January 7, 2025 • 45 mins
Australian floral designer Julia Rose had a bold dream—to showcase her outrageous creativity with live botanicals on the New York Fashion Week runway. That dream became reality.
Draping stunning models in breathtaking couture crafted from fresh flowers, Julia brought her vision to life. As her floral masterpieces graced Runway 7 and lit up Times Square, the audience responded with awe and applause.
Now, hear Julia Rose share the story behind her groundbreaking collection and the journey that made it all possible. Tune in to discover how she turned her passion into a moment of fashion history!
How we Bloom podcast is an oasis of flower ideas. Host Sharon McGukin of Smithers-Oasis North America interviews floral guests who dare to do things differently. We listen, learn, explore new opportunities and that's how we bloom!
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Episode Transcript
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Julia Rose (00:06):
I created floral couture purely for my own joy.
People just connected with it.
And you see how much they loveit now because it comes from
that place of passion within me.
I always say create for you,because your people will find
you.
Like, your weirdos.
The ones that love what youlove, they will find you.
(00:29):
And they will love what you do.
Sharon McGukin (00:37):
Welcome to How We Bloom, an oasis of flower
ideas.
I'm your host, Sharon McGukin,AIFD, AAF, PFCI, and I believe
that every great success storystarts with one simple idea.
That's why we interview thosewho dare to do things
(00:58):
differently.
Inspiring people who plantseeds, grow ideas, and bloom to
their full potential.
In this podcast, we listen,learn, explore new
opportunities, and that's How weBloom.
(01:19):
Julia Rose of Newcastle,Australia, had a dream.
With hope, hard work, outrageouscreativity, and the backing of
floral industry sponsors likeSmithers Oasis, Julia's floral
dream came true.
She watched in awe as herinspired floral couture
collection paced the red carpeton Runway 7 during New York
(01:44):
Fashion Week.
Amazing.
From Times Square to the FashionRunway, this Princess of Petals
highlighted the natural beautyof stunning models draped in
garments of gorgeous flowers.
Each breathtaking design asunforgettable as it was
unexpected.
(02:05):
Original.
Organic.
Exquisite.
Extravagant.
Julia's living, fragrant,wearable art beautifully
expressed our on-trend love offresh flowers in high fashion.
Julia is joining us today fromAustralia to share her secrets
of success.
Welcome, Julia.
(02:26):
Hi.
I think they all fit with ourdifferent time zones.
Julia Rose (02:37):
I That's good, I have no idea.
It's evening It's evening overthere, isn't it at the moment?
Sharon McGukin (02:43):
here,
Julia Rose (02:43):
Yeah.
Sharon McGukin (02:43):
appreciate you sharing your time with us.
We're really excited to hearyour story of what led you to
Fashion Week in New York City.
Julia Rose (02:51):
Thank you.
Thank you so much for having me.
I'm so excited to be here and Ican't wait to share.
I love like sharing mycreativity and thinking that it
might inspire someone else to becreative.
Oh, I just love talking aboutcreativity, right?
It's, it's fun.
Okay,
Sharon McGukin (03:11):
of getting to use your creativity.
Let me ask you, how did youbegin in flowers?
Julia Rose (03:16):
We'll start from the beginning, but I'll keep it
brief.
So essentially when I was young,I did a traineeship in, And then
I did an apprenticeship.
I did actually have a caraccident when I was young.
So, had to leave school.
And then I had to get a job.
And so my grandmother lovedflowers.
(03:39):
I grew up with, she Hydrangeasand roses.
And we used to play in thecavernous branches of the
hydrangeas.
And you know how you take thethorns off the roses and pop
them on your nose and pretendyou're a rhinoceros, like those
So I did love flowers.
So I did a training as aflorist.
And then I continued on, did ajunior and apprenticeship.
(04:02):
I don't know if you have themover there, but it's where you
do your full certification infloristry.
And I did this from the age of16 to 21.
And then I actually had a fiveyear gap where I traveled and I
did other things.
things in the creative field.
I did things like I worked intheater.
(04:22):
I worked in performance, Idesigned costumes, I sold art
and I did a continuing creativethings, not in the floristry
field.
So, that's where it all sort ofstarted.
And then when I came back andeveryone said, now that you've
finished traveling, you need togrow up and be an adult and get
a real job.
(04:44):
So I did and I got back into thefloristry field.
and I worked for a shop and theyhad five different locations and
I did all the wedding events andcorporates and I ran all of that
sector of that shop.
that was the evolution of my,like, floristry life.
Sharon McGukin (05:02):
you think all of those other creative endeavors
came together with what you donow?
It just built your creativespirit in other ways that you
can integrate into what you donow.
I think that a lot of yourtravels probably led to your
ability to travel for flowersnow.
Julia Rose (05:21):
Most definitely.
Like the work that I did in thetheater, and the performance had
a huge influence on the costumesand the way that I use flowers.
So the next part of the story isI actually, I was working, I was
being a real adult, I had a realjob, I was earning real money.
then I got this, I got thisthing, it was called
(05:42):
hypersensitivity I became a reallife bubble girl.
So I was actually locked downinto my
Sharon McGukin (05:48):
Oh,
Julia Rose (05:49):
two and a half years.
No, no,
Sharon McGukin (05:51):
bless you.
Oh.
Julia Rose (05:53):
Right?
So it's perspective, it'sperspective.
So initially it was likeeverything had changed and
partner had to leave his job.
He was worried I was going todie.
Like every other day I hadneedles and EpiPens and all of
that.
But what happened?
It changed.
I was like, I could literallydie tomorrow.
So what changed?
I want to do things that make mehappy and what makes me happy is
(06:17):
creating.
So then I started mixing all ofmy skills as a florist and in
the theatre and arts and Icreated floral couture.
It was not in trend.
Everyone laughed at me.
Everyone said it was silly.
It didn't bother me because Iwas unwell and it brought me
joy.
So I created for my ownpleasure, own passion because I
thought the real adult, themaking money, doing all of that,
(06:41):
if I'm gonna die tomorrow, ithas no of purpose for me at that
time.
So I created floral couturepurely for my own joy.
And people connected with it asit went along.
Like they, they seen the passionin that.
And they connected with it.
So I was using my flowers as amedium and that medium was the
(07:03):
medium that I worked in theaterand arts.
So I was using them likematerials as opposed to like
traditional, but I was usingtraditional floristry techniques
like stitching with the wires.
and things like that.
So, yeah, that, that's sort ofthe evolution of the way that I
got into Couture.
So, even though these thingshappened that you blessed me
(07:25):
for, they were actually ablessing in disguise.
Sharon McGukin (07:30):
And don't you think when you work from your
spirit, people are naturallydrawn to it.
They're drawn to the joy, thecreativity, they're just drawn
to people who are working fromwithin their own spirit.
Julia Rose (07:46):
Oh, they are.
They are so much.
People can.
It sounds cliche, they saypeople can see passion, but they
can.
They feel it.
Why are you doing it?
You're not following thefashions, because it brought me
joy, I continued to do it.
And people just connected withit.
And you see how much they loveit now because it comes from
that place of passion within me.
(08:07):
And when I teach, when I hold myworkshops, like the people who
come to my workshops, I say tothem, like a lot of you on the
floor will know much more thanme.
You'll be far advanced in manydifferent areas than me, but I'm
not here for that.
I'm here to just inspire thecreativity and passion in you.
Because they do connect with it.
(08:28):
I always say create for you,because your people will find
you.
Like, your weirdos.
The ones that love what youlove, they will find you.
And they will love what you do.
It will inspire them.
So they can definitely see itand feel it.
Sharon McGukin (08:45):
I agree that with each opportunity, we're
making opportunities for otherpeople.
We are just the stepping stonesthat help each other to grow our
belief in our industry, I think.
Julia Rose (08:57):
Most definitely..
It sounds like something I wouldsay.
I always say it in my workshops.
I say you don't want toreplicate.
So when we do our workshops weall have the same ingredients
but we don't end up with thesame pieces.
like, you
sharon--_1_12-10-2024_1826 (09:11):
Huh.
Julia Rose (09:11):
what I do.
You don't want to be me.
You need to do what you do andlet it fall out of you
naturally.
And then if it falls out of younaturally, then you can never do
it wrong.
Because you are.
Do you know?
Yeah.
Yes.
Sharon McGukin (09:24):
a purpose.
That's why the creative spiritwas there.
Because there's a purpose thatneeds to be filled.
Julia Rose (09:30):
Yes.
then as a creative, you know,what we do.
That's what we do.
Like to express emotion, isn'tit?
It's our happiness, it's oursadness, it's our joy.
The creative is part of ourbeing.
Sharon McGukin (09:45):
Yes, I agree.
Now, I know that Smithers Oasiswas a sponsor for your
opportunity and you usedproducts that they provided
also.
Are there any tips that youcould give to our listeners as
to if you were going to makefashion couture, what products
(10:06):
would you need to use?
I'm guessing glue, wire,
Julia Rose (10:10):
See, I don't use glue.
Sharon McGukin (10:12):
Oh, do you not use glue?
Julia Rose (10:13):
Because, as I said before, like I come from that
theatre and the arts and all ofthat, I'm stitching it like you
would stitch traditional coutureand I also used to teach
floristry so part of my littlestory is.
When I first was allowed backinto the public, I used to teach
floristry at, it's called TAFEin Australia.
(10:35):
So it's an educational facilitywhere people get their
certifications in floristry.
And I used to teach it in thescience lab because it was a
sterile environment.
because I'm classically trainedand I know all of the techniques
and you would remember, I knowyou would remember.
Some of our listeners might not,but everything was, fully
Sharon McGukin (10:52):
Yeah.
Julia Rose (10:53):
And I used to love wiring.
I'd do the big cascades
sharon--_1_12-10-2024_18262 (10:56):
And the orchids cascading and yeah,
Julia Rose (10:59):
All
Sharon McGukin (10:59):
yeah.
I love bouquets.
Julia Rose (11:02):
and so everything that I create is fully wired.
All of are fully wired, sothere's no glue.
So the things that I use is so Iuse a lot of flat wire,
aluminium wire the binding wire,like just in all different
gauges.
And I use them just my toolkitis just all wire and a pair of
second tiers and some parafilm.
(11:22):
I think in America I don't, Ihaven't quite got what you call
it over there
Sharon McGukin (11:28):
Floral tape.
Julia Rose (11:28):
Floral tape because that is the old form they're
bringing in the paper tape nowobviously for environmental
Sharon McGukin (11:35):
I have seen the product you're talking about.
