Springtime Project: Tussie Mussie Posted on April 26, 2016 at 12:00 am.Written by Danielle Withrow Learn how to create your own tussie mussie, inspired by fashions and the language of flowers during Queen Victoria’s reign (1837-1901). During this era, flowers were considered a more modest adornment than jewelry for a young woman. A tussie mussie was sometimes tied with a ribbon, but could also be carried in a cone-shaped, decorative silver holder. They’re still used today for some bridesmaid bouquets. Creating a Tussie Mussie <!– –> 1. Start with the bushiest flowers first and add in additional flowers in a crisscross pattern. Rotate arrangement with each new flower added. 2. Vary the height of each flower and remove excess greenery along the stems. Cut long stems for a petite and feminine look. 3. Measure ribbon at 18-24 inches, cut and wrap around base. Tie a traditional bow and cut tails by folding the ends of each ribbon in half. 4. Find the perfect spot to display your arrangement! Whether used at a placesetting, or as an accessory, these simple arrangements are a beautiful way to incorporate fresh spring flowers into your decor.
Wedding gowns fit for a queen Posted on April 25, 2016 at 12:00 am.Written by Karina Hux From Queen Victoria to Princess Diana to the Duchess of Cambridge, royal wedding dresses have set fashion styles for nearly 200 years—everything from the color of the gown itself to flowers. Several examples of royal attire as portrayed in movies are included in our exhibition, Fashionable Romance: Wedding Gowns in Film, including Queen Elizabeth’s 1923 gown and Wallis Simpson’s famous 1937 dress. Let’s take a look at the famous royals whose gowns have left their mark on the fashion scene. FEBRUARY 10, 1840Queen Victoria marries Prince Albert at the Chapel Royal, St. James’ Palace in London. In the mid-1800s, white was the color of mourning; red was a more popular color for weddings, which made it remarkable when Britain’s young queen wore a white dress for her ceremony. Details of Queen Victoria’s bridal ensemble were publicized in newspapers and in souvenirs, widely reinforcing the idea that wedding gowns—particularly for European and American brides—should be white. Victoria’s silk satin court dress was embellished with British lace, establishing the tradition of supporting local manufacturers that royal British brides still follow. Instead of a crown, she wore a wreath of artificial orange blossoms with her lace veil, which also set the standard for generations of brides to come. See a painting of Queen Victoria in her wedding dress from the Royal Collection Trust. APRIL 26, 1923Albert, Duke of York (later George VI) marries Lady Elizabeth Bowes-Lyon at Westminster Abbey in London. Best known today as the Queen Mother who died in 2002 at the age of 102, Lady Elizabeth’s wedding gown and veil were very much in the style of the 1920s; Vogue magazine described her gown as ivory chiffon moiré with bands of silver lame embroidered with seed pearls suggesting an Italian medieval robe. The way she wore her veil—combined with a wreath in a capped fashion—was on trend for the decade, which can also be seen in Cornelia Vanderbilt Cecil’s 1924 wedding photographs. See the Duchess of York’s official wedding portrait from the Royal Collection Trust. Lady Elizabeth’s wedding also started three traditions for British royal brides: On her way to the altar at Westminster Abbey, she left her bouquet of white roses and heather at the grave of the Unknown Warrior in memory of her brother, who was killed in World War I. Though her gesture was spontaneous, each royal bride since has left her bouquet at the tomb after the ceremony to honor the fallen. Her wedding ring was made of Welsh gold—cherished due to its scarcity—given to the couple by the people of Wales; this tradition has continued through three generations. Prior to Elizabeth and Albert’s 1923 wedding, royal ceremonies were private. Their wedding, however, was filmed in detail and shown in newsreels around the world, starting a fashion for royal wedding media coverage that continues today. JUNE 3, 1937The Duke of Windsor marries Wallis Simpson at the Château de Candé, Monts, France. American socialite Wallis Simpson created the craze for her signature color “Wallis blue” when she married the former Edward VIII, who gave up the throne for his love. The nipped-at-the-waist dress and jacket created by Mainbocher reportedly was colored to match her eyes, and the ensemble showcased the designer’s incredible attention to detail; even the matching gloves created from the same blue silk crepe were specifically designed