Composed by hand,
by Taylor Breshears.
A small floral house in El Dorado Hills, California. By appointment.
I built the studio on the conviction that floral design should do more than occupy a vase — it should compose a feeling.
I had my son when I was fifteen. I am a single mom, and everything I do is for him. The studio is the version of the work I want him to see me build.
Floral design found me in a season of trusting my creativity, and it has been evolving ever since. I trained the way most people in this work do — through other people’s gardens, through the wholesale market at four in the morning, through the small, unglamorous repetition of making a hundred bouquets nobody will remember to find the one that they will. The studio that came out of that was modern, restrained, and personal. Refined, but not careful.
Les Fleur Company is the second name I’ve given the work. The first was honest — Stem & Soul, built on a BloomNation template, took everyone’s order, and put me on the floral map in El Dorado Hills. I owe it everything. But the work I do now is not the work that built that name. The weddings have grown more considered. The atelier pieces are curated, not stocked. The Heritage line ships nationally, in a noir box, with a hand-signed note. The name was the last thing to change.
I work alongside a small team I trust, on a small number of weddings and events each season, and I am there for the install, for the reception, for the bouquet you take home. The studio is in El Dorado Hills. Meetings are by appointment.
The work belongs to the day it was built for. And, quietly, to him.
“He is the reason. He has been, from the beginning.”— Taylor Breshears, Maui
“I build for the moment the flowers are seen — the first breath into the room, the second look at the table, the small bouquet left on a nightstand at the end of the night.”— Taylor Breshears, in studio
The practice.
I work from the bloom outward. The vessel and the room come second — the first question is always what is exceptional this week. Garden roses in March will not be garden roses in November, and the composition belongs to the season it was cut in.
Restraint. Most of my work moves through two or three notes — a principal bloom, a contrast, a ground — and lets each one breathe. Color is composed in tone, not in count.
Garden roses, ranunculus, anemones, smoke bush, chocolate cosmos, lisianthus. For the Heritage line, preserved Ecuadorian roses — selected for the way they hold a shape over years.
Every wedding is composed by hand, in studio, the morning of. The team installs, stays through reception, breaks down at end of night, and leaves a small bouquet from the work for the couple’s home.
The work, in progress.
Composed by hand in studio, delivered on the day. Two moments from the bench.
Off the bench.
The studio’s public face — for press features, brand activations, and the editorial work that travels.
The studio works with editors, creative directors, and brand teams on a small number of editorial productions each season — press features, runway and showroom florals, seasonal lookbook collaborations, and the occasional portrait of the founder herself.
Inquiries from press, agencies, and design directors are welcomed through the studio inbox.
hello@lesfleurcompany.com→
Off the bench, on the street — between engagements.
“Flowers should do more than exist in a space — they should create a feeling.”— Taylor Breshears, Founder
Tell us about the day.
Wedding inquiries begin with a phone call. Atelier pieces and bespoke commissions begin with a note to the studio.