Emily and Harry were married as summer gave way to autumn, with floral work shaped by the language of the English harvest, a moment of fullness.
The approach was informed by season rather than palette, allowing material, texture, and form to lead.

Within the church, arrangements responded to
the architecture. Flowers and foliage—dahlias, seed heads, berries, vines, and late garden roses—were arranged to echo the rhythm of stone columns and alcoves, appearing settled rather than staged.

At the reception, long tables beneath canvas were dressed with floristry that felt generous, threaded with fruit, foliage, and soft movement.
Nothing was overly formal.