to accommodate her wedding ring. The Duchess of Windsor, known for fabulous jewelry and designer clothing, later donated her wedding dress and jacket to the Metropolitan Museum of Art. Unfortunately, the dye has faded over time, causing the dress to lose its famous “Wallis blue” color. NOVEMBER 20, 1947Princess Elizabeth marries Lieutenant Philip Mountbatten at Westminster Abbey in London. British couturier Norman Hartnell was selected for the prestigious commission of designing the wedding dress for the future Queen. Post-World War II shortages meant Princess Elizabeth had to purchase material for her gown using ration coupons. Hartnell’s design blended formality and youth in a satin dress and 15-foot circular court train. The skirt was embroidered with traditional floral motifs and decorated with crystals and 10,000 seed pearls imported from the U.S. See the official wedding portrait from the Royal Collection Trust. Elizabeth’s wedding dress has been seen as inspiration for both Grace Kelly’s gown worn at her 1956 marriage to Prince Albert of Monaco as well as Catherine Middleton’s gown worn at her 2011 marriage to Prince William. APRIL 18, 1956Prince Rainier III marries Grace Kelly in Monaco. As befitting her position as one of Hollywood’s leading ladies before becoming Her Serene Highness Princess Grace of Monaco, Grace Kelly’s extravagant wedding gown was designed by Helen Rose, costume designer for Metro-Goldwyn-Mayer and sewn by the MGM wardrobe department in California. The wedding itself was one of the first big royal media events. Prince Rainier gave MGM permission to film the ceremony, which was reportedly watched by 30 million worldwide at a time when many homes did not even have a television. More than 1,500 reporters arrived to cover the wedding—more than covered all of World War II—overwhelming the principality’s population of 23,000. Prince Rainier had to call in the French riot police to maintain order. Grace’s dress for the religious ceremony is considered one of the most elegant bridal gowns in the past century. It was handmade from 125-year-old Brussels rose point lace, silk taffeta, peau de soie, tulle, and seed pearls; its high neck, lace fitted bodice, and pleated waist were major influences on bridal designs of the era. Three petticoats gave the bell-shaped billowing skirt its distinctive look. Her tulle veil measured 90 yards, and was attached to a Juliet cap adorned with seed pearls and orange blossoms. Princess Grace donated her gown to the Philadelphia Museum of Art in 1956, where it was displayed during a 2006 exhibition. Elements from the dress are thought to be inspiration for Catherine Middleton’s bridal gown worn at her 2011 marriage to Prince William as well as for numerous fashion designers, including the Marchesa 2015 spring bridal collection. JULY 29, 1981Prince Charles marries Lady Diana Spencer at St. Paul’s Cathedral in London. No question—when you think of iconic wedding dresses of the past century, the future Princess of Wales immediately comes to mind. Her gown successfully transformed the young Lady Diana Spencer into a fairytale princess. Lady Diana’s dress was designed by David and Elizabeth Emanuel, who wanted to make the most of the royal wedding’s worldwide spotlight; estimates put the television audience at 500 million viewers. Their creation featured a full skirt and sleeves of ivory silk taffeta, with a double-ruffled collar of pearl-encrusted lace over taffeta. But the centerpiece was the longest train in royal history—25 feet of British silk taffeta, tulle, and netting edged with beaded lace. Diana’s romantic appearance inspired wedding dresses for nearly a decade until taste shifted to slimmer silhouettes. APRIL 29, 2011Prince William marries Catherine Middleton at Westminster Abbey in London. The dress that the future Duchess of Cambridge wore at her wedding to Prince William in 2011 remains a favorite with brides. According to published reports, Kate Middleton expressed her desire to combine modernity with tradition in her gown, designed by British designer Sarah Burton for Alexander McQueen. The result was an exquisite ivory and white satin ballgown dress featuring a fitted waist, long lace sleeves, and floral motifs adorned with hand-appliqued British and French lace. The flowing skirt had soft pleats and a nine-foot train. Topping her ivory silk tulle fingertip veil—also embroidered by the Royal School of Needlework—was a Cartier “halo” diamond tiara lent to Kate by her future grandmother-in-law, Queen Elizabeth II. The entire wedding ensemble was exhibited at Buckingham Palace a few months after the wedding.
