For decades, floristry has celebrated flowers as the stars of every composition. Leaves were often treated as supporting actors—a little eucalyptus here, a touch of fern there. Today, however, a remarkable shift is taking place. Around the world, leading floral artists, luxury event designers and contemporary installation artists are placing foliage centre stage.

The message is clear: in modern floral design, texture, pattern and structure have become just as important as colour.

Over the past few months, I have noticed more and more large-scale installations featuring extraordinary foliage rather than masses of flowers. This movement reflects a wider design trend that can also be seen in interiors, fashion and architecture, where layered textures, bold patterns and sculptural forms are replacing overly decorative styling. Designers are increasingly looking for materials that create depth, movement and visual rhythm.

During our latest Careers Course at Berlin Flower School, my students and I explored exactly this idea in one of our floral installations. Instead of relying on flowers alone, we built our design around an extraordinary collection of tropical foliage. The result was bold, contemporary and incredibly dynamic.

One important thing many florists may not realise is that these spectacular leaves are generally not available as cut foliage. They must be purchased as living plants, making them an exciting investment for workshops, editorial styling and installations. Not only does this offer access to unique materials, but the plants can often continue growing and be reused in future projects, making them a more sustainable choice.

Among the plants we used were:

Tradescantia 'Lila'
Begonia 'Cracklin Rosie'
Begonia 'Bel Gem'
Maranta 'Golden Vein'
Calathea sanderiana
Calathea lancifolia

Each plant contributes something entirely different.

The dramatic bronze foliage of Begonia 'Cracklin Rosie' almost looks hand-painted, with rippled leaves, pink speckles and deep burgundy undersides that create extraordinary depth even before a single flower is added. It is a wonderful reminder that foliage alone can become the focal point of a composition.

The marbled leaves of Maranta 'Golden Vein' introduce intricate veining that immediately draws the eye, while the elegant striping of Calathea sanderiana and the distinctive lance-shaped leaves of Calathea lancifolia add rhythm and movement. Begonias contribute sculptural silhouettes and rich colour variation, while the cascading habit of Tradescantia softens the composition with graceful lines.

What fascinates me most is that these plants encourage us to design differently.

Instead of asking, "Which flowers should I use?" we begin asking:

How can I create contrast?

How can I introduce movement?

Which patterns work together?

This is the language of design rather than decoration.

As florists, we often speak about colour theory, but texture deserves equal attention. A composition combining velvety leaves, glossy surfaces, dramatic venation and architectural forms immediately creates visual richness, even when using relatively few flowers. The leaves become the framework upon which the flowers can truly shine.

This trend also reflects a broader movement towards sustainability. Living plants can often be incorporated into installations, photographed for editorials and then replanted or reused in future designs. Instead of being viewed simply as temporary mechanics, they become valuable design materials with a much longer creative life.

I believe this is only the beginning.

The future of luxury floristry will not be defined by using more flowers, but by using better design. Exotic foliage invites us to think like designers, layering shape, pattern, texture and movement to create immersive experiences rather than simply beautiful arrangements.

Perhaps it is time we stopped calling them "greenery."

These remarkable plants are no longer supporting actors.

They have become the stars of modern floral installations.

Love,

Julia