Julia Rose (11:37):
Yeah,
Sharon McGukin (11:38):
seen that also.
Julia Rose (11:39):
too.
Have a lot of the floral tapeand a lot of different gauge
wires.
And then when I'm creating mypieces, the way that I start is
with a mannequin.
I Pin all of the base layer ofthe costume onto the mannequin
and then I hand sew flowers intothe pieces.
(12:00):
But I use the wire, do you knowthe binding wire, as the thread
as opposed to cotton.
Sharon McGukin (12:07):
When you say the base layer, are you speaking of
a floral netting?
Are you speaking of actualclothing or fabric?
What is your base?
Julia Rose (12:18):
It depends on what the costume is.
I start with the model, thecolor, the line of their jaw.
I choose them and they are thepalette.
They are the canvas, right?
So I have to make things exactlyto match them.
If you have a look at myInstagram
Sharon McGukin (12:33):
I did today, yeah.
Beautiful photos.
Julia Rose (12:36):
thank you.
And if you look at the, thephotos on there just say for
instance, there were threegorgeous men that I on the last
day of New York fashion week.
And when you look at them,they're all different in
structure.
One has like an angular nose andan angular jaw.
He has a.
The other has a round hairlineand a pink round lip.
(13:00):
And then the other one, he'squite tall in stature, very
commanding.
So I had a base design, whichwas a material base.
I used something, it Like, theOasis Mesh so that is laid out
and then we stitch everything onthat to make his cape.
So that was his design.
(13:20):
So his whole base was made fromthe floral mesh.
Sharon McGukin (13:23):
Yeah.
When you use the floral mesh, doyou allow it to show, because
it's a gorgeous product initself, or do you cover all of
it?
Julia Rose (13:31):
It depends on what the design is and
Sharon McGukin (13:34):
Style.
Julia Rose (13:35):
yeah, the style and everything like that.
And then what I do, I createpockets within the floral mesh
as well.
And I put always tubes, thewater tubes.
water vials.
So then they can be watersourced.
It does add a bit of weight, butthen when you're building a
costume, you make sure thatweight is on parts of the model,
which like makes it morecomfortable.
(13:56):
And then the piece is actuallylined in faux fur.
Sharon McGukin (14:00):
Cool.
Julia Rose (14:00):
I the faux fur onto the mesh.
Then I put the mesh, I sew theflowers onto the mesh.
So that's the outer coat.
And then we put all the watervials in between.
So they're all hidden.
under the faux fur.
So
Sharon McGukin (14:15):
Very cool..
Huh.
Huh.
Yes.
Julia Rose (14:18):
therefore I gave him pink flowers and I made it the
design round in texture to matchhis actual hairline.
That was made on a bird wire.
Like one of the meshing it weactually use the gold mesh for
that because I wasn't sure if Iwas going to have it exposed or
not.
So we use the gold mesh and thenwe did use a lot of the Design
(14:41):
Master to change the colors ofthe flowers to match the color
in his lip.
And then the one.
He actually was the square man,and you can see again, that is,
that I had the mesh, but I chosea stronger form mesh to get the
angular shape.
So you can see round and fluid,so you can use the gold wire
(15:04):
netting, because it's soft andpliable, whereas stronger and
more textural, I had to use ahard form wire.
get those angles.
Like I was imagining, do youknow like the, like Kiss, the
band.
Like those sort of big, like isit Gene Simmons?
With the tongue and, you know,the big angles coming out.
So that if you go down and lookat the photos.
(15:25):
Some of the girls have reallylong like there's one that has
It's two big pieces that arecoming straight out and you can
see, now that I've explained it,the hard wire underneath it that
has created that movement in thedesign.
Sharon McGukin (15:39):
Yeah, that's amazing.
That long coat, I was wonderinghow heavy that was.
But if you have done it withfloral mesh, that lightens it
quite a lot.
Julia Rose (15:50):
completely.
So that was done in a plumosia.
And on the top and theshoulders.
So then you imagine, you know,when you wear a big fur jacket,
you have a big fur collar andthe big hoods.
Like you can, you can have adownwards pressure and it makes
it quite comfortable.
You can even have a pressure atthe front of your body and the
(16:10):
back of your body and it makesit quite comfortable.
Then once you start gettingpressure down lower, It makes it
uncomfortable.
So it's sat quite comfortablybecause of where the pressure of
the flowers was in the design.
Sharon McGukin (16:23):
think you learned all of that from your
costume designing.
So, I can see how that playsright in.
And the most interesting thingyou said is you follow the line
of the jaw.
And I was trying to think howthat mattered.
But that leads you to yourgeometric form, actually.
Doesn't it?
Julia Rose (16:46):
techniques, start with the model color of the
skin, the palate, the line ofthe jaw, the length of the legs,
the width of the chest, even thepinkness in the lips.
And then what I'm thinking aboutis not the reaction then and
there, it's in imagery.
So then we paint it with light.
And then when you paint it withlight, which essentially is.
(17:07):
What a photo is.
You're capturing that in light.
If you have like a round jaw,you turn it to the side, you
have round replicated in theshoulder pads.
You have a nice negative spacegap from the line of the neck
through to his even his chestmuscles are round.
So you'll notice without theviewer seeing or knowing what's
(17:29):
going on.
Why they're loving it.
It has all those designtechniques in it.
Roundness of the hairline,roundness of the bottom of the
lip, the negative space,allowing the eye to rest.
Then you have the roundness ofthe shoulder pads and then your
eyes drawn down to the roundnessof the chest and then even his
little stomach muscles areround.
(17:49):
The other gentleman, he has likereally strong flat, solid chest,
really strong nose, like astrong line in his jaw.
So the angles in which I got himto pose when we take the photos
are sharper and stronger.
So I'll get him to turn his headbasically.
So he's looking in the otherdirection and then instantly
(18:10):
that creates a larger negativespace.
in the image so then thereforethe design when you're looking
at it becomes much moreenjoyable to the viewer they
don't know why that's the reasonit's all painting with light.
Because I do canvases andbecause I paint and create art
and sculpt, then essentially I'mthinking of that end product and
(18:32):
the end product is the imagethat's going to engage viewers
worldwide.
Sharon McGukin (18:36):
Everyone loved the designs you did on the stage
for AIFD, and obviously thedesigns were so gorgeous that
you prepared for Fashion Week.
What is the greatest challengeof bringing those to the stage?
Julia Rose (18:49):
well they are flowers and we all know the
challenge.
So it's the same like we allknow the story, right?
We do we go like
Sharon McGukin (19:00):
We do.
Julia Rose (19:00):
event.
It's one week.
You basically, you know, you'renot going to sleep during that
way.
You just know it because it'sall last minute.
It's the crazy that we are ashumans.
As I know, as long as I have allmy base designs.
If you have a look at theInstagram, you can go further
down and you'll see I made thebig fur jacket.
(19:22):
And all of, I did the the girlsdesign, which had the seatbelt
straps.
Cause I sort of thought that wascute.
I was like, strap yourself in.
This thing's going to get wild.
But as long as I have thosebases, which would essentially
act like, if you're doing a bigwedding, that would relate to
your arbors and yourinstallation bases and, you
know, your containers and thingslike that.
(19:44):
As long as I have them, we allknow, when you get there, if you
have your flowers, you cancreate.
And my biggest attribute, Ithink, as an artist is, I don't
stress.
It doesn't bother me.
I
Sharon McGukin (19:58):
Oh wow.
Huh.
Julia Rose (20:01):
The first, like, round, and the models, they
said, Oh my God, you're notstressed.
You're laughing.
You're having fun.
And I'm like, should I bestressed?
Like, everyone behind the scenesis stressed.
And I'm like, this is New YorkFashion Week.
It's amazing.
And the thing is, I'm creatingwith flowers.
No one knows what it is that I'mgoing to put out there.
It's only me, you know, whoknows the concept.
(20:24):
I'm the only one.
So whatever I put out there,people will love.
Because I know it will be donewith professional techniques.
And I know it will be beautiful.
So I don't stress.
And I think if a flower doesn'tgo the way I want it to, then
never meant to be that way, likein that aspect.
But yeah, it's just time.
It's, I think I had about twohours sleep like every night and
(20:47):
then on the final three nights,I was down to about an hour and
on the last night I did likethat 48 hours, like just no
sleep,
Sharon McGukin (20:56):
wow.
Julia Rose (20:57):
I run on that nervous energy as you and
Sharon McGukin (21:01):
The adrenaline.
Julia Rose (21:02):
yeah, the adrenaline, the, it's, Huh.
Do on the last day.
We had, so I had three models aday lined up and so Wednesday
opening night, red carpet, threemodels.
We had three days to prepare forthose.
Then we had Friday.
So we had two days to prepare.
(21:23):
to prepare for those threemodels.
Then we had one on Saturday,because the lady said, Do you
want to do Friday and Saturday?
I said, Well, I'm here.
I most will do.
You know, we're here.
Let's do it.
Let's do it.
Let's it.
a go.
And then on Saturday, one of themodels pulled out because she
was unwell.
So I thought, We'll do Friday.
This is fine.
This is okay.
Cause we only have 24 hours tomake two costumes a costume can
(21:45):
take like 24, 48 hours, like tobring
Sharon McGukin (21:48):
Oh, wow.
Julia Rose (21:49):
And then on the last day the agency rang up and she
said, well, you were to get amodel, what type of model would
you like?
And I said, please, like a giantman would be my ideal model.
You know, just that presence.
that he would bring the grandeuror size of him.
And I'm like,
Sharon McGukin (22:08):
The presence.
Oh,
Julia Rose (22:17):
o'clock, so the show was at six, this man turned up,
the man who has the.
And so I had a couple of hoursand I'm like, okay, he was
beautiful.
he speaks French and he's likebroken English.
He said, I brought boys, you candress if you want.
And then as I was dressing him,I looked at them and In that
(22:37):
last, I'd say we had about fourhours before the show, I made
two extra costumes that weren'tplanned.
Sharon McGukin (22:44):
Amazing.
Julia Rose (22:45):
so it's that mad, You know, I was like, you know,
when you can see it's the finalgig, it's the, you're already
broken.
You're already, you know, you'vehad sleepless nights.
You've got six hours left andthe game is over.
So you're like, let's just dothis thing.
Let's push it all the waythrough.
And
Sharon McGukin (23:02):
Because you don't want to lose a minute of
that opportunity.
