There is a moment, early on a Sunday morning in May, when the flower markets of the world are at their most themselves. Covent Garden before the tourists arrive. The Bloemenmarkt in Amsterdam, the stalls just opening. The markets around Pak Khlong Talat in Bangkok, where garlands have been woven since before any of the surrounding city existed. In these places, at this hour, before the day’s commerce has fully begun, flowers are simply flowers: cut stems in water, scent in cool air, colour against the grey of a morning not yet decided. The meaning comes later. It comes when someone picks them up and carries them somewhere.<\/p>\n\n\n\n
That is what Mother’s Day flowers are, at their most fundamental. They are flowers being carried somewhere. The carrying is the point.<\/p>\n\n\n\n
The giving of flowers to mothers is older than any formalised celebration. The festivals of the great mother goddesses \u2014 Cybele in ancient Anatolia, Demeter in Greece, Isis along the Nile \u2014 involved the offering of seasonal blooms gathered from surrounding countryside. These were not purchased flowers. They were found ones: narcissi from the hillsides, violets from the margins of fields, anemones that appeared each spring with the insistence of things that have always been there. Their meaning was not encoded in advance. It accumulated through the act of offering.<\/p>\n\n\n\n
The British tradition of Mothering Sunday \u2014 the fourth Sunday of Lent, when those in domestic service were permitted a day to return home \u2014 carried the same logic into the early modern period. Children walked back along country lanes and gathered what they found: primroses, early daffodils, whatever the hedgerow offered. There was no transaction. There was a journey, and at the end of it, a handful of something beautiful, and a person to give it to.<\/p>\n\n\n\n
The formalisation of Mother’s Day in the United States came in 1914, when President Woodrow Wilson signed the proclamation designating the second Sunday of May as the official observance. Its founder, Anna Jarvis of West Virginia, had imagined the day as a private thing: a handwritten letter, perhaps, or a single flower given with sincere attention. She had distributed white carnations at a church service in 1908, in memory of her mother, who had loved them. It was the most personal of gestures. What happened next \u2014 the florists, the greeting card companies, the advertising \u2014 was not what she intended. She spent the rest of her life, and most of her money, trying to stop it. She did not succeed. She died in 1948 with an insolvent estate, her bills paid quietly by the floristry industry she had spent twenty years opposing.<\/p>\n\n\n\n
The flower, though, remains. However it arrives \u2014 bought at a market, pulled from a garden, grabbed from a petrol station forecourt at the last possible moment \u2014 it arrives as a gesture that has been repeating itself, in one form or another, for several thousand years. The species change. The ritual persists.<\/p>\n\n\n\n
Dianthus caryophyllus<\/em><\/p>\n\n\n\n Begin here, with the flower that started it. The white carnation is not fashionable. It does not appear in the arrangements of contemporary florists who work with dried pampas and foraged branches and sculptural proteas. It appears, instead, in church halls and hospital rooms and on the lapels of men at funerals. It is the flower of sincere and unfashionable feeling, which is perhaps precisely why Anna Jarvis chose it.<\/p>\n\n\n\n She chose it because it had been her mother’s favourite. She chose it, she later explained, because its petals cling together as the flower dