizes the plant’s ability to absorb more water.

Don’t forget to bring along a bucket of water—you’ll want to place fresh-cut stems directly into it. If left out of the water for too long, cut stems can seal up and struggle to stay hydrated. Kevin and I always bring multiple buckets of varying sizes and heights, to organize and separate small, crushable flowers from large, heavy blooms.

CUT AND CLEAN Once you’re indoors, refill all the containers with fresh water and recut the stems at a 45-degree angle. This maximizes the surface area for absorbing water, and keeps the stems from sitting flat on the bottom of the vessel and getting plugged up; strip off any leaves, thorns, and petals that will lie below the display vessel’s waterline. (Because the flowers will be sitting in the vessel, excess materials can promote the growth of bacteria and compromise the stem’s ability to hydrate itself, as well as cloud the water and cause unpleasant odors.) Trim away any spent blossoms, so the flower can focus its energy on the healthy blooms.

Some stems need extra help to drink up more water. In general, after cutting woody stems (such as lilacs, dogwoods, or azaleas) at an angle, use a knife to crosshatch (i.e., etch out an X on) the bottoms, or fray them with a hammer. The cut ends of milky flower stems (such as poppies, hollyhocks, or poinsettias) tend to get clogged by sap, so they should be dipped in boiling water (for about 30 seconds) or seared with a flame once cut. This seals the stem and keeps the flowers from losing nutrients.

CONDITION This step serves to fortify the stems, strengthening and stiffening them, so they hold up once they are arranged. Submerge the stems in any clean tall container, filled almost to the top with cool water. Place the container in the garage, basement, or another cool (not cold) area, away from direct sunlight, and let the stems soak up the water for a few hours, or even overnight. Some flowers, like daffodils and hyacinths, need to be conditioned in separate containers. They don’t mix well with others, because the substance that makes them a natural pest repellent, calcium oxalate, is also toxic to other blooms. An overnight soaking will help them to release the calcium oxalate; once conditioned and well rinsed, they’ll be ready to place in an arrangement.

DISINFECT While you’re waiting, get your container ready. Make sure it’s completely clear of any bacteria. Scrub the inside with mild dishwashing liquid and warm water or baking soda sprinkled onto a damp sponge; rinse well with warm water.

During dahlia season in Maine, the flower room at Skylands is lined with buckets of ‘Ferncliff David Digweed’, ‘Prince Noir’, and ‘Brookside Snowball’, among many others. All are gathered at their peak.

SHAPING

Flower arrangements generally fall into one of six basic styles. Envision what you’d like the general shape of your arrangement to be, pick the category (or two) that best describes it, and let the following steps guide you. And keep in mind that while a bouquet of wiry poppies might naturally fit into a wild, freeform display, don’t be afraid to try something new and mass them together in a simple, structured dome.

DOME This classic curved shape works best with rounded blooms, like roses and peonies, and is best placed in areas where it can be viewed from all sides. To create the look, cut four or five stems so they’re slightly longer than the length from the frog to the rim of the vase (spheres and bowls work best), and place around the rim. Repeat with four more flowers, cut slightly longer than the first batch, and insert them into the center. Fill in with flowers cut at varying lengths as desired. Rotate the bouquet and trim stems until you’ve created a rounded silhouette. Fill in bare spots with smaller blossoms or foliage.

SPIKY This silhouette is a natural choice for flowers with straight, sturdy stems and angular blooms (such as gladioli or delphiniums). If the mouth of the vase is wide (like this cylinder), make a tape grid to prevent leaning. For tall bouquets, start by arranging stems around the rim so they crisscross in the center and form a lattice just below the waterline; this acts as a second tier to support additional stems. Flowering branches and flowers that grow on stalks, such as azaleas and foxgloves, make excellent spiky, dramatic arrangements.

FREE-FORM Even the loosest style—with flowers allowed to bend and expand outside the borders of a traditional arrangement—requires some structural support. Begin with the tallest, stiffest branches, then add large, leafy stems to give you a canvas. You can nudge the geometry off-center to convey movement—these arrangements are great for alternative vessels. Next, add the biggest blooms and give your vessel a spin to make sure they are visible from every angle. Then add smaller blooms. Build on the natural twists and turns of the stems to give your bouquet personality. And it’s important to remember: The arrangement includes the vessel. Blooms or foliage that spill over the vase can add to the overall impression.