Julia Rose (23:06):
no, no, no.
And we had all the flowers thereand they put so much effort and
energy into growing.
We just had to take it and doit.
So yes, the challenges are likethe sleepless, sleepless nights,
but we, that's the challenges weall face when we're doing those
big gigs.
And then it's that madness thatyou love, right?
It's that sort of, you, becomelike when, when it's over, like
(23:30):
you sleep for three days, butthen it's a high that you sort
of get
Sharon McGukin (23:34):
yeah.
Julia Rose (23:34):
from the creation.
And, what I love too is creatingsomething.
And I just love it because Icreate for my own passion and,
but then I give it to the publicand I get to see them love it in
a whole different way.
And everyone views it.
And, that's my joy.
Like being able to give that tothe people.
Sharon McGukin (23:55):
And it's like your creative gift becomes a
gift to the people around you.
Julia Rose (24:01):
Yes, yes.
Because I, I also do interactiveand immersive art.
So I bring to life big, largescale installations.
But the way that I do them, I docall outs.
And I will raise a floral army.
And I invite people in and Iinvite and people get upset
about this, but there's a reasonthat I do it.
So I invite gardeners and flowerlovers and florists and artists
(24:25):
and photographers.
And we do a big bill.
We did one in Portland in Oregonand we had 50 people that put
their hand up.
They all put their hand up fortwo to three hours each.
They all ended up staying forlike the three days like nine
till nine.
Because what happens in themorning, they're confused.
They have no idea what it is.
(24:46):
You give them the storyboard,you give them the vision.
They just create because they'rebeing polite and they're there
to create.
And then once lunchtime comes,they start to see it come to
life.
So then they start creating withpassion.
then once success comes.
like putting the cherry on topof the cake.
So they're creating to see itcome together.
(25:07):
Once nine o'clock comes, I haveto cut them off and tell them to
go home.
you know, so then they canreserve their Mhm.
a photographer will look at aflower differently than a
florist does.
And an
Sharon McGukin (25:22):
Yes.
Julia Rose (25:22):
again, differently to a flower lover.
So when you put all these peopletogether, the environment
changes.
of creativity and differentviews and different perspectives
on flowers.
It's beautiful because it
Sharon McGukin (25:34):
Mhm.
Julia Rose (25:35):
perspective.
All the florists are there andthey work as florists, but the
other people are inspired bythem, so therefore it's great
for them too because it givesthem that confidence and, you
know, they're being looked up toby these flower loves and sort
of adored as masters of flowers.
And then, you know, Not onlythat build, then we get to open
that build up to the public andsee how the public, enjoy it.
(25:57):
And I'm one of those creepyartists, self admitted creep,
where I will sit, just outsideof you, and listen to the public
speak about it and critique it.
because people will say lovelythings to your face, but they
won't do it.
Oh, my God.
And so I listened to it and Ilistened to the critique and I
appreciate it.
(26:17):
Cause I don't think you getbetter by everyone saying all
good things to you all the time.
So I take it in and I understandthat everyone has a different
perspective and I be influencedby that, what failed, what
succeeded, do you know?
So it's the whole journey.
I love that.
I love the creation, sharingwith other people, giving to the
(26:38):
public, and then listening tothem, you know, What, I think
you have pretty
squadcaster-27d4_1_12-11- (26:44):
Japan if you like,
Julia Rose (26:45):
cannot They arranged for me to Good.
Yeah it was fun.
this piece and then we showedhim the piece and it was made
with these award winning,Lysianthus.
It was absolutely beautiful andit was there for, we sat around
(27:07):
a table with all these people ina little tiny like paper hut,
very humble.
There was about half a dozen ofus and we sat there for two days
and built this piece.
then we essentially showed it tohim, it was on show for 10
minutes and then it was going inthe bin.
That was it.
I know, right?
I know.
And I was like, this cannothappen.
(27:29):
This cannot happen.
So I said, can I take the pieceor would you like to keep it?
And they said, no, no.
You can have it.
So the next day I, I put thepiece in my suitcase and I took
it to back to Tokyo in New Yorkthey have escalators and
elevators in the underground.
In Tokyo they have stairsbecause they all like to keep
fit.
So many stairs.
(27:49):
You're going up and down thesestairs and I've got a suitcase.
I have a suitcase with a floralcouture dress a top in it.
I organized the model.
The model was one of Japan's topmodels.
I had a makeup artist fromtelevision.
I had a photographer, fromVogue.
The photographer came from aEuropean country, didn't speak
any English.
The two Japanese ladies, noEnglish, me, no Japanese or
(28:12):
European of this was soessentially we all turned up
after dragging this piece.
I said to my parents, I'mmeeting these people like in the
middle of a city in Japan, Idon't know them.
And they're like, Julia, this ishow people get kidnapped.
They arranged to meet strangerslike in the middle of countries
that they don't know.
(28:32):
So anyway, we did not getkidnapped total bonus, but yeah,
that was great.
And I've dragged my little pieceup and down the street.
And then we turn up in themiddle of the city and we just
spoke through art, like throughvisually.
You know how you're like, you,clothes off, you put this on,
you know.
And so then we put this piece onher we're in the middle of
(28:53):
Tokyo.
It, apparently it's illegal toshoot in Tokyo.
Did not know this because Icannot read the script.
Japanese signs.
So we are there.
We had this girl we dropped herin Tokyo is like being inside of
a massive pinball machine.
So there are lights every, it'slike Vegas would be
Sharon McGukin (29:12):
Yes,
Julia Rose (29:13):
to me.
Sharon McGukin (29:13):
I've been there.
It's like Times Square onsteroids.
And
Julia Rose (29:27):
We've dropped her in the garden.
This man has come running overwith white gloves and he's
yelling at us.
No, no, no, no.
Crossing his arms in front ofhis body like big.
No, no, no, no.
And I've looked at the photoafter all of our efforts, I've
looked at the photographer.
She's winked at me and thenshe's like, as if we're going to
go ahead, we're going to get theshot.
(29:48):
And so she has taken.
This man, I'm saying, I'm sorry.
I don't understand what you'resaying.
Meanwhile, he's doing big crosshands in front of my face.
And then we got this shot.
It's not quite funny, but it'samazing.
I suppose it's sort of funny,but amazing.
And then if you go, you know, Tomy social media you'll see
(30:08):
there's a photo of a Japaneselady and she's sitting in a
garden and she looks so sereneand it's so beautiful.
But this little piece wasdragged up and down the Tokyo
railway stations.
There was a man in glovesscreaming at us.
None of us spoke the samelanguage and the image that we
produced is the epitome ofserenity.
(30:31):
with a beautiful Japanese, theflatness of the face, the gap
between her eyes, the edge,beautiful pale skin.
So
Sharon McGukin (30:38):
moral of that story is it takes a lot of chaos
to create serenity.
Julia Rose (30:43):
It does.
It's like all smoke and mirrors,isn't it?
You know, it looks so
Sharon McGukin (30:48):
It is.
Julia Rose (30:50):
beautiful.
And then behind the scenes,there was
Sharon McGukin (30:53):
It's like craziness.
Julia Rose (30:54):
going on.
Yeah, yeah,
Sharon McGukin (30:56):
Oh, that is so true.
So very true.
But you're very blessed to beable to have those experiences
to remember.
Julia Rose (31:03):
yes,
Sharon McGukin (31:04):
you enjoy them twice.
Once when you're enjoying theopportunity, and a second time
when you sit back and rememberit.
Julia Rose (31:11):
yes, most definitely, and many times,
because you know when you teachyou get to share the stories
with people
Sharon McGukin (31:16):
Yes.
Laughter.
Julia Rose (31:22):
was so serene and beautiful, but the chaos behind
the scene was not.
So people love to hear thatbecause it's life.
right?
Because you think
Sharon McGukin (31:30):
Yeah, and they identify with the chaos.
Julia Rose (31:33):
they do.
They identify with sure.
Sharon McGukin (31:35):
Which part of your dream coming true touches
your heart the most?
I have a feeling it's the peopleyou work with
Julia Rose (31:44):
Yes.
Sharon McGukin (31:44):
much so as the things you work on.
Is that true?
Julia Rose (31:49):
So, so true.
Right.
I'll just reflect back.
So say New York fashion week inregards to that, as I mentioned,
the models were as beautiful.
Beautiful inside.
They are outside.
So because we're working andbreaking together, because it is
that chaos behind the scenes.
And then we go out on stage andit's all beautiful and calm and
just fabulous.
(32:10):
Like you build a relationshipwith them.
But not only that it's thesound, it's the lighting, the
artists who are helping.
It's all of those creatives thatyou get to meet and be inspired
by to create.
I love that.
I love that infusion of artistsand just having all of them
there.
And because I specialize in livemedia activations and things
(32:32):
like that it's always moving.
The greatest plans.
always change because of thehuman factor.
So it's the ability to be ableto work with all those creative
people and see them working onthe ground and just going, Okay,
no, let's shift.
Let's just completely do a 360.
We are going in the oppositedirection.
And we are going to make thishappen.
(32:53):
And we're going to make ithappen no matter what.
And I love that.
Like it inspires me that beingaround those beings.
It's beautiful.
And then again, the publicbecause they see it in a
different way.
Yeah, I just, enjoy that peoplefactor and their creatives.
Sharon McGukin (33:11):
Does your husband travel with you?
Julia Rose (33:13):
Yes, he He's active, so he's my partner and he was a
builder and he's a musician.
So he actually makes music formy
Sharon McGukin (33:22):
He's creative also.
Yes.
Yes.
Yes.
Julia Rose (33:36):
He comes with me and he builds all the sets.
And, so he's gone from buildingand in building, it's like very
masculine, very, you know, youhave that masculinity in
Australia.
It can be like that toxicmasculinity, not in a bad way,
but that's just the culture ofthat industry.
So for him to adjust but becausehe's a musician, then he's a
creative as well.
But the initial everything allpre planned.
(33:58):
A goes with B, which goes withC.
In floristry, it's all lastminute.
And that drove him crazyinitially.
Like he was like, why are youalways last minute?
What is wrong with you?
Sharon McGukin (34:11):
What is wrong with you?
Julia Rose (34:13):
with perishable products, but now he comes
along, he'll do anything hewill.
So if he has to, he does all thesame.
will get coffees for the model.
He's my pillow fluffer.
Like, he makes me a nest.
He makes sure I am fed.
He's just like a P.
A.
But who can lift heavy thingsand build, too.
Sharon McGukin (34:34):
You are very blessed to have him.
