The leaves for this window were cut from recycled materials - Anthropologie shopping bags, newsprint, book pages, and craft paper. They were coated in transparent washes of paint to create cohesion among the various patterns.
The heart and city text were painted on the glass and leaves were taped to the window from the inside.
The Pollen concept combined hand-made 3D flowers with chalk-drawn flowers.
The opposing wall had multiple iterations over the season, at first featuring the deer family and later enhanced with even more flowers.
The pollen flowers were hand-dyed and painted before assembly, and they were combined with some of the Flying Poppies paper flowers from last season.
The large-scale flowers were created with foam core and paper petals, then painted in an abstract way that allowed brush strokes and drips to shine through. The centers of the flowers were made with painted nylon string and crepe paper.
The backdrop (and the floor) was painted using a variety of colors that were allowed to blend together and drip in an organic way. Wall-pasted flowers were adhered to the canvas and painted into the backdrop, then extended with white additave petals for a three-dimensional look. The large-scale flowers were suspended off the wall to create depth.
The lichen table top was made with 2x4s, then jigsawed around the edges to create a "live edge" effect. It was then stained with India ink and coated with a satin polycrylic.
The table was styled with real tree stumps, a moss overlay, and hand-made tree-ring risers. The risers were made from stacked plywood, which were routered out and stained in a color gradient.
The spring greenhouse foliage was re-dyed to create a darker, more fall-appropriate mood. Gold vines were added to the foliage wall and through hanging lights to simulate a living, outdoor scene. The back wall canvas was painted to reflect the colors of the concept, and to emulate the Rothko-inspired wall across the store. Branches with gold leaves were added to the candle shop wall to complete the ambiance.
The tree bark was prepped in advance by dying chipboard, ripping and rolling the edges while wet, and adding India ink streaks to create a wood-grain effect.
The trunk structure was created with a wood skeleton and cardboard cover, which was used as a base to attach the chipboard bark.
The autumn leaves sent to the store and dyed in-house. Varying shades of purple, red, and orange were used to create an ombre effect.
The trunk was attached to the wall and the floor for support, and the leaves were tacked into the ceiling to give the effect that the tree was growing through the ceiling.
Wood and paper laser-cut ginkgo leaves were sent to the store and treated in-house. Some were painted, others were given a dye treatment, and others were coated in copper tape and copper leaf.
The leaves were taped to the window glass using copper conductive tape. The placement was organized to frame the mannequins with the bold yellow color, then transition into oranges, browns, and coppers as the ginkgo leaves dissipated across the window scape.
The smaller bees were created from prints sent by the company - they were cut out and glued together to make them 3D. The larger, more detailed bees were hand-made from crepe paper and wire.
The home pantry department got a spring update to reflect a lush greenhouse. Paper leaves of various varieties were added to the wall and cabinets, accented by vintage windows.
The greenhouse leaves also carried over to the front of store wall, and were later added to the front platform for a dramatic effect.
The greenhouse concept was relocated and additional leaves were applied to a hutch to add dimension in the space.
The paper leaves were sent pre-cut, but were hand dyed and wired in-house. Each type of leaf received a unique, multi-step dye treatment.
The flower stems were created by wrapping crepe paper around hanging wire.
Flower buds were molded from styrofoam and crepe paper. Crepe paper petals were folded and spray painted, then stretched and molded into flowers.