Springtime Project: Olmsted Basket Posted on April 21, 2016 at 12:00 am.Written by Heather Angel Biltmore’s gardens were designed by Frederick Law Olmsted as his last great commission. Gentleness, charm, and naturalness are keynotes of Olmsted’s style. The picturesque and pastoral elements of Olmsted’s gardens can be recalled in our miniature landscapes, which our Floral Team uses throughout Biltmore House and other areas of the estate as a way to bring the beauty of the outdoors inside. How to Create a Biltmore “Olmsted Basket“ 1. Gather Your Materials To create this small garden you must first choose a container, plant materials, and accessories that complement each other and your setting. Container or basket: Your container can be a basket, ceramic bowl, brass dish, or wooden box; anything deep enough to hide multiple pots and give you room to create. If you use an open weave basket, line it first with sphagnum moss so the foil and mechanics won’t show.Assorted plants: The size of the pots are determined by the size of your container, but 4″ pots are most commonly used. It’s best to use plants with similar requirements such as light, water, humidity, and temperature. We recommend using some tall and low plants, some upright and some spreading to add depth. Ensure the pots should have drainage holes to protect from soggy roots.Creative accessories: Use natural materials such as moss, rocks, twigs, gourds, and berries to create interest with different textures. Additional supplies: floral poly-foil or other watertight liner for your basket, floral foam, and sphagnum moss or other natural materials to use as filler 2. Designing Your Basket Prepare your plants by watering them well and allowing to drain. Next, line your basket carefully with florist’s poly-foil or other material to create a watertight container. Begin arranging plant pots in the basket, using floral foam to stack and wedge them into position. Take care not to overcrowd the plants and allow for a rambling, natural feeling with varying heights.Arrange moss to cover foam or pots that may be showing and add visual interest with varied texture.Add finishing touches with accessories such as rocks, twigs, or berries. 3. Display Your Arrangement Choose the perfect spot inside your home to display your Olmsted-inspired creation. Water with care as required by each plant. Tip: Some plants may need to be removed for watering. From room accents to tabletop centerpieces, these long-lasting designs are a perfect way to brighten up your space.
Top 10 Tips for Custom Framing & Preserving Special Photographs Posted on April 15, 2016 at 12:00 am.Written by Karina Hux It’s wedding season—the perfect time to consider custom framing your beautiful photographs so you can enjoy them for years to come. From glass recommendations to matting and moulding, we’ve got the Top 10 framing tips (thanks to Larson-Juhl framing experts) to help you preserve and present your special memories! Top 10 Framing Tips 1. Choose the right mat Many people today look at mats as an opportunity to add color to the frame design, but originally mats were neutral in color and used to provide visual relief between the art and its surroundings. Regardless of color, think big: More generous mat borders enable you to focus on the art much more easily. And make sure to use acid-free mat board. 2. Consider wider frame moulding If a frame design doesn’t include a mat, the frame size may need to make up for it. A wider frame may still be smaller than the overall picture size would have been with a mat, but it helps art look more interesting and important. 3. Use conservation-grade glass or acrylic Conservation-grade glazing protects art from most of damage caused by harmful UV light rays. By investing a bit more in protective glazing, you will maintain the integrity of your framed art and increase its longevity. 4. Double or triple mat layers all can be the same color Many people just assume if there are multiple layers of matting used, each layer needs to be a different color. Actually, using the same color for all layers can simplify the design and keep attention focused on the art. 5. Use clear glass for bold images and non-glare glass for muted images Clear finish (shiny) glass or acrylic helps to maintain sharp lines and shapes, bold colors and fine details. For soft, muted images, use non-glare glass or acrylic. Non-glare (also called Reflection Control) glass has a soft finish that diffuses details and colors. It looks great when the art itself seems intentionally soft in focus or muted in color. 6. Be creative Many pieces of art look great when framed in a moulding style that’s unexpected. Some types of contemporary art look good in a traditional or rustic frame, and an ornate frame sometimes can add just the right finishing touch to a piece of folk art. 7. Pick the right contrast Black and white provide the highest degree of contrast of any colors, so a black-and-white photo looks best with a high-contrast frame design. Images with softer colors and contrast look best in lower-contrast frame and mat combinations. 8. Consider bottom-weighting a mat A bottom-weighted mat is one where the border below the art is wider than the borders on top and sides. Logical reasons to bottom-weight include when the lower half of the art is darker or contains larger shapes or patterns than the upper half. You may also choose it for a classic look or for valued art that you do not want to cut down. 9. Group images When placing more than one picture in a frame, a multiple opening mat provides the means to bring them together. It is common to use a wider border around the outer edges than the amount of space used between images. When working with more than a few pieces, it can add interest to use different mat opening shapes. 10. Add depth and variety Special details like extra-deep, 8-ply mat boards and narrow, ornamental frames called fillets that work inside the primary frame add layers, making certain designs more dynamic and memorable. See more Biltmore frames. Find a Biltmore retailer near you.