Julia Rose (34:36):
Yeah, yeah, yeah.
And then
Sharon McGukin (34:38):
And I'm sure he is very blessed to come along
with you.
Julia Rose (34:54):
house.
And each one of thoseinstallations we had to bring to
life in one day.
So I had to have all theorganizing parts, and I
organized sound engineering,lighting, models.
Makeup photographers flowers,all of the accessories from
Oasis, like all of that, all ofthat to be there.
So when we landed on the ground,we could bring together this
(35:15):
installation.
I had a crane, I had rigging.
And so he comes along and he, hethrives on that energy.
And what I do, we had the 50volunteers.
And 49 of them were women andone of them was a man.
And I just like handed him overto those women and said, he is
(35:35):
yours to do whatever you want.
So they just boss him around.
They like, You know, and heloves it.
He loves it, right?
Yeah.
Sharon McGukin (35:47):
That is so good.
Well, where do you go from here?
Julia Rose (35:51):
So this morning I had fantastic news.
We have actually been invitedback to New York Fashion Week.
Sharon McGukin (35:58):
Fantastic.
Now, I do have a question foryou.
Did you apply for New YorkFashion Week, or did they
contact you initially?
Julia Rose (36:06):
actually reached out to me because what
Sharon McGukin (36:08):
And now they've reached to you a second time.
Fabulous.
Julia Rose (36:11):
yes.
Because as I was saying beforewith the models because I'm so
laid back in the stretch.
The, the no stressing the modelsactually on the first day, I
don't think I continued, I sortof waffled off somewhere else.
But on the first day, whathappened, the model's like,
you're so relaxed.
You're so laid back.
This is so fun.
They had a ball.
We laugh, we carry on.
And so then what happened thatnight after the first night, had
(36:34):
all of these text from all ofthese models wanting to run for
us, wanting to show from us.
And so when you get thatresponse from the models, then
the people pay attention becauseTo do it, yeah.
Huh.
Oh, not have spoken higher ofus.
So therefore the agency spokehigh of us to the Fashion Week
and then want us back.
(36:55):
They did reach out to me becauseI, over here, like, I'm a judge
at the Australian Wearable Arts,I do lots of runways, fashion,
red carpet, media.
Like, it's all those activationswithin that fashion and film
industry and media.
So they did reach out to me andI think it was a repercussion of
the Met Gala last year had a lotof florals featured.
(37:17):
And so what happened everyonewas tagging me, like so many Oh
my god, you are the master ofthis.
You should have been there.
You should have
Sharon McGukin (37:25):
cool.
Julia Rose (37:26):
And I feel like that's where they found my name.
And then they Huh.
out to me, like, literally fiveweeks before the show.
Sharon McGukin (37:34):
Oh, wow.
Julia Rose (37:35):
over.
Yes! And so
Sharon McGukin (37:37):
That's fabulous.
Julia Rose (37:38):
It's five weeks before, so we did the red carpet
last time, and
Sharon McGukin (37:42):
huh.
Julia Rose (37:42):
was one issue with the red carpet, and you'll note
now that I am telling you, allof our photos are outside,
there's only a couple inside thevenue, because what happened, we
were supposed to be inactivation on the red carpet,
people come in, they have thephotos taken with our models,
and then they continue through,like on the media wall, but
Every Huh.
models would get on the mediawall, the media would swamp them
(38:07):
no one could move and the
Sharon McGukin (38:10):
Ah ha ha, ah ha ha.
Julia Rose (38:13):
And so then
Sharon McGukin (38:13):
Oh crazy.
Ah ha ha, ah ha ha, ah ha ha.
Julia Rose (38:22):
Put us in this grand hallway, which is in Sony Hall,
Marvel stairwell.
And they said, well, at
Sharon McGukin (38:29):
huh,
Julia Rose (38:29):
if you are on one side, people will be able to
move freely on the other side.
But what happened?
The media up the top and
Sharon McGukin (38:36):
that's right.
Julia Rose (38:38):
of the hallway.
And so we just kept causingchaos in the best of ways.
Sharon McGukin (38:43):
Ah ha ha.
Ah ha ha.
Julia Rose (38:45):
next time they've invited us to do a runway show
Sharon McGukin (38:49):
Fantastic.
Congratulations,
Julia Rose (38:54):
me know this morning that that's going ahead.
Sharon McGukin (38:57):
Exciting news.
That is so exciting.
Julia Rose (39:02):
Last time we kept shooting on the street and we
were roaming activation, redcarpet Huh.
And we'll have playing.
And then my partner who's Rod,his name's Rod he, We'll make
the music that goes to therunway and we'll have yeah, all
of our models back and we'll doit again but this time like
(39:22):
we'll do it like a production.
In addition to the podcast, I'llalso do a blog of our
conversation today.
I have the links you gave me tothe Instagram, Yes.
Sharon McGukin (39:34):
links.
And you are going to give mesome photos that we can use.
Julia Rose (39:39):
Yes.
Sharon McGukin (39:40):
our viewers, can go to the blog and see the
photos you're talking about andthe Instagram links that you
mentioned earlier.
Julia Rose (39:48):
most definitely.
I'll show you the photos.
New York Fashion Week and youcan go through Yeah.
as you can see, like with themusic that I chose, like it was
rock and pop and things likethat.
I'll share all of the imageswith you and you can you'll be
able to definitively see thetechniques I'm talking about
(40:09):
while I'm discussing them ifyou're looking at the images as
well.
Sharon McGukin (40:14):
Okay.
Thank you so much.
Julia Rose (40:16):
absolute
Sharon McGukin (40:16):
so much for sharing your story with us.
As I said, we enjoyed watchingyou on stage at AIFD and seeing
you online.
But hearing you tell your storyof chaos and serenity, there's
nothing like hearing directlyfrom somebody who has such joy
in the work as you do.
Julia Rose (40:35):
Thank you.
Thank you so much for having meand thank you so much.
We love America.
America's just embraced us andthey've we go.
Everyone has been so amazing.
love, okay, just let me saythis, every state in America,
you don't realize, but it's likea different country because
Sharon McGukin (40:53):
Huh.
It's true.
Julia Rose (40:55):
yeah, it is.
And,
Sharon McGukin (40:56):
It is true.
Julia Rose (40:57):
we've had so much joy, like just discovering that
because everyone, like in theMidwest, they want to feed you,
right?
sharon--_1_12-10-2024_1826 (41:04):
Huh.
And in the south, too.
You said you haven't gotten tothe south yet.
We'll feed you here, too.
Huh.
Julia Rose (41:11):
They're different.
Like, they have a different pie.
And they have a different thingthat they love.
And they just love that.
Like, Portland love being weird.
Really love it.
You know, and then that's, it'sgreat.
Sharon McGukin (41:24):
I read an interesting article that
explained that as people cameinto the country to settle they
came from different parts of theworld, and so the people that
first came, like the pilgrimsand such, they settled in the
east.
and they tend to be veryconservative.
But the ones who settledCalifornia in the gold strike
(41:46):
were the adventurers, and theycame from a different location.
And then a lot of people fromEurope came to the Midwest and,
food is binding
Julia Rose (41:55):
Yes,
Sharon McGukin (41:56):
and
Julia Rose (41:56):
makes
Sharon McGukin (41:57):
a lot of Irish people settled in the south, and
so were very garden y.
So it was really interestingthat you could look at each
region of the country and seewho originally settled them.
Julia Rose (42:09):
Oh, you can most definitely.
And just.
It's the nature of the people, Ithink coming from overseas you
don't, I don't know, you justthink USA,
Sharon McGukin (42:17):
Yeah.
Julia Rose (42:17):
it's just all the same, but when you're over
there,
Sharon McGukin (42:20):
It's very different.
Julia Rose (42:21):
state is a different country and it's beautiful, so
we can't wait to explore more ofit.
Because, yeah, we
Sharon McGukin (42:27):
You think about a European country is very often
about the size of one of ourstates.
Julia Rose (42:31):
That's true, isn't it?
Yeah.
It's just,
Sharon McGukin (42:33):
Yeah.
Julia Rose (42:34):
it's mind blowing.
And your accents are sodifferent everywhere.
Just so and like you're g'day.
If we say different things thatbelong to our region, the slang
is all very different too.
AIFD symposium that was mostprevalent to me because you had
(42:55):
a mixture of everyone from all
Sharon McGukin (42:58):
huh.
Julia Rose (42:58):
states and is it South, they call you ma'am,
ma'am, ma'am.
Sharon McGukin (43:04):
Huh.
Julia Rose (43:05):
Yeah.
Yeah.
Yeah.
So just that different sort ofterminologies because
Sharon McGukin (43:10):
Huh.
Julia Rose (43:10):
you all, y'all,
Sharon McGukin (43:13):
We say y'all.
Julia Rose (43:15):
y'all
Sharon McGukin (43:16):
say y'all.
Julia Rose (43:16):
Oh,
Sharon McGukin (43:20):
and then there's you' ins, and oh, there's
another one that's very similar.
But yeah, we have differentways.
But, when we come together, eventhough we think differently, or
dress eat speak differently, wefeel all as one.
Julia Rose (43:36):
you most definitely.
America is, you see it.
Sharon McGukin (43:39):
Yeah.
Julia Rose (43:40):
America is America.
And that's why you don't expectthe differences when you go over
there.
Just, I mean.
Like those traditions orcultures that you have in
Sharon McGukin (43:49):
Yeah.
Julia Rose (43:50):
But most definitely you can see the love for the USA
that everyone has.
It's, it's wonderful.
Yeah.
Sharon McGukin (43:56):
Very good.
And I hope next time, instead ofmeeting online, we should meet
in Australia.
I've never been to Australia.
Julia Rose (44:03):
Ah, you'll have to come down under where we are.
We have just relocated.
We used to live up on the GoldCoast and now we're down in
Newcastle, which is just an hourfrom Sydney.
easily accessible.
Sharon McGukin (44:15):
Very cool.
Julia Rose (44:15):
where everyone knows.
Sharon McGukin (44:18):
In closing, I just want to thank you so much
for being with us.
You've been delightful and we'llhave to talk again after
February and get the new update.
Julia Rose (44:26):
Most definitely.
Sharon McGukin (44:34):
To our audience, Smithers Oasis North America,
Julia and I want to thank youfor joining us today.
If you've enjoyed this episode,please share it with a friend
and be sure to hit subscribe.
You don't want to miss theinspired solutions our upcoming
guests will share with you foryour personal or business
growth.
