Inside the World of Cecilia Fox with Melanie Stapleton
There are florists, and then there is Cecilia Fox, a studio that has reshaped the language of modern floral design. Founded by Melanie Stapleton, the creative mind behind some of the most captivating and unconventional botanical work of the past two decades, Cecilia Fox sits at the intersection of art, fashion and nature. Mel’s work is never simply arranged. It moves, breathes and tells its own stories, whether through dreamlike wedding installations or atmospheric editorial compositions.
Now, she steps into a new creative era with the release of Pretty Dirty, her debut book published by Hardie Grant and arriving in March 2026. Bold, visceral and deeply evocative, this long-awaited volume promises an intimate look at her philosophy, her process and the beautifully irreverent tension between wildness and refinement that defines the Cecilia Fox world. It is set to become essential reading for anyone who sees flowers not as decoration, but as a form of art.
Mel created the floral designs for our fashion editorial in this issue, a stunning expression of her signature poetry and power.
Photographer Keryn Sweeny
TJ — You’ve been shaping the language of modern floristry for more than a decade. How would you describe the essence of Cecilia Fox today, and how has it evolved since those early days in Naarm to now, back home in Tāmaki Makaurau?
MS — In the beginning, I wanted the work that I made to feel young, effervescent and a little naive. As I’ve grown and expanded within myself and Cecilia Fox, I hope that the work that I make pushes the boundaries of traditional floral design. That it is still wild and generous and rebellious. Back here in Tāmaki Makaurau, my work has taken on a quietness — there’s more space for introspection.
Your work feels rooted in emotion and storytelling as much as in design. When you begin a new wedding or event, what sparks the creative process? Season, space, scent, or something more intangible?
With my wedding work, my aim is always to deeply reflect the couple and their life. My process starts with brainstorming all of our biggest ideas and wildest dreams. Seasonality is at the root of my practice and guides everything I do. Because my work is generally installation-based, the space and location are paramount in bringing ideas and inspirations into the earthly realm.
Pretty Dirty, published by Hardie Grant Books, photographer Larissa Warren.
The Cecilia Fox aesthetic has always felt instinctive and a little rebellious, leading trends rather than following them. What’s capturing your imagination right now in terms of colour, texture, and form?
Colour in nature has enduring inspiration. I’m currently looking in tide pools and the rocky shore for colourways that push my own boundaries. I’ve always loved grasses, and being here in Aotearoa has increased that love by 100%. Sculptural works with woven grasses are sure having a moment, and I’m here for it. So, yes to a profound use of texture
sculptural forms.
Sustainability sits at the heart of your philosophy. What does responsible beauty mean to you, and how do you balance creative freedom with environmental awareness?
Working towards more sustainable practices is more about a mindset shift than any significant hindrance to creative freedom. It’s not about perfection, it’s about all the little steps. It’s so important to me that my work and my business support a thriving industry and earth, now and into the future, and it is my responsibility and my privilege
to be a steward of the natural world. A dedication to the materials requires honouring them, and my work reflects my fundamental values. A client may never see what happens behind the creativity and beauty, and that’s the magic of it. They can always be assured that I am committed to best practice. I’m reminded of the quote, ‘What happens behind the scenes comes through on stage’. I think of all of the steps I take to make sustainable choices, especially composting my waste, as a part of my practice, not of a separate dumping of trash into a landfill at the end of a job, but a considered and circular commitment to future flourishing.
You’ve collaborated with artists, stylists, and designers across so many mediums. How do these cross-disciplinary experiences influence the way you approach floristry today?
Collaboration has played — and continues to play — a pivotal role in my practice. Having a different creative perspective is incredibly important to me. Because the flower industry is so niche and particular, seeing the work I make from another viewpoint or another mindset is critical to evolving and expanding my practice.
LEFT Photographer Keryn Sweeney. RIGHT Melanie Stapleton, photographer Cassandra Casic.
Your new book, due in early 2026, has been eagerly awaited. What can readers expect?
I am so excited to share this book with everyone! It’s been a hugely challenging process and a real ‘life goal’ to achieve. It’s called Pretty Dirty – The Life of Flowers, From Creation to Compost and it’s the story of my life in flowers and an ode to the cycles and seasons of our universe. Exploring in words and in photographs growing flowers, creating with flowers, right through to the art of turning organic waste into magical, nourishing compost. It’s a journey of connection, beauty, cycles, and so much more.
After years of creating for others, how do you personally stay creatively fulfilled? What rituals or environments help you reconnect with your own artistic energy?
It seems trite to say the natural world, but it’s the truth. Being in nature, among big trees, the ocean, and with my family fills my cup.
Music speaks to my heart. I’m lucky enough to have a musician partner and many friends who are in the music industry. Live performance is life giving!
In the last year, I have been studying Ikebana, Japanese floral design, and it’s given me the opportunity to really slow down and to give a great deal of attention to space and the ritual of this practice.
You’ve spoken before about finding beauty in the unlikely and the untamed. What draws you to imperfection, and how do you decide when a design feels complete?
I love using materials that are not traditionally considered beautiful. Finding the innate beauty in all things. I have a whole chapter in my book dedicated to the perfectly imperfect. Trusting your instincts and letting the materials tell the story helps me decide when a design is done.
TOP Photographer Tasha Tylee.
If Cecilia Fox were a person at a dinner party, what would they wear, what would they bring, and who would they want to sit next to?
I’m a real introvert, but I love that Cecilia Fox can be my alter ego! Cecilia Fox would wear a Reloved Kowtow dress. She would bring a fresh, abundant salad from her garden, and of course, no dinner party is complete without flowers, lots of them. She would sit next to Lucy Blakiston from Shit You Should Care About.
And finally, if you could create one completely unrestrained floral installation — no limits, no budget, no client brief — where would it be, what would it look like, and who would you invite to witness it?
In my book Pretty Dirty, I interviewed Lisa Waud, a florist/artist in Detroit, and when I asked her a similar question, she said, ‘Let’s start with the Tate Modern’s Turbine Hall and all my florist crushes. We’ll know what to do from there.’ It has really stuck with me, and I can’t get it out of my head. See you at the Tate Modern x
Discover more by visiting ceciliafox.com and @ceciliafox.