A Vigilant Garden Rescue Posted on April 13, 2016 at 12:00 am.Written by Karina Hux Early spring often brings unpredictable weather patterns, and 2016 is no exception. On the evening of April 9, forecasted temperatures in the mid-20's generated concern among Biltmore's garden crew. Fragrant, colorful wisteria draped across Biltmore's Pergola is an iconic view that our guests have come to love each year and with the early buds just beginning to form and bloom, Garden Crew Leader, Clare Whittington, knew they had to act quickly. Borrowing patio heaters from Biltmore's Engineering Services department, Clare and crew-member Steven Ayers moved the heaters into place around 12:30 a.m. With only 6 hours of gas, they worked with forecasters from Rays Weather Service to ensure they turned on the heat in the most critical hours. Steven stayed throughout the night to monitor the heaters and keep watch — demonstrating the amazing commitment our employees have to their work. “We were not only worried about losing this year’s bloom, but we were also afraid of the wisteria reacting with a burst of vegetative growth. This happened after the freeze of ’07, and it took many years to get the display back to where it is now. Vegetative growth is the long whips that don’t bloom, and create a bad tangle every year,” said Clare. Clare expects this year's wisteria to be in full bloom the week of April 18. Many of our guests enjoying Biltmore Blooms and the Pergola wisteria will be unaware of these above-and-beyond efforts of our garden crew, but for those who are, we hope it makes you appreciate its beauty even more!
Biltmore wines capture the essence of spring Posted on April 4, 2016 at 12:00 am.Written by Karina Hux Each year, inspired by Biltmore's gardens bursting with dazzling tulips and other spectacular blooms, our winemakers carefully handcraft a special release to celebrate the season. For 2016, this special seasonal release is a semi-sweet white with a touch of fruitiness—ideal for outdoor picnics and sipping while soaking up the sunshine. “This wine is aromatic, with hints of peach and honesuckle,” said Jill Whitfield, Biltmore Wine Marketing Manager. “It tastes as if we'd bottled the essence of spring, and we're excited that our guests can find it in their own neighborhood grocery stores and wine shops.“ In addition to handcrafting this delicious wine, we also create a beautiful new label for the bottle. “We want the label to convey the expectation and sense of celebration inspired by our gardens and the return of warmer weather,” Jill said. To illustrate the idea of sun-kissed gardens and rebirth, Jill works closely with Biltmore's Assistant Art Director Lisa Vogel. The two collaborate on what the label might portray, and Lisa creates a series of sketches that will evolve into the final concept. “For the past few years, I've created variations on a theme based on the soft blooms and buds that herald the return of spring in Biltmore's gardens,” said Lisa. “I add layers of botanical texture and color for a sense of richness, and then I add a slightly whimsical note like a bee or a bird that makes the design more distinctive and light-hearted.” This year's seasonal release label features a charming butterfly amidst a bouquet of glorious old-fashioned roses. “Jill wanted to draw the attention of our customers and reinforce the connection between Biltmore Wines, spring blossoms, and the welcome return of warmer weather,” Lisa said of her initial drawings. “So I drew roses, buds, and greenery as a backdrop, and focused on bringing out the playful little character of the butterfly once we knew where the text would be positioned on the label.” After Jill approved the label design, Lisa worked with specialty printers to ensure that the colors and detail of the artwork would be preserved in the printing process. “There are so many options to make the design pop out on the shelf,” said Lisa, “from papers and varnishes to metallic inks and embossed patterns—today's wine label printers can really help bring the finished product to life—and we certainly want everyone to see the bottle and think 'spring!'” Featured images: pages from Lisa's sketchbook paired with finished wine labels; Lisa displaying a bottle of our 2016 Seasonal Release White Wine for which she designed the label