(44:54):
If you have topics or guests youwant to hear, please message me.
We'd love to hear from you.
Until next time, I'm SharonMcGukin reminding you that like
the unfurling petals of aflower, we grow by changing
form.
Soaking inspiration in likeraindrops.
Absorbing energy from otherslike warmth.
(45:16):
This growth opens us up to newideas and that's How we Bloom.
I created floral couture purely for my own joy.
People just connected with it.
And you see how much they loveit now because it comes from
that place of passion within me.
I always say create for you,because your people will find
you.
Like, your weirdos.
The ones that love what youlove, they will find you.
(00:29):
And they will love what you do.
Sharon McGukin (00:37):
Welcome to How We Bloom, an oasis of flower
ideas.
I'm your host, Sharon McGukin,AIFD, AAF, PFCI, and I believe
that every great success storystarts with one simple idea.
That's why we interview thosewho dare to do things
(00:58):
differently.
Inspiring people who plantseeds, grow ideas, and bloom to
their full potential.
In this podcast, we listen,learn, explore new
opportunities, and that's How weBloom.
(01:19):
Julia Rose of Newcastle,Australia, had a dream.
With hope, hard work, outrageouscreativity, and the backing of
floral industry sponsors likeSmithers Oasis, Julia's floral
dream came true.
She watched in awe as herinspired floral couture
collection paced the red carpeton Runway 7 during New York
(01:44):
Fashion Week.
Amazing.
From Times Square to the FashionRunway, this Princess of Petals
highlighted the natural beautyof stunning models draped in
garments of gorgeous flowers.
Each breathtaking design asunforgettable as it was
unexpected.
(02:05):
Original.
Organic.
Exquisite.
Extravagant.
Julia's living, fragrant,wearable art beautifully
expressed our on-trend love offresh flowers in high fashion.
Julia is joining us today fromAustralia to share her secrets
of success.
Welcome, Julia.
(02:26):
Hi.
I think they all fit with ourdifferent time zones.
Julia Rose (02:37):
I That's good, I have no idea.
It's evening It's evening overthere, isn't it at the moment?
Sharon McGukin (02:43):
here,
Julia Rose (02:43):
Yeah.
Sharon McGukin (02:43):
appreciate you sharing your time with us.
We're really excited to hearyour story of what led you to
Fashion Week in New York City.
Julia Rose (02:51):
Thank you.
Thank you so much for having me.
I'm so excited to be here and Ican't wait to share.
I love like sharing mycreativity and thinking that it
might inspire someone else to becreative.
Oh, I just love talking aboutcreativity, right?
It's, it's fun.
Okay,
Sharon McGukin (03:11):
of getting to use your creativity.
Let me ask you, how did youbegin in flowers?
Julia Rose (03:16):
We'll start from the beginning, but I'll keep it
brief.
So essentially when I was young,I did a traineeship in, And then
I did an apprenticeship.
I did actually have a caraccident when I was young.
So, had to leave school.
And then I had to get a job.
And so my grandmother lovedflowers.
(03:39):
I grew up with, she Hydrangeasand roses.
And we used to play in thecavernous branches of the
hydrangeas.
And you know how you take thethorns off the roses and pop
them on your nose and pretendyou're a rhinoceros, like those
So I did love flowers.
So I did a training as aflorist.
And then I continued on, did ajunior and apprenticeship.
(04:02):
I don't know if you have themover there, but it's where you
do your full certification infloristry.
And I did this from the age of16 to 21.
And then I actually had a fiveyear gap where I traveled and I
did other things.
things in the creative field.
I did things like I worked intheater.
(04:22):
I worked in performance, Idesigned costumes, I sold art
and I did a continuing creativethings, not in the floristry
field.
So, that's where it all sort ofstarted.
And then when I came back andeveryone said, now that you've
finished traveling, you need togrow up and be an adult and get
a real job.
(04:44):
So I did and I got back into thefloristry field.
and I worked for a shop and theyhad five different locations and
I did all the wedding events andcorporates and I ran all of that
sector of that shop.
that was the evolution of my,like, floristry life.
Sharon McGukin (05:02):
you think all of those other creative endeavors
came together with what you donow?
It just built your creativespirit in other ways that you
can integrate into what you donow.
I think that a lot of yourtravels probably led to your
ability to travel for flowersnow.
Julia Rose (05:21):
Most definitely.
Like the work that I did in thetheater, and the performance had
a huge influence on the costumesand the way that I use flowers.
So the next part of the story isI actually, I was working, I was
being a real adult, I had a realjob, I was earning real money.
then I got this, I got thisthing, it was called
(05:42):
hypersensitivity I became a reallife bubble girl.
So I was actually locked downinto my
Sharon McGukin (05:48):
Oh,
Julia Rose (05:49):
two and a half years.
No, no,
Sharon McGukin (05:51):
bless you.
Oh.
Julia Rose (05:53):
Right?
So it's perspective, it'sperspective.
So initially it was likeeverything had changed and
partner had to leave his job.
He was worried I was going todie.
Like every other day I hadneedles and EpiPens and all of
that.
But what happened?
It changed.
I was like, I could literallydie tomorrow.
So what changed?
I want to do things that make mehappy and what makes me happy is
(06:17):
creating.
So then I started mixing all ofmy skills as a florist and in
the theatre and arts and Icreated floral couture.
It was not in trend.
Everyone laughed at me.
Everyone said it was silly.
It didn't bother me because Iwas unwell and it brought me
joy.
So I created for my ownpleasure, own passion because I
thought the real adult, themaking money, doing all of that,
(06:41):
if I'm gonna die tomorrow, ithas no of purpose for me at that
time.
So I created floral couturepurely for my own joy.
And people connected with it asit went along.
Like they, they seen the passionin that.
And they connected with it.
So I was using my flowers as amedium and that medium was the
(07:03):
medium that I worked in theaterand arts.
So I was using them likematerials as opposed to like
traditional, but I was usingtraditional floristry techniques
like stitching with the wires.
and things like that.
So, yeah, that, that's sort ofthe evolution of the way that I
got into Couture.
So, even though these thingshappened that you blessed me
(07:25):
for, they were actually ablessing in disguise.
Sharon McGukin (07:30):
And don't you think when you work from your
spirit, people are naturallydrawn to it.
They're drawn to the joy, thecreativity, they're just drawn
to people who are working fromwithin their own spirit.
Julia Rose (07:46):
Oh, they are.
They are so much.
People can.
It sounds cliche, they saypeople can see passion, but they
can.
They feel it.
Why are you doing it?
You're not following thefashions, because it brought me
joy, I continued to do it.
And people just connected withit.
And you see how much they loveit now because it comes from
that place of passion within me.
(08:07):
And when I teach, when I hold myworkshops, like the people who
come to my workshops, I say tothem, like a lot of you on the
floor will know much more thanme.
You'll be far advanced in manydifferent areas than me, but I'm
not here for that.
I'm here to just inspire thecreativity and passion in you.
Because they do connect with it.
(08:28):
I always say create for you,because your people will find
you.
Like, your weirdos.
The ones that love what youlove, they will find you.
And they will love what you do.
It will inspire them.
So they can definitely see itand feel it.
Sharon McGukin (08:45):
I agree that with each opportunity, we're
making opportunities for otherpeople.
We are just the stepping stonesthat help each other to grow our
belief in our industry, I think.
Julia Rose (08:57):
Most definitely..
It sounds like something I wouldsay.
I always say it in my workshops.
I say you don't want toreplicate.
So when we do our workshops weall have the same ingredients
but we don't end up with thesame pieces.
like, you
sharon--_1_12-10-2024_1826 (09:11):
Huh.
Julia Rose (09:11):
what I do.
You don't want to be me.
You need to do what you do andlet it fall out of you
naturally.
And then if it falls out of younaturally, then you can never do
it wrong.
Because you are.
Do you know?
Yeah.
Yes.
Sharon McGukin (09:24):
a purpose.
That's why the creative spiritwas there.
Because there's a purpose thatneeds to be filled.
Julia Rose (09:30):
Yes.
then as a creative, you know,what we do.
That's what we do.
Like to express emotion, isn'tit?
It's our happiness, it's oursadness, it's our joy.
The creative is part of ourbeing.
Sharon McGukin (09:45):
Yes, I agree.
Now, I know that Smithers Oasiswas a sponsor for your
opportunity and you usedproducts that they provided
also.
Are there any tips that youcould give to our listeners as
to if you were going to makefashion couture, what products
(10:06):
would you need to use?
I'm guessing glue, wire,
Julia Rose (10:10):
See, I don't use glue.
Sharon McGukin (10:12):
Oh, do you not use glue?
Julia Rose (10:13):
Because, as I said before, like I come from that
theatre and the arts and all ofthat, I'm stitching it like you
would stitch traditional coutureand I also used to teach
floristry so part of my littlestory is.
When I first was allowed backinto the public, I used to teach
floristry at, it's called TAFEin Australia.
(10:35):
So it's an educational facilitywhere people get their
certifications in floristry.
And I used to teach it in thescience lab because it was a
sterile environment.
because I'm classically trainedand I know all of the techniques
and you would remember, I knowyou would remember.
Some of our listeners might not,but everything was, fully
Sharon McGukin (10:52):
Yeah.
Julia Rose (10:53):
And I used to love wiring.
I'd do the big cascades
sharon--_1_12-10-2024_18262 (10:56):
And the orchids cascading and yeah,
Julia Rose (10:59):
All
Sharon McGukin (10:59):
yeah.
I love bouquets.
Julia Rose (11:02):
and so everything that I create is fully wired.
All of are fully wired, sothere's no glue.
So the things that I use is so Iuse a lot of flat wire,
aluminium wire the binding wire,like just in all different
gauges.
And I use them just my toolkitis just all wire and a pair of
second tiers and some parafilm.
(11:22):
I think in America I don't, Ihaven't quite got what you call
it over there
Sharon McGukin (11:28):
Floral tape.
Julia Rose (11:28):
Floral tape because that is the old form they're
bringing in the paper tape nowobviously for environmental
Sharon McGukin (11:35):
I have seen the product you're talking about.
Julia Rose (11:37):
Yeah,
Sharon McGukin (11:38):
seen that also.
Julia Rose (11:39):
too.
Have a lot of the floral tapeand a lot of different gauge
wires.
And then when I'm creating mypieces, the way that I start is
with a mannequin.
I Pin all of the base layer ofthe costume onto the mannequin
and then I hand sew flowers intothe pieces.