GROUPED A solitary allium is striking, but gather a few into multiple small arrangements—each peeking from a container of a different height—and you have fireworks. Even when the result is more subdued, there’s strength in numbers; a set of small, complementary bouquets adds up to a display with greater impact. Miniature vases on a footed platter can simulate a larger monolithic arrangement. Peonies, cut short and then placed in drinking glasses, make a pretty parade down the length of a table.

FLOATING A serene arrangement set drifting in a bowl is a simple way to save flowers with broken stems, but it’s also a lovely intentional arrangement, especially for a dinner table. Cut stems to about an inch long and place in water. If the blooms sink, fashion a raft with a ring of bubble wrap slipped underneath. The best floating blooms have petals that spread out, including rhododendrons, daisies, dahlias, lilies, and garden roses.

SINGLE Simple and unfussy, an arrangement composed of a single, impressive flower in a bud or bottle vase invites you to observe details that might be overlooked in a bunch. Single arrangements require just the right kind of blossom, with a noteworthy size, color, or texture. A dinner-plate dahlia, a fluffy peony, a vibrant poppy, or an exuberant lily can captivate the viewer.

COMPOSING

When an arrangement of flowers is just right, it simultaneously commands attention and fits in beautifully with its surroundings. Consider three important components as you start to consider your display: scale, color, and texture. Think of these guidelines not as rules, but as techniques that can help support any arrangement you create.

SCALE The scale of an arrangement refers to its size; a common ratio is about one to one, with the height of the flowers (from the rim of the vase to the top of the arrangement) about equal to the height of the vessel. Scale also refers to the arrangement as a whole—flowers, foliage, and vessel—in relation to its surroundings. To determine an appropriate scale for your arrangement, decide where it will sit in the room and whether there’s a void to be filled vertically or horizontally (such as tall ceilings or an empty expanse of table). Consider the vantage point from which it will be viewed. A tall vase of long-stemmed sunflowers feels welcoming in the entryway, but would be awkward on a coffee table, where a few blooms floating in a shallow bowl (see the dahlias on this page) invites conversation. If you’re working with bunches of small flowers (see the sweet peas on this page) or a single bloom cut short (like the poppies on this page), use proportionate vessels; similarly, masses of flowers, like the lilacs Kevin arranged to make a grand statement at Skylands (this page), call for an equally enormous vessel. Once you’ve mastered the basic technique, experiment—Kevin prefers arrangements with flowers taller than the height of the vase; arrangements that break that rule, such as the peonies on this page, can also be surprisingly effective.

COLOR Compositions work best when you keep things contained. If you’re leaning toward a few hues, pick one to be the focus, and let the others serve as supporting players; unify the look by sticking with one kind of flower (see the daffodils on this page). For a quick but graceful arrangement, group a single flower type by shade—a collection of pink, red, and orange zinnias (see this page), for example—or arrange the color bundles alongside each other (see this page). Choose colors that are adjacent to one another on the color wheel (red and orange tulips), or that offer a stark contrast (white and hot-pink peonies). Look to the plant itself for hints; pair orange and yellow blooms with foliage tinted with the same tones. The leaves will nestle in without clashing, and magnify the overall color effect. A specific container can provide inspiration, too, such as the yellow, peach, and mauve tree peonies in a Japanese jar depicting the same blooms (this page).

TEXTURE An important consideration for the mood of the arrangement, texture provides dimension and substance, and introduces variety. Consider the texture of the flower petals and leaves, as well as the growing habit (overall shape) of a plant in the garden. Airy smoke bush, leathery rhododendron leaves, slender grasses, or delicate lady’s mantle can transform an arrangement in different ways, softening or sharpening the overall impression. Gather similar textures to emphasize the effect (as in the spiky dahlias on this page), or introduce something completely new, like peonies combined with swooping amaranthus (this page). In a billowing cloud of hydrangeas (this page), a sharp leaf adds contrast and allows the viewer to appreciate the different textural elements of the display. Consider the environment of the arrangement, as with the use of faux-bois vessels: see the rustic display of sunflowers on this page and the elegant roses on this page.

