October 2026 Flower Thoughts

Shortcuts to Creativity

While crafting mechanics for our designs is rewarding, we sometimes want to focus more of our energy on working on an idea or exploring design principles. Using forms or structures we already have can not only save effort but afford us the time to focus on other aspects of our designing.

Using a pre-existing form isn't “cheating”; it's deciding where we want to place our energy. It gives us a starting point that we can adapt to suit the design.

A metal ring, for example, can provide the basis for a framework without determining what that framework becomes. A knitted or woven sheet of wires or natural fibres gives an existing pattern and structure that we can shape as we need. In each case, some of the work has already been done, while the way we use it remains open.

When contemplating a new design, I consider my materials and ask myself what they offer. I look at the characteristics of the forms and structures around me, such as their shapes, patterns, textures, fluidity or rigidity. They all offer something useful to work with, and something designed for an entirely different purpose may already contain the beginnings of a floral design.

Whether I use the existing form largely as it is, combine it with other components or alter it substantially, I gain a quick starting point and can focus more of my energy on the design decisions that I want to explore.

What do you have at hand that could be the basis of your next design?

Design of the Month

Duc Thuan Bui conceived this month’s Design of the Month while representing Boerma Instituut at this year’s Féerie Florale at Alden Biesen Castle, Belgium. This standing, hand-tied bouquet was created to the theme Reflections of Nature. It is surprising to learn that this well-considered design was an exercise in resourcefulness, using ‘borrowed’ flowers when his chosen materials suddenly became unavailable.

The main floral components are nestled between arching decorative panels covered in cut Cobra Leaf (Butea monosperma). Shell discs with iridescent film create shimmering effects and the wide shallow pool of water reflects the design.

The prestigious four-day annual festival features displays and masterclasses set among the castle’s atmospheric lawns, courtyards and spaces and attracts floral designers from around the world, both as exhibitors and visitors.

Where to Put Your Effort in a Competition

When I approach a competition, I look at two things separately: what the schedule requires and how the design will be assessed.

The schedule gives me the problem, or what is required, namely the theme. It also defines dimensions, restrictions and other constraints to work within. The marking criteria tell me how my work will be assessed. They are, essentially, the goal posts. They give me guidance on where to direct my efforts and in what proportion.

Knowing the marking criteria before I start designing tells me where the goal posts are. Each competition allocates marks differently and may use different terminology. Understanding how the judges will assess my work gives me a map to guide me as I develop my response to the brief.

It's easy to become absorbed in one part of an entry. We might put a lot of effort into interpreting the theme while giving less attention to the design principles, colour, impact or workmanship. Or we might fall short in the marking by focusing on design decisions and workmanship at the expense of interpretation. Knowing how these areas are being assessed helps me keep them all in balance as I plan and as I work.

I continue to use the criteria as the design develops. I habitually look at the work and ask where my design meets the criteria and where it falls short. If one aspect has received most of my attention, another may need further development.

This doesn't mean turning the marking criteria into a formula for allocating time. A lower allocation of marks does not make an area unimportant. Workmanship, for example, affects how the whole design is perceived. Compliance is different again: failing to meet the requirements of the schedule may mean an entry is not judged at all.

Returning to the criteria when I review the finished work helps me look beyond whether I simply like the result and consider how effectively it answers the brief. I then return to the schedule separately for a final compliance check. Doing this helps me crystallise learnings that I can carry forward and so become a better designer.

I've shared other insights from my competition experience in the video Top Tips for Competition Success. It's free and you can watch it here.

Thanks for joining me again this month.

You can catch up with all the back issues at flowerthinking.com.

I wish you success in all your designing.