(12:00):
But I use the wire, do you knowthe binding wire, as the thread
as opposed to cotton.
Sharon McGukin (12:07):
When you say the base layer, are you speaking of
a floral netting?
Are you speaking of actualclothing or fabric?
What is your base?
Julia Rose (12:18):
It depends on what the costume is.
I start with the model, thecolor, the line of their jaw.
I choose them and they are thepalette.
They are the canvas, right?
So I have to make things exactlyto match them.
If you have a look at myInstagram
Sharon McGukin (12:33):
I did today, yeah.
Beautiful photos.
Julia Rose (12:36):
thank you.
And if you look at the, thephotos on there just say for
instance, there were threegorgeous men that I on the last
day of New York fashion week.
And when you look at them,they're all different in
structure.
One has like an angular nose andan angular jaw.
He has a.
The other has a round hairlineand a pink round lip.
(13:00):
And then the other one, he'squite tall in stature, very
commanding.
So I had a base design, whichwas a material base.
I used something, it Like, theOasis Mesh so that is laid out
and then we stitch everything onthat to make his cape.
So that was his design.
(13:20):
So his whole base was made fromthe floral mesh.
Sharon McGukin (13:23):
Yeah.
When you use the floral mesh, doyou allow it to show, because
it's a gorgeous product initself, or do you cover all of
it?
Julia Rose (13:31):
It depends on what the design is and
Sharon McGukin (13:34):
Style.
Julia Rose (13:35):
yeah, the style and everything like that.
And then what I do, I createpockets within the floral mesh
as well.
And I put always tubes, thewater tubes.
water vials.
So then they can be watersourced.
It does add a bit of weight, butthen when you're building a
costume, you make sure thatweight is on parts of the model,
which like makes it morecomfortable.
(13:56):
And then the piece is actuallylined in faux fur.
Sharon McGukin (14:00):
Cool.
Julia Rose (14:00):
I the faux fur onto the mesh.
Then I put the mesh, I sew theflowers onto the mesh.
So that's the outer coat.
And then we put all the watervials in between.
So they're all hidden.
under the faux fur.
So
Sharon McGukin (14:15):
Very cool..
Huh.
Huh.
Yes.
Julia Rose (14:18):
therefore I gave him pink flowers and I made it the
design round in texture to matchhis actual hairline.
That was made on a bird wire.
Like one of the meshing it weactually use the gold mesh for
that because I wasn't sure if Iwas going to have it exposed or
not.
So we use the gold mesh and thenwe did use a lot of the Design
(14:41):
Master to change the colors ofthe flowers to match the color
in his lip.
And then the one.
He actually was the square man,and you can see again, that is,
that I had the mesh, but I chosea stronger form mesh to get the
angular shape.
So you can see round and fluid,so you can use the gold wire
(15:04):
netting, because it's soft andpliable, whereas stronger and
more textural, I had to use ahard form wire.
get those angles.
Like I was imagining, do youknow like the, like Kiss, the
band.
Like those sort of big, like isit Gene Simmons?
With the tongue and, you know,the big angles coming out.
So that if you go down and lookat the photos.
(15:25):
Some of the girls have reallylong like there's one that has
It's two big pieces that arecoming straight out and you can
see, now that I've explained it,the hard wire underneath it that
has created that movement in thedesign.
Sharon McGukin (15:39):
Yeah, that's amazing.
That long coat, I was wonderinghow heavy that was.
But if you have done it withfloral mesh, that lightens it
quite a lot.
Julia Rose (15:50):
completely.
So that was done in a plumosia.
And on the top and theshoulders.
So then you imagine, you know,when you wear a big fur jacket,
you have a big fur collar andthe big hoods.
Like you can, you can have adownwards pressure and it makes
it quite comfortable.
You can even have a pressure atthe front of your body and the
(16:10):
back of your body and it makesit quite comfortable.
Then once you start gettingpressure down lower, It makes it
uncomfortable.
So it's sat quite comfortablybecause of where the pressure of
the flowers was in the design.
Sharon McGukin (16:23):
think you learned all of that from your
costume designing.
So, I can see how that playsright in.
And the most interesting thingyou said is you follow the line
of the jaw.
And I was trying to think howthat mattered.
But that leads you to yourgeometric form, actually.
Doesn't it?
Julia Rose (16:46):
techniques, start with the model color of the
skin, the palate, the line ofthe jaw, the length of the legs,
the width of the chest, even thepinkness in the lips.
And then what I'm thinking aboutis not the reaction then and
there, it's in imagery.
So then we paint it with light.
And then when you paint it withlight, which essentially is.
(17:07):
What a photo is.
You're capturing that in light.
If you have like a round jaw,you turn it to the side, you
have round replicated in theshoulder pads.
You have a nice negative spacegap from the line of the neck
through to his even his chestmuscles are round.
So you'll notice without theviewer seeing or knowing what's
(17:29):
going on.
Why they're loving it.
It has all those designtechniques in it.
Roundness of the hairline,roundness of the bottom of the
lip, the negative space,allowing the eye to rest.
Then you have the roundness ofthe shoulder pads and then your
eyes drawn down to the roundnessof the chest and then even his
little stomach muscles areround.
(17:49):
The other gentleman, he has likereally strong flat, solid chest,
really strong nose, like astrong line in his jaw.
So the angles in which I got himto pose when we take the photos
are sharper and stronger.
So I'll get him to turn his headbasically.
So he's looking in the otherdirection and then instantly
(18:10):
that creates a larger negativespace.
in the image so then thereforethe design when you're looking
at it becomes much moreenjoyable to the viewer they
don't know why that's the reasonit's all painting with light.
Because I do canvases andbecause I paint and create art
and sculpt, then essentially I'mthinking of that end product and
(18:32):
the end product is the imagethat's going to engage viewers
worldwide.
Sharon McGukin (18:36):
Everyone loved the designs you did on the stage
for AIFD, and obviously thedesigns were so gorgeous that
you prepared for Fashion Week.
What is the greatest challengeof bringing those to the stage?
Julia Rose (18:49):
well they are flowers and we all know the
challenge.
So it's the same like we allknow the story, right?
We do we go like
Sharon McGukin (19:00):
We do.
Julia Rose (19:00):
event.
It's one week.
You basically, you know, you'renot going to sleep during that
way.
You just know it because it'sall last minute.
It's the crazy that we are ashumans.
As I know, as long as I have allmy base designs.
If you have a look at theInstagram, you can go further
down and you'll see I made thebig fur jacket.
(19:22):
And all of, I did the the girlsdesign, which had the seatbelt
straps.
Cause I sort of thought that wascute.
I was like, strap yourself in.
This thing's going to get wild.
But as long as I have thosebases, which would essentially
act like, if you're doing a bigwedding, that would relate to
your arbors and yourinstallation bases and, you
know, your containers and thingslike that.
(19:44):
As long as I have them, we allknow, when you get there, if you
have your flowers, you cancreate.
And my biggest attribute, Ithink, as an artist is, I don't
stress.
It doesn't bother me.
I
Sharon McGukin (19:58):
Oh wow.
Huh.
Julia Rose (20:01):
The first, like, round, and the models, they
said, Oh my God, you're notstressed.
You're laughing.
You're having fun.
And I'm like, should I bestressed?
Like, everyone behind the scenesis stressed.
And I'm like, this is New YorkFashion Week.
It's amazing.
And the thing is, I'm creatingwith flowers.
No one knows what it is that I'mgoing to put out there.
It's only me, you know, whoknows the concept.
(20:24):
I'm the only one.
So whatever I put out there,people will love.
Because I know it will be donewith professional techniques.
And I know it will be beautiful.
So I don't stress.
And I think if a flower doesn'tgo the way I want it to, then
never meant to be that way, likein that aspect.
But yeah, it's just time.
It's, I think I had about twohours sleep like every night and
(20:47):
then on the final three nights,I was down to about an hour and
on the last night I did likethat 48 hours, like just no
sleep,
Sharon McGukin (20:56):
wow.
Julia Rose (20:57):
I run on that nervous energy as you and
Sharon McGukin (21:01):
The adrenaline.
Julia Rose (21:02):
yeah, the adrenaline, the, it's, Huh.
Do on the last day.
We had, so I had three models aday lined up and so Wednesday
opening night, red carpet, threemodels.
We had three days to prepare forthose.
Then we had Friday.
So we had two days to prepare.
(21:23):
to prepare for those threemodels.
Then we had one on Saturday,because the lady said, Do you
want to do Friday and Saturday?
I said, Well, I'm here.
I most will do.
You know, we're here.
Let's do it.
Let's do it.
Let's it.
a go.
And then on Saturday, one of themodels pulled out because she
was unwell.
So I thought, We'll do Friday.
This is fine.
This is okay.
Cause we only have 24 hours tomake two costumes a costume can
(21:45):
take like 24, 48 hours, like tobring
Sharon McGukin (21:48):
Oh, wow.
Julia Rose (21:49):
And then on the last day the agency rang up and she
said, well, you were to get amodel, what type of model would
you like?
And I said, please, like a giantman would be my ideal model.
You know, just that presence.
that he would bring the grandeuror size of him.
And I'm like,
Sharon McGukin (22:08):
The presence.
Oh,
Julia Rose (22:17):
o'clock, so the show was at six, this man turned up,
the man who has the.
And so I had a couple of hoursand I'm like, okay, he was
beautiful.
he speaks French and he's likebroken English.
He said, I brought boys, you candress if you want.
And then as I was dressing him,I looked at them and In that
(22:37):
last, I'd say we had about fourhours before the show, I made
two extra costumes that weren'tplanned.
Sharon McGukin (22:44):
Amazing.
Julia Rose (22:45):
so it's that mad, You know, I was like, you know,
when you can see it's the finalgig, it's the, you're already
broken.
You're already, you know, you'vehad sleepless nights.
You've got six hours left andthe game is over.
So you're like, let's just dothis thing.
Let's push it all the waythrough.
And
Sharon McGukin (23:02):
Because you don't want to lose a minute of
that opportunity.
Julia Rose (23:06):
no, no, no.
And we had all the flowers thereand they put so much effort and
energy into growing.
We just had to take it and doit.
So yes, the challenges are likethe sleepless, sleepless nights,
but we, that's the challenges weall face when we're doing those
big gigs.
And then it's that madness thatyou love, right?
It's that sort of, you, becomelike when, when it's over, like
(23:30):
you sleep for three days, butthen it's a high that you sort
of get
Sharon McGukin (23:34):
yeah.
