Farima Perry Florals and Events

The studio's own account of what it does is unusually direct: wedding flowers should tell a story, not simply decorate a room. Every commission begins with a conversation about the couple rather than a fixed house style, whether the brief calls for a single, perfectly composed bridal bouquet or a floral installation built to transform an entire venue. Statement ceremony arches and suspended floral clouds sit in the same portfolio as an intimate table setting, evidence of a studio comfortable working at either end of the scale.

Farima leads a team of senior and junior florists, production specialists and stylists, structured less like a single-designer studio and more like a small production house. It shows in the work: a suspended floral cloud over a reception table, or a gold balloon and greenery installation built to frame a top table and a wedding cake, is not a one-person job, and the studio's installations read as considered, engineered pieces rather than oversized bouquets left to gravity.

The portfolio itself demonstrates the range as clearly as any description could: a candelabra table dressed in pink and white roses inside a gilt London ballroom sits a few images away from a white rose topiary rising from a stone fountain in an Italian garden, and from a cascading tablescape of blue delphinium and blush roses staged beneath a run of arched windows. Each is recognisably the same studio's hand, in the height of the arrangements and the density of the bloom, even as the settings and the palettes change completely.

The process behind that range is deliberately unhurried. Every wedding begins with a consultation about the couple themselves, their traditions, their venue and their budget, resolved into a bespoke scheme before a single stem is ordered, then sourced, produced and installed by the studio team on the day itself. It is a sequence that sounds procedural written out, but it is the reason a mandap and a candelabra ballroom table can come from the same hand without either looking like a template stretched to fit an unfamiliar brief.

Weddings are the core of the practice, but not the whole of it. The studio's own service list runs from event flowers, deliveries and subscriptions to lifestyle and editorial shoots and one-to-one floristry classes, the kind of range that keeps a small team working through the year rather than only across a wedding season. A couple booking Farima Perry for their wedding day is, in effect, booking a studio that stays in daily practice on flowers the rest of the year too.

A meaningful share of the studio's work sits outside the classic white-wedding template, and Farima Perry treats that work as a specialism rather than an accommodation. The site carries dedicated pages for Indian and Asian weddings, for Jewish weddings, and for destination weddings abroad, each with its own floral vocabulary: mandap and chuppah structures, multi-day celebrations, and the logistics of building a full installation somewhere the studio does not work every week.

For Hindu, Sikh, Muslim and other multicultural ceremonies, the studio's own description is a floral language built for tradition rather than borrowed from a generic wedding brief: a mandap dressed in trailing garlands and a crystal chandelier at its centre, an archway heavy enough with bloom to hold its own against a red and gold bridal lehenga. Fusion celebrations, blending Eastern and Western elements across a multi-day event, are named explicitly as part of the practice, not treated as a special request.

For Jewish weddings, the chuppah is the obvious focus, and the studio's own work with it runs from a blush and white structure staged on a lawn above the sea to a burgundy-toned drape hung with a crystal chandelier for an indoor ceremony. The four open sides of a chuppah are, in a sense, the hardest brief in wedding floristry: a structure with no back to hide behind, built to be walked through and photographed from every angle.

Destination weddings extend the same approach further from home. The studio has dressed an outdoor reception beneath the trees of a Tuscan villa and a garden celebration in Florence, gold chiavari chairs standing in for the ballroom furniture a London venue would supply, and it travels for ceremonies and multi-day celebrations more generally, wherever a couple wants to marry.

The studio publishes its own pricing, an unusual degree of transparency in a trade that mostly deals in enquiry forms. A bridal bouquet starts from £95, a classic package of bouquet, bridesmaids' flowers, buttonholes and a top table-scape from £400, and an archway, for a couple who want the full ceremony statement, from £2,500. A faux silk collection exists too, priced by the piece rather than the stem, for couples who want the look to survive a long engagement, travel, or a second life after the wedding.

The faux silk collection is a deliberate second option, not a downgrade. Two named styles, Jasmine Grace in whites and greens and Rose Garden in mixed pinks, creams and greens, are priced by the piece across three tiers, from a classic set of aisle gardens and table domes to a deluxe package that adds a full floral arch. For a couple marrying somewhere the flowers cannot easily follow, or who simply want the look to survive the day intact in every photograph, it is the same design vocabulary rendered in a material built to last.

Recognition has followed the work rather than preceded it. Farima Perry's installations have been featured in Tatler, Hello! and Condé Nast's Brides, covered by Channel 4 and the London Evening Standard, and named a Florist Favourite in successive years by a UK wedding industry awards body. The studio is also a preferred supplier to a run of London's grandest addresses: The Savoy, Dorchester Collection, Rosewood, The Langham, The Landmark, Corinthia, Sheraton Grand, Bvlgari Hotel London, InterContinental Park Lane, Brocket Hall and the Old Royal Naval College.

None of it happens by accident. A floral cloud suspended above a dining table, or an archway heavy enough with bloom to frame a couple against a coastline, is built on a hidden structure engineered to carry the weight and hold its shape through an entire event, wind, heat and a full evening of guests included. The studio's own installations are judged, in the end, on how invisible that engineering manages to stay: the couple and their guests should see only the flowers, never the frame beneath them.

The colour range across the portfolio is wide by design: the blue delphinium and coral of a garden tablescape, the gold balloon spheres suspended over a greenery installation, the all-white restraint of a chuppah on a clifftop lawn. What holds it together is scale and composition rather than a single signature palette, tall arrangements built on slim stands so a room keeps its sightlines, installations engineered to look weightless even when they plainly are not.

Farima Perry's own path into the trade runs against the grain of most florists' biographies. A solicitor by training, she spent a career protecting other people's interests before turning, in 2018, to building something of her own: a studio she now runs as both creative director and, in effect, the client's advocate through the planning process, a legal habit of mind applied to contracts, suppliers and the small print of a wedding day most couples never think to check.

Beyond weddings, the same studio designs for Bar and Bat Mitzvahs, engagement parties, baby showers, and corporate and brand events, and works directly with hotels, corporate offices and private residences on their own floral programmes. It is a client list that overlaps with, rather than competes against, the wedding portfolio: several of the same hotels the studio is a preferred supplier to for weddings, among them The Savoy, Corinthia and The Landmark, also call on Farima Perry for their own events and everyday floral schemes.

A wedding's flowers last a single day, but the photographs of a chuppah against the sea, or a gold-balloon installation reflected in a hotel's mirrored walls, outlast it by decades. Eight years after leaving the law for the trade, Farima Perry runs a studio built to answer a wide range of briefs, cultural, corporate, classic English, without losing the thing her own site calls the point of the work: flowers that tell the couple's story, not simply decorate the room around them. Explore Farima Perry Florals and Events on the Luxury Wedding Directory to see the studio's full profile and enquire about your wedding.