Once you’ve decided on a plan for your arrangement, keep the look balanced by sticking with at least one unifying element, such as the flowers’ color, size, or type. Spin the bouquet around as you work (use a lazy Susan, if you have one): examine it from all angles, both up close and at a distance, and make adjustments as you go. When you’re adding finishing touches, remember subtle nuances. Kevin sometimes modifies individual blossoms, like inverting the petals of a showstopper tulip (see this page) or turning over a leaf to reveal the underside (see this page). Or switch things up to add visual punch—try a bright color, a “too-tall” vase, or a multitude of textures. You may end up with a dramatic, unexpected arrangement, and make some new discoveries in the process.

SCALE White peonies form the heart of this arrangement; Kevin chose the foxglove and grasses because of their ability to arc and bend, resulting in a composition with flowers about one and a half times the height of the vessel, his preferred ratio.

COLOR Existing entirely within a green and yellow palette, the accents of lady’s mantle, foxglove, grasses, and variegated hosta complement the pale-hued peonies. Monochromatic arrangements have a seamless elegance; these color choices help to blur the lines between foliage and flowers.

TEXTURE The billowy, soft-petaled peonies in this bouquet are nestled within an atmosphere of competing textural elements: the airiness provided by the grasses offsets the densely packed flowers and foliage, and the structure of the large, rippled hosta leaf offers a tactile study in contrast.

A CUTTING GARDEN

A cutting garden may seem like a luxury, but it’s one that is accessible to anyone with a bit of land—even the corner of a yard—and the willingness, time, and energy to maintain it.

Until I purchased my home in Maine, I had never had a specific “cutting garden.” My gardens in Westport, East Hampton, and Katonah were large enough and so densely planted that cutting enough flowers for arrangements was never a problem. The beds could lose a dozen stems of this or that and no one would notice. In Maine, the house gardens that surround the large stone terrace are designed to bloom from June until September. Planted with just enough to satisfy the eye, there is nothing that can be cut without upsetting the overall balance and beauty. Thus, I designed a giant cutting garden. Each year we determine which annuals to plant, and, because I am an aficionado of perennials, which bulbs and cultivars to add to the ever-growing collection of flowering plants, trees, and shrubs.

What we have used in the arrangements in this book visually explains the variety and scope of the plant materials that I love to grow and to bring into my homes. In Katonah, I make a point of growing thousands of daffodils, tulips, and small flowering bulbs, in addition to hundreds of peonies. At Lily Pond in East Hampton, my garden started as a rose garden; after redesigning and transferring the roses to Katonah, I now concentrate more on a formal garden, which is beloved by my friends for its lush shrubs, lilies, hydrangeas, and Japanese maples. In Maine, we concentrate on lilacs and hydrangeas and smoke bush for the giant arrangements. We also plant many hundreds of lilies, which bloom in midsummer, and dahlias for the fall.

At Skylands, where I was able to create my first dedicated cutting garden, I chose a site right next to a large vegetable garden on the lower portion of the property, adjacent to the stable and carriage house. Along with numerous perennials, many strong annuals are planted to supply flowers for the smaller arrangements we place throughout the house.

in autumn

To plan out a cutting garden properly, you should start about a year in advance, preferably in the autumn, though it could also be done in the spring—as early as possible. Be aware that not everything grows everywhere, so read up on your zone and climate to learn which plants will thrive in your garden. Once you’re ready to begin, the first step is choosing the location: cutting flowers need full sun and very good soil to produce the blooms that are worthy of arranging.

in spring

As the growing season begins, note the names and dates of what you plant; this will enable you to track your garden’s progress.

in late summer

Come late summer and into early autumn, as you put the garden to bed, revisit your original plan: what’s working, what’s not? Revise accordingly every year.

The first year of the garden may not resemble exactly what you have in mind, but little by little, the plants will grow, the new additions will fill in the bare spots, and your vases will be overflowing with beautiful flowers.

In Katonah, I grow flowers and foliage everywhere. The cutting garden, located between the main greenhouse and equipment barn, is no exception, and has been well planned. I wanted the plants to be varied, so every bed is mixed; some of the greatest delights in any cutting garden are the “volunteer” flowers that self-seed across and among the beds.