Julia Rose (23:34):
from the creation.
And, what I love too is creatingsomething.
And I just love it because Icreate for my own passion and,
but then I give it to the publicand I get to see them love it in
a whole different way.
And everyone views it.
And, that's my joy.
Like being able to give that tothe people.
Sharon McGukin (23:55):
And it's like your creative gift becomes a
gift to the people around you.
Julia Rose (24:01):
Yes, yes.
Because I, I also do interactiveand immersive art.
So I bring to life big, largescale installations.
But the way that I do them, I docall outs.
And I will raise a floral army.
And I invite people in and Iinvite and people get upset
about this, but there's a reasonthat I do it.
So I invite gardeners and flowerlovers and florists and artists
(24:25):
and photographers.
And we do a big bill.
We did one in Portland in Oregonand we had 50 people that put
their hand up.
They all put their hand up fortwo to three hours each.
They all ended up staying forlike the three days like nine
till nine.
Because what happens in themorning, they're confused.
They have no idea what it is.
(24:46):
You give them the storyboard,you give them the vision.
They just create because they'rebeing polite and they're there
to create.
And then once lunchtime comes,they start to see it come to
life.
So then they start creating withpassion.
then once success comes.
like putting the cherry on topof the cake.
So they're creating to see itcome together.
(25:07):
Once nine o'clock comes, I haveto cut them off and tell them to
go home.
you know, so then they canreserve their Mhm.
a photographer will look at aflower differently than a
florist does.
And an
Sharon McGukin (25:22):
Yes.
Julia Rose (25:22):
again, differently to a flower lover.
So when you put all these peopletogether, the environment
changes.
of creativity and differentviews and different perspectives
on flowers.
It's beautiful because it
Sharon McGukin (25:34):
Mhm.
Julia Rose (25:35):
perspective.
All the florists are there andthey work as florists, but the
other people are inspired bythem, so therefore it's great
for them too because it givesthem that confidence and, you
know, they're being looked up toby these flower loves and sort
of adored as masters of flowers.
And then, you know, Not onlythat build, then we get to open
that build up to the public andsee how the public, enjoy it.
(25:57):
And I'm one of those creepyartists, self admitted creep,
where I will sit, just outsideof you, and listen to the public
speak about it and critique it.
because people will say lovelythings to your face, but they
won't do it.
Oh, my God.
And so I listened to it and Ilistened to the critique and I
appreciate it.
(26:17):
Cause I don't think you getbetter by everyone saying all
good things to you all the time.
So I take it in and I understandthat everyone has a different
perspective and I be influencedby that, what failed, what
succeeded, do you know?
So it's the whole journey.
I love that.
I love the creation, sharingwith other people, giving to the
(26:38):
public, and then listening tothem, you know, What, I think
you have pretty
squadcaster-27d4_1_12-11- (26:44):
Japan if you like,
Julia Rose (26:45):
cannot They arranged for me to Good.
Yeah it was fun.
this piece and then we showedhim the piece and it was made
with these award winning,Lysianthus.
It was absolutely beautiful andit was there for, we sat around
(27:07):
a table with all these people ina little tiny like paper hut,
very humble.
There was about half a dozen ofus and we sat there for two days
and built this piece.
then we essentially showed it tohim, it was on show for 10
minutes and then it was going inthe bin.
That was it.
I know, right?
I know.
And I was like, this cannothappen.
(27:29):
This cannot happen.
So I said, can I take the pieceor would you like to keep it?
And they said, no, no.
You can have it.
So the next day I, I put thepiece in my suitcase and I took
it to back to Tokyo in New Yorkthey have escalators and
elevators in the underground.
In Tokyo they have stairsbecause they all like to keep
fit.
So many stairs.
(27:49):
You're going up and down thesestairs and I've got a suitcase.
I have a suitcase with a floralcouture dress a top in it.
I organized the model.
The model was one of Japan's topmodels.
I had a makeup artist fromtelevision.
I had a photographer, fromVogue.
The photographer came from aEuropean country, didn't speak
any English.
The two Japanese ladies, noEnglish, me, no Japanese or
(28:12):
European of this was soessentially we all turned up
after dragging this piece.
I said to my parents, I'mmeeting these people like in the
middle of a city in Japan, Idon't know them.
And they're like, Julia, this ishow people get kidnapped.
They arranged to meet strangerslike in the middle of countries
that they don't know.
(28:32):
So anyway, we did not getkidnapped total bonus, but yeah,
that was great.
And I've dragged my little pieceup and down the street.
And then we turn up in themiddle of the city and we just
spoke through art, like throughvisually.
You know how you're like, you,clothes off, you put this on,
you know.
And so then we put this piece onher we're in the middle of
(28:53):
Tokyo.
It, apparently it's illegal toshoot in Tokyo.
Did not know this because Icannot read the script.
Japanese signs.
So we are there.
We had this girl we dropped herin Tokyo is like being inside of
a massive pinball machine.
So there are lights every, it'slike Vegas would be
Sharon McGukin (29:12):
Yes,
Julia Rose (29:13):
to me.
Sharon McGukin (29:13):
I've been there.
It's like Times Square onsteroids.
And
Julia Rose (29:27):
We've dropped her in the garden.
This man has come running overwith white gloves and he's
yelling at us.
No, no, no, no.
Crossing his arms in front ofhis body like big.
No, no, no, no.
And I've looked at the photoafter all of our efforts, I've
looked at the photographer.
She's winked at me and thenshe's like, as if we're going to
go ahead, we're going to get theshot.
(29:48):
And so she has taken.
This man, I'm saying, I'm sorry.
I don't understand what you'resaying.
Meanwhile, he's doing big crosshands in front of my face.
And then we got this shot.
It's not quite funny, but it'samazing.
I suppose it's sort of funny,but amazing.
And then if you go, you know, Tomy social media you'll see
(30:08):
there's a photo of a Japaneselady and she's sitting in a
garden and she looks so sereneand it's so beautiful.
But this little piece wasdragged up and down the Tokyo
railway stations.
There was a man in glovesscreaming at us.
None of us spoke the samelanguage and the image that we
produced is the epitome ofserenity.
(30:31):
with a beautiful Japanese, theflatness of the face, the gap
between her eyes, the edge,beautiful pale skin.
So
Sharon McGukin (30:38):
moral of that story is it takes a lot of chaos
to create serenity.
Julia Rose (30:43):
It does.
It's like all smoke and mirrors,isn't it?
You know, it looks so
Sharon McGukin (30:48):
It is.
Julia Rose (30:50):
beautiful.
And then behind the scenes,there was
Sharon McGukin (30:53):
It's like craziness.
Julia Rose (30:54):
going on.
Yeah, yeah,
Sharon McGukin (30:56):
Oh, that is so true.
So very true.
But you're very blessed to beable to have those experiences
to remember.
Julia Rose (31:03):
yes,
Sharon McGukin (31:04):
you enjoy them twice.
Once when you're enjoying theopportunity, and a second time
when you sit back and rememberit.
Julia Rose (31:11):
yes, most definitely, and many times,
because you know when you teachyou get to share the stories
with people
Sharon McGukin (31:16):
Yes.
Laughter.
Julia Rose (31:22):
was so serene and beautiful, but the chaos behind
the scene was not.
So people love to hear thatbecause it's life.
right?
Because you think
Sharon McGukin (31:30):
Yeah, and they identify with the chaos.
Julia Rose (31:33):
they do.
They identify with sure.
Sharon McGukin (31:35):
Which part of your dream coming true touches
your heart the most?
I have a feeling it's the peopleyou work with
Julia Rose (31:44):
Yes.
Sharon McGukin (31:44):
much so as the things you work on.
Is that true?
Julia Rose (31:49):
So, so true.
Right.
I'll just reflect back.
So say New York fashion week inregards to that, as I mentioned,
the models were as beautiful.
Beautiful inside.
They are outside.
So because we're working andbreaking together, because it is
that chaos behind the scenes.
And then we go out on stage andit's all beautiful and calm and
just fabulous.
(32:10):
Like you build a relationshipwith them.
But not only that it's thesound, it's the lighting, the
artists who are helping.
It's all of those creatives thatyou get to meet and be inspired
by to create.
I love that.
I love that infusion of artistsand just having all of them
there.
And because I specialize in livemedia activations and things
(32:32):
like that it's always moving.
The greatest plans.
always change because of thehuman factor.
So it's the ability to be ableto work with all those creative
people and see them working onthe ground and just going, Okay,
no, let's shift.
Let's just completely do a 360.
We are going in the oppositedirection.
And we are going to make thishappen.
(32:53):
And we're going to make ithappen no matter what.
And I love that.
Like it inspires me that beingaround those beings.
It's beautiful.
And then again, the publicbecause they see it in a
different way.
Yeah, I just, enjoy that peoplefactor and their creatives.
Sharon McGukin (33:11):
Does your husband travel with you?
Julia Rose (33:13):
Yes, he He's active, so he's my partner and he was a
builder and he's a musician.
So he actually makes music formy
Sharon McGukin (33:22):
He's creative also.
Yes.
Yes.
Yes.
Julia Rose (33:36):
He comes with me and he builds all the sets.
And, so he's gone from buildingand in building, it's like very
masculine, very, you know, youhave that masculinity in
Australia.
It can be like that toxicmasculinity, not in a bad way,
but that's just the culture ofthat industry.
So for him to adjust but becausehe's a musician, then he's a
creative as well.
But the initial everything allpre planned.
(33:58):
A goes with B, which goes withC.
In floristry, it's all lastminute.
And that drove him crazyinitially.
Like he was like, why are youalways last minute?
What is wrong with you?
Sharon McGukin (34:11):
What is wrong with you?
Julia Rose (34:13):
with perishable products, but now he comes
along, he'll do anything hewill.
So if he has to, he does all thesame.
will get coffees for the model.
He's my pillow fluffer.
Like, he makes me a nest.
He makes sure I am fed.
He's just like a P.
A.
But who can lift heavy thingsand build, too.
Sharon McGukin (34:34):
You are very blessed to have him.
Julia Rose (34:36):
Yeah, yeah, yeah.
And then
Sharon McGukin (34:38):
And I'm sure he is very blessed to come along
with you.
Julia Rose (34:54):
house.
And each one of thoseinstallations we had to bring to
life in one day.
So I had to have all theorganizing parts, and I
organized sound engineering,lighting, models.