Explore Our Favorite Outdoor Rooms Posted on April 1, 2016 at 12:00 am.Written by Jean Sexton Every season offers a wonderful reason to explore our favorite outdoor rooms at Biltmore, but summer is an especially perfect time to do so. Frederick Law Olmsted Known as the “father of American landscape architecture,” Frederick Law Olmsted had definitive ideas about landscape design. You can see many of his innovative ideas in New York City’s Central Park and here at Biltmore, which was his last professional project before his death in 1903. Enjoy the outdoors, by design The Approach Road, which Olmsted designed to achieve a “sensation passing through the remote depths of a deep forest,” only to have “the view of the Residence, with its orderly dependencies, to break suddenly, fully upon one.” Photo credit: The Biltmore Company. For the magnificent estates he landscaped, Olmsted preferred longer-than-usual approach drives and separate garden spaces or “outdoor rooms” that were distinct from one another with no blending of styles. The methods Olmsted used for creating special spaces are very noticeable in spring and when the gardens and grounds begin to bloom with color. Explore our favorite outdoor rooms When Biltmore employees were asked to share their favorite outdoor rooms around the estate, their answers were a tribute to all that Olmsted envisioned to enchant the Vanderbilts and their guests more than a century ago. Italian Garden The Italian Garden is spectacular in summer Parker Andes, Director of Horticulture, has a favorite spot tucked away in the Italian Garden. “There’s a terra cotta cherub fountain in the last little turf area near the end of the garden,” said Parker. “Most people miss this treasure because they don’t walk all the way down there.” Spring Garden Some of the earliest blooms at Biltmore appear in the sheltered Spring Garden Cathy Barnhardt, former Floral Displays Manager for Biltmore, is now retired and enjoying the estate as an Annual Passholder. “The Spring Garden is like a little valley that opens up off the beaten path. The grass gets green there first and flowers bloom early,” said Cathy. “It’s a great place to spend time with your family.” Azalea Garden Guests of all ages love discovering Biltmore’s “outdoor rooms” like the Azalea Garden Another special location mentioned by several staff members is a bench at the top of the Spring Garden. From this vantage point, you can look down into the Azalea Garden and also have a view of the distant mountains. Another not-to-be-missed favorite outdoor room is the Azalea Garden with all its varieties, colors, and sweet fragrances of azalea to enjoy. Stone steps in the Azalea Garden invite further exploration “Although the Azalea Garden wasn’t part of Olmsted’s original plan, it makes perfect use of a wooded space,” noted Parker. “The blooms are spectacular in late spring, so be sure to take time to walk down the stone steps—another technique Olmsted used to divide outdoor rooms—and stroll down the path there, noticing the stream lined with wild flowers and unusual conifers.” Bass Pond Boat House The view of the Bass Pond from the Boat House is worth the walk! Below the Azalea Garden, Hope Wright of A Gardener’s Place–one of the charming shops on the estate–loves walking down the path to the Bass Pond. “I stop on the bridge going toward the Boat House and sit on the bench,” Hope said. “This is a favorite spot of mine in the spring and summer as I look back upon the stunning beauty I have just witnessed.” Plan your getaway today! Explore our glorious gardens and grounds all year long! Ready to explore our favorite outdoor rooms and discover which ones you like best? Consider becoming an Annual Passholder so you can return and discover something new in every season.
Discover our Wedgewood Bedding Collection Posted on March 11, 2016 at 12:00 am.Written by Karina Hux No other brand in the world enchants and delights like Biltmore. It’s a timeless way of life inspired by George and Edith Vanderbilt’s vision of gracious living and hospitality. Grounded in beauty and refinement, the spirit of Biltmore is captured in every stylish detail and exquisite element of the products our partners produce. The Breakfast Room is a wonderful example of inspiration. From its richly-textured leather wall coverings and silk cut-velvet fabrics to the bright colors of the two Renoir paintings displayed on the walls, the room envelopes guests in a warm, intimate setting full of rich details. It is the fireplace-surround, however, that connected beautifully to our Wedgewood Bedding Collection. Although we have few archival notes on the origin of the surround or its installation at Biltmore, the delicate blue and white tiles are late 19th century jasperware, which is a type of colored stoneware to which a relief decoration—usually white—is applied. The surround in the Breakfast Room is after the style of legendary British potter Josiah Wedgwood. Inspired by the soft wedgewood blue-color hues in these jasperware-style tiles, our gorgeous woven jacquard Wedgewood Bedding brings a classic note to your bedroom with hints of color that harmonize with existing décor. Enjoy this refined bedding ensemble complete with a tasteful collection of coordinating decorative pillows and beautiful window treatments.
