Flowers

I am a flower child. Not because I was born during the "flower power era" but because when my mother was carrying me in her womb, she developed an insatiable yen for plants and flowers. In the Philippines, we call the cravings of expecting mothers lihi'.

Plants and flowers in any material not only symbolize nature, life and growth, but also conduct nourishing ch'i through out the room. Plants indicate good feng shui; where a plant or flower thrives so will the residents. Silk flowers are effective substitutes for interiors.

My frequent trips to Thailand to source for my gallery made me take a second look at the beautiful hand-made Thai silk flowers. I normally frown on artificial things but they are something else. I realized they can emote as much feeling as real flowers because of their sensitive craftsmanship and delicacy. I worked with various Thai manufacturers to create a designer's line of silk blooms and launched Fleur East Collection.

Arranged en masse and in the right container, silk flowers can look very elegant. In a Korean lacquer vase inlaid with mother-of-pearl, I composed dry and hand wrapped silk blooms from China and Thailand. I use no less than 35 varieties to create the volume. The tall Thai wooden bird, called Hamsa dates to the 18th century, Ayuthia Period. Below the painting is a 19th century recumbent wooden goat, actually a monk's step from Thailand.

A blue glazed Chinese porcelain vase, perched on a rosewood stand, filled with coordinated flowers offsets the large 18th century wooden seated monk from Burma. Selecting the right combination of materials - in color, tone and texture - is the key to tasteful arrangements

An 18th century Thai wooden Garuda stands behind a spray of purples, mauves and lavenders. It is important when using clear glass vase to arrange the visible stems tidily. The smaller the flowers, the more difficult it is to craft them. Below, massed in a large porcelain celadon dish are tiny silk flowers with interesting textures. This is an ideal centerpiece for dining tables.

The tall arrangement, in a palette of hues ranging from burgundy to pale peaches, flows out of a clear glass jar. The colors and tones of the composition coordinate with the Ching Dynasty Chinese portrait. Standing on the right is a Mandalay style Burmese Buddha.

The design principle that I practice in interior design, “less is more,” does not apply with my silk flower arrangements. However, like with my interiors, I have no preconceived notions when I begin to compose but letting inspiration guide me.

*Related article in Today's Living and
South China Morning Post Magazine

FROM THE READERS "Congratulations on the fine job you did with your online book. I find your website very informative and fascinating indeed! You just entered a new threshold in publishing with your online book. I particularly like your philosophical quotes and how Eastern ideas influenced your design work--sparse but relevant, simple but elegant. " Vic Gendrano, HERITAGE, Magazine of Filipino Culture, Arts & Letters, Los Angeles, USA

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[Book Cover] | [Contents] | [Foreword] | [Introduction] | [Formative Years] | [Space to Start] | [Tools of Trade] [Concept Renderings] | [First Break] | [East by Southeast] | [Working Manner] | [Space Transitions] | [Seasons' Home] | [Sunsets' Place] | [Pied á Terre] | [Something Different] | [Restrained Elegance] | [Dream Zones] | [In Comfort] [Prestige Investments] | [Asian Gallery] | [Lighting] |[Objects] | [Flowers] | [Afterword] | [Professional Profile] [Personal Profile] | [Sign Guestbook] | [Guestbook]

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