Makeup photographers flowers,all of the accessories from
Oasis, like all of that, all ofthat to be there.
So when we landed on the ground,we could bring together this
(35:15):
installation.
I had a crane, I had rigging.
And so he comes along and he, hethrives on that energy.
And what I do, we had the 50volunteers.
And 49 of them were women andone of them was a man.
And I just like handed him overto those women and said, he is
(35:35):
yours to do whatever you want.
So they just boss him around.
They like, You know, and heloves it.
He loves it, right?
Yeah.
Sharon McGukin (35:47):
That is so good.
Well, where do you go from here?
Julia Rose (35:51):
So this morning I had fantastic news.
We have actually been invitedback to New York Fashion Week.
Sharon McGukin (35:58):
Fantastic.
Now, I do have a question foryou.
Did you apply for New YorkFashion Week, or did they
contact you initially?
Julia Rose (36:06):
actually reached out to me because what
Sharon McGukin (36:08):
And now they've reached to you a second time.
Fabulous.
Julia Rose (36:11):
yes.
Because as I was saying beforewith the models because I'm so
laid back in the stretch.
The, the no stressing the modelsactually on the first day, I
don't think I continued, I sortof waffled off somewhere else.
But on the first day, whathappened, the model's like,
you're so relaxed.
You're so laid back.
This is so fun.
They had a ball.
We laugh, we carry on.
And so then what happened thatnight after the first night, had
(36:34):
all of these text from all ofthese models wanting to run for
us, wanting to show from us.
And so when you get thatresponse from the models, then
the people pay attention becauseTo do it, yeah.
Huh.
Oh, not have spoken higher ofus.
So therefore the agency spokehigh of us to the Fashion Week
and then want us back.
(36:55):
They did reach out to me becauseI, over here, like, I'm a judge
at the Australian Wearable Arts,I do lots of runways, fashion,
red carpet, media.
Like, it's all those activationswithin that fashion and film
industry and media.
So they did reach out to me andI think it was a repercussion of
the Met Gala last year had a lotof florals featured.
(37:17):
And so what happened everyonewas tagging me, like so many Oh
my god, you are the master ofthis.
You should have been there.
You should have
Sharon McGukin (37:25):
cool.
Julia Rose (37:26):
And I feel like that's where they found my name.
And then they Huh.
out to me, like, literally fiveweeks before the show.
Sharon McGukin (37:34):
Oh, wow.
Julia Rose (37:35):
over.
Yes! And so
Sharon McGukin (37:37):
That's fabulous.
Julia Rose (37:38):
It's five weeks before, so we did the red carpet
last time, and
Sharon McGukin (37:42):
huh.
Julia Rose (37:42):
was one issue with the red carpet, and you'll note
now that I am telling you, allof our photos are outside,
there's only a couple inside thevenue, because what happened, we
were supposed to be inactivation on the red carpet,
people come in, they have thephotos taken with our models,
and then they continue through,like on the media wall, but
Every Huh.
models would get on the mediawall, the media would swamp them
(38:07):
no one could move and the
Sharon McGukin (38:10):
Ah ha ha, ah ha ha.
Julia Rose (38:13):
And so then
Sharon McGukin (38:13):
Oh crazy.
Ah ha ha, ah ha ha, ah ha ha.
Julia Rose (38:22):
Put us in this grand hallway, which is in Sony Hall,
Marvel stairwell.
And they said, well, at
Sharon McGukin (38:29):
huh,
Julia Rose (38:29):
if you are on one side, people will be able to
move freely on the other side.
But what happened?
The media up the top and
Sharon McGukin (38:36):
that's right.
Julia Rose (38:38):
of the hallway.
And so we just kept causingchaos in the best of ways.
Sharon McGukin (38:43):
Ah ha ha.
Ah ha ha.
Julia Rose (38:45):
next time they've invited us to do a runway show
Sharon McGukin (38:49):
Fantastic.
Congratulations,
Julia Rose (38:54):
me know this morning that that's going ahead.
Sharon McGukin (38:57):
Exciting news.
That is so exciting.
Julia Rose (39:02):
Last time we kept shooting on the street and we
were roaming activation, redcarpet Huh.
And we'll have playing.
And then my partner who's Rod,his name's Rod he, We'll make
the music that goes to therunway and we'll have yeah, all
of our models back and we'll doit again but this time like
(39:22):
we'll do it like a production.
In addition to the podcast, I'llalso do a blog of our
conversation today.
I have the links you gave me tothe Instagram, Yes.
Sharon McGukin (39:34):
links.
And you are going to give mesome photos that we can use.
Julia Rose (39:39):
Yes.
Sharon McGukin (39:40):
our viewers, can go to the blog and see the
photos you're talking about andthe Instagram links that you
mentioned earlier.
Julia Rose (39:48):
most definitely.
I'll show you the photos.
New York Fashion Week and youcan go through Yeah.
as you can see, like with themusic that I chose, like it was
rock and pop and things likethat.
I'll share all of the imageswith you and you can you'll be
able to definitively see thetechniques I'm talking about
(40:09):
while I'm discussing them ifyou're looking at the images as
well.
Sharon McGukin (40:14):
Okay.
Thank you so much.
Julia Rose (40:16):
absolute
Sharon McGukin (40:16):
so much for sharing your story with us.
As I said, we enjoyed watchingyou on stage at AIFD and seeing
you online.
But hearing you tell your storyof chaos and serenity, there's
nothing like hearing directlyfrom somebody who has such joy
in the work as you do.
Julia Rose (40:35):
Thank you.
Thank you so much for having meand thank you so much.
We love America.
America's just embraced us andthey've we go.
Everyone has been so amazing.
love, okay, just let me saythis, every state in America,
you don't realize, but it's likea different country because
Sharon McGukin (40:53):
Huh.
It's true.
Julia Rose (40:55):
yeah, it is.
And,
Sharon McGukin (40:56):
It is true.
Julia Rose (40:57):
we've had so much joy, like just discovering that
because everyone, like in theMidwest, they want to feed you,
right?
sharon--_1_12-10-2024_1826 (41:04):
Huh.
And in the south, too.
You said you haven't gotten tothe south yet.
We'll feed you here, too.
Huh.
Julia Rose (41:11):
They're different.
Like, they have a different pie.
And they have a different thingthat they love.
And they just love that.
Like, Portland love being weird.
Really love it.
You know, and then that's, it'sgreat.
Sharon McGukin (41:24):
I read an interesting article that
explained that as people cameinto the country to settle they
came from different parts of theworld, and so the people that
first came, like the pilgrimsand such, they settled in the
east.
and they tend to be veryconservative.
But the ones who settledCalifornia in the gold strike
(41:46):
were the adventurers, and theycame from a different location.
And then a lot of people fromEurope came to the Midwest and,
food is binding
Julia Rose (41:55):
Yes,
Sharon McGukin (41:56):
and
Julia Rose (41:56):
makes
Sharon McGukin (41:57):
a lot of Irish people settled in the south, and
so were very garden y.
So it was really interestingthat you could look at each
region of the country and seewho originally settled them.
Julia Rose (42:09):
Oh, you can most definitely.
And just.
It's the nature of the people, Ithink coming from overseas you
don't, I don't know, you justthink USA,
Sharon McGukin (42:17):
Yeah.
Julia Rose (42:17):
it's just all the same, but when you're over
there,
Sharon McGukin (42:20):
It's very different.
Julia Rose (42:21):
state is a different country and it's beautiful, so
we can't wait to explore more ofit.
Because, yeah, we
Sharon McGukin (42:27):
You think about a European country is very often
about the size of one of ourstates.
Julia Rose (42:31):
That's true, isn't it?
Yeah.
It's just,
Sharon McGukin (42:33):
Yeah.
Julia Rose (42:34):
it's mind blowing.
And your accents are sodifferent everywhere.
Just so and like you're g'day.
If we say different things thatbelong to our region, the slang
is all very different too.
AIFD symposium that was mostprevalent to me because you had
(42:55):
a mixture of everyone from all
Sharon McGukin (42:58):
huh.
Julia Rose (42:58):
states and is it South, they call you ma'am,
ma'am, ma'am.
Sharon McGukin (43:04):
Huh.
Julia Rose (43:05):
Yeah.
Yeah.
Yeah.
So just that different sort ofterminologies because
Sharon McGukin (43:10):
Huh.
Julia Rose (43:10):
you all, y'all,
Sharon McGukin (43:13):
We say y'all.
Julia Rose (43:15):
y'all
Sharon McGukin (43:16):
say y'all.
Julia Rose (43:16):
Oh,
Sharon McGukin (43:20):
and then there's you' ins, and oh, there's
another one that's very similar.
But yeah, we have differentways.
But, when we come together, eventhough we think differently, or
dress eat speak differently, wefeel all as one.
Julia Rose (43:36):
you most definitely.
America is, you see it.
Sharon McGukin (43:39):
Yeah.
Julia Rose (43:40):
America is America.
And that's why you don't expectthe differences when you go over
there.
Just, I mean.
Like those traditions orcultures that you have in
Sharon McGukin (43:49):
Yeah.
Julia Rose (43:50):
But most definitely you can see the love for the USA
that everyone has.
It's, it's wonderful.
Yeah.
Sharon McGukin (43:56):
Very good.
And I hope next time, instead ofmeeting online, we should meet
in Australia.
I've never been to Australia.
Julia Rose (44:03):
Ah, you'll have to come down under where we are.
We have just relocated.
We used to live up on the GoldCoast and now we're down in
Newcastle, which is just an hourfrom Sydney.
easily accessible.
Sharon McGukin (44:15):
Very cool.
Julia Rose (44:15):
where everyone knows.
Sharon McGukin (44:18):
In closing, I just want to thank you so much
for being with us.
You've been delightful and we'llhave to talk again after
February and get the new update.
Julia Rose (44:26):
Most definitely.
Sharon McGukin (44:34):
To our audience, Smithers Oasis North America,
Julia and I want to thank youfor joining us today.
If you've enjoyed this episode,please share it with a friend
and be sure to hit subscribe.
You don't want to miss theinspired solutions our upcoming
guests will share with you foryour personal or business
growth.
(44:54):
If you have topics or guests youwant to hear, please message me.
We'd love to hear from you.
Until next time, I'm SharonMcGukin reminding you that like
the unfurling petals of aflower, we grow by changing
form.
Soaking inspiration in likeraindrops.
Absorbing energy from otherslike warmth.
(45:16):
This growth opens us up to newideas and that's How we Bloom.
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