Wedding Dress Silhouettes Through the Years Posted on March 7, 2016 at 12:00 am.Written by Karina Hux For many brides, their wedding dress is the most poignant symbol of their marriage, woven with symbolism and tradition as well as fashion and style. During the Fashionable Romance: Wedding Gowns in Film exhibition, we are thrilled to offer our guests a glimpse into bridal fashion spanning the 1700s to 1930s, showing how historic trends still influence today’s brides. All of the costumes seen in Fashionable Romance were designed and made for the screen, but still adhere closely to the period they represent. Each was designed by Cosprop, a well-known design house that prides itself on authenticity, accuracy, and detail in recreating exquisite costumes. From dramatic full skirts of the 1700s, to sleek and slim fashion silhouettes of the 1930s, the gowns exhibited in Biltmore House tell a story of evolving styles and tastes. One of the most intricate gowns displayed is the dress worn by Keira Knightley as Georgiana Cavendish in the 2008 film, The Duchess; designer Michael O’Connor won an Academy Award for Best Costume Design for his work in the film. This dress is an excellent illustration of a formal dress in 1700, with a wide silhouette and full skirt held out horizontally by panniers or hooped petticoats. In this film, the Duke of Devonshire is seen cutting the wedding dress from his new Duchess, which is accurate for this era, as many brides would be sewn into their dresses. Well into the 1800s, the average women’s wedding dress was simply her best dress and it wasn’t until later that the white wedding dress became standard fare. During this time, dress silhouettes became slimmer and empire waistlines were popular. The gowns worn by the Dashwood sisters in the 1995 film, Sense and Sensibility are very different yet accurate to each woman’s status. Emma Thompson, playing Elinor Dashwood, wears a simple muslin dress and crushed velvet spencer jacket in her marriage to the refined but poor minister, Edward Ferrars, played by Hugh Grant. It’s a clear contrast to her sister’s marriage into wealth, in which Kate Winslet as Marianne Dashwood wears a detailed beaded gown with a full length petticoat. In the late 1800s and early 1900s, small waists were the desired look; to achieve this, corsets were commonly worn to draw in the stomach paired with frills on the bodice. High necklines and collars were popular, as represented by the gown from the 1996 Hamlet worn by Julie Christie, displayed in Mrs. Vanderbilt’s Bedroom. Brides during this period also favored veiled hats and long trains—styles that are beginning to resurface in today’s bridal fashions.
Tussie Mussies and the Victorian Language of Flowers Posted on February 29, 2016 at 12:00 am.Written by Danielle Withrow When is a flower more than just a flower? When it’s a hidden message of strong emotion. In Victorian times, social customs dictated discretion above all else, so declarations of love or other strong feelings had to be coded. One way to do so was through floriography or the language of flowers. The concept wasn’t invented in the 19th century. In ancient Greece, flowers were assigned meaning and the symbolism carried forth into the harems of Turkey. The Elizabethans picked up on the practice, using the names of flowers in poetry to signify unutterable thought. But it was the Victorians who fully embraced the language of flowers, to the extent that numerous dictionaries explaining the language were published. During Queen Victoria’s reign (1837-1901), it became fashionable to carry a small nosegay or tussie mussie as an accessory: a flower was considered a more modest adornment than jewelry for a young woman. A tussie mussie was sometimes tied with a ribbon, but could also be carried in a cone-shaped, decorative silver holder, still used today for some bridesmaid bouquets. It wasn’t just women who donned flowers, though. Men took to wearing flowers in the buttonholes of everyday coats and jackets, not just for special occasions. To send a message in the language of flowers, a bouquet or boutonniere would be exchanged. A combination of flower, foliage, or herbs could spell out a whole sentiment. Bouquets expressed not just love, but also friendship or familial connection. The American cowslip was the flower of divine beauty, while the acacia was a flower of friendship. Roses were a complicated matter. While today a rose is all about romance, in Victorian times there were nuances to it. Red roses unmistakably meant romantic love, but a white rose, for example, meant “I am worthy of you.” But there were also flowers that had less-than-cheerful meanings, such as ridicule, rebuff, coolness, and coquetry. The yew, for example, was the flower of sorrow. An almond flower would not have been a welcome gift: it meant stupidity and indiscretion. Messages could be customized. If the leaves were left on a flower, for example, the message was in the affirmative; if they were taken off, an opposite meaning was intended. Even the manner in which a bouquet was received had meaning: a right-handed exchange was a yes; a left-handed one, a no. Definitions of flower meanings weren’t always consistent. One flower whose meaning never varied, though, was the stephanotis, the flower of “wedded bliss.” The flower became a popular feature of wedding bouquets and remains so today.