Real Weddings, Real Venues

The first outing for the Mirror Chuppah, in a Mayfair ballroom with a twenty-metre white aisle running the length of the room to a carpeted stage. The mirrored panels picked up the venue’s chandeliers and the floristry and returned them in every direction – the effect guests noticed from the door.

A return to the Grand Hall at Battersea Arts Centre with the Single Birch, this time covered end to end in floristry. Birch is the structure florists ask for, and against the Hall’s restored Victorian interior a woodland canopy did something a metal frame could not have.

Our White Wood frame, covered completely by Funky Flowers until the timber had disappeared and the chuppah read as a structure made entirely of flowers. This is the reason the white frame exists: it is designed to vanish under someone else’s work.

A synagogue ceremony with the Gold Frame, and an Israeli flag built into the roof of the canopy at the couple’s request. The kind of adjustment that takes a conversation and a bit of engineering, and means everything to the family standing underneath it.

The classic white drape at Dyrham Park, twenty minutes from our workshop. A traditional canopy in a country club setting – no reinvention required, just fabric hung properly and a frame that disappears behind it.

The Perspex chuppah at South Farm with colour suspended above the couple and the aisle carpet run out well beyond the ceremony area. Clear columns and hanging flowers is a combination that works because nothing appears to be holding the flowers up.

A tent-form draped chuppah on the Thames at Runnymede – proof that the classic drape is far more adaptable than its name suggests once you change the roofline.

The debut of the Pleated Column Chuppah. Four illuminated pleated columns in a room we know well, and the first chance to see whether diffused light through pleating did what we hoped it would. It did.