Where floral artistry, community and storytelling flourish in perfect harmony.
You may already know Bryce Heyworth from September Studio’s social media presence. With more than 1.6 million followers, he has become one of the world’s most recognisable floral creatives. His signature blend of stop-motion floristry, large-scale floral creations, dance-worthy soundtracks and playful creativity has earned him a devoted global following. Equal parts artist, entrepreneur and entertainer, Bryce has transformed flower arranging into a captivating visual experience watched by millions around the world. But social media tells only part of the story. Behind the viral videos sits a thoughtful, creative, skilled florist and community builder, whose influence extends far beyond the screen. —— At the heart of that success is an unmistakable sense of community, one that extends far beyond the floral studio, café and communal garden that together form the physical home of the brand. It reaches into every part of the world Bryce has carefully created. Whether through the playful immediacy of his social content, the generosity with which he shares his process, or the consistency of the atmosphere he has built both online and offline, Bryce has created a brand that feels less like a business and more like an open invitation
Bryce approaches floristry as a medium for shaping mood, energy and feeling. His works are not designed simply to decorate a space, but to transform how it is experienced. Sculptural, expressive and instinctively composed, his work uses movement, texture and form to create floral pieces that are both emotionally resonant and visually striking.
Alongside this artistic vision sits a sharp entrepreneurial instinct. Bryce understands that the most successful brands are built through consistency of feeling. Every touchpoint of September Studio, from the workshop and café to the social feed and garden pathways, carries the same unmistakable DNA. It is immersive, thoughtful and sincere. Carefully aligned collaborations with like-minded brands further enrich the September Studio world, adding depth, extending its reach and creating a business that feels both creatively compelling and commercially astute.
Your background as a ceramicist gives your floral work such a sculptural quality. How has working with clay shaped your creative instincts?
Clay taught me to think in form before detail. When you’re building something from a lump of earth, you’re constantly considering weight, balance, movement and negative space. I approach flowers in much the same way. Before I think about colour or variety, I’m usually thinking about shape and how something occupies a space.
Is there a bloom or variety you think is consistently underestimated, one that quietly works harder than people realise?
Carnivorous plants. Most people don’t even consider them part of the floral conversation, but they’re some of the most fascinating living sculptures in nature. They’re strange, functional, slightly unsettling and completely beautiful. I think we’re only scratching the surface of how they can be used creatively.
What is one flower you think deserves a major comeback?
I’m not sure it’s a specific flower as much as a style, but I have a real appreciation for old hotel florals. Not because they’re fashionable, but because they had a certain confidence to them. Large arrangements, generous use of flowers and an understanding that florals could help define a space. I’d love to see some of that come back, reinterpreted through a contemporary lens.
What has been inspiring your evolving creative vision lately?
Honestly, nature continues to be the biggest influence. The more time I spend in the landscape, the more I realise we’re all just trying to catch up to what it’s already doing. Beyond that, I’ve been drawn to artists and designers who create with restraint. The older I get, the more interested I am in what can be removed rather than added.
What has been the most surprising thing about your journey so far?
How universal flowers are. I started making things because I enjoyed the process, but watching people connect with the work from completely different countries, cultures, and backgrounds has been pretty incredible. Flowers seem to speak a language everyone understands.
If you could create florals anywhere in the world, which destinations are currently at the top of your wish list?
I was lucky enough to design in Tokyo earlier this year, and what stayed with me most was the culture’s dedication to craft. There is a deep respect for process, materials and mastery that I find incredibly inspiring.
Later this year, I’ll be working in the Andes, which feels like the perfect landscape for the kind of work I love creating. The scale, the rawness and the connection to nature are hard to match. Those environments tend to push my creativity in the best possible way.
Your work moves at such a fast and highly creative pace. How do you switch off and properly recharge?
I don’t switch off particularly well. But spending time outside helps. Long walks with Gus, getting into the garden, cooking, exercising and being away from my phone are probably the closest things I have to a reset button. Being around nature without needing to turn it into content is important.
How does your approach shift when designing for weddings and events, compared with the daily rhythm of studio floristry?
Events allow us to think at a much larger scale. In the studio, we’re often creating something intimate that lives in a home. Events become about atmosphere and experience. You’re not just arranging flowers. You’re shaping how someone feels when they enter a space.
For couples or clients planning a wedding or event, what is your biggest piece of advice when it comes to approaching florals thoughtfully?
Start with how you want people to feel, not what flowers you want. The strongest events have a clear emotional direction. Once you know the atmosphere you’re trying to create, the flowers become a tool to help tell that story rather than a checklist of varieties and colours.
Gus the Vizsla feels like an important member of the September Studio team. What does he bring to the energy of the space and brand?
He’s our rock, although he’d probably argue he requires as much emotional support as he gives.
He has an uncanny ability to bring everyone back to earth when things get busy or stressful. Dogs don’t care about deadlines, algorithms or whether an arrangement is finished. They just want to be near their people.
I genuinely think dogs are one of the best things humans ever figured out. They make life slower, funnier and infinitely better. The older I get, the more convinced I am that most problems can be improved by spending time with a good dog.
While September Studio is firmly rooted in Sydney, Bryce’s influence extends far beyond Australia. He travels extensively, drawing inspiration from flower markets, gardens, design destinations and creative communities around the world. His work has taken him across continents, collaborating with some of the most respected floral and design talent. For couples planning a wedding, Bryce takes on a limited number of thoughtfully aligned celebrations each season.
Despite his success, there is a humility to Bryce that feels remarkably genuine. Having visited September Studio on two occasions, we found Bryce to be exactly as those who know him describe him: warm, welcoming and refreshingly down-to-earth. Despite international projects, a travel schedule, and a growing profile, he remains deeply involved in the day-to-day life of the business. One moment, he might be designing a large-scale installation, the next jumping behind the coffee machine.
It is this balance of global perspective and grounded humility that defines both Bryce and September Studio.
For more information, visit septemberstudio.com.au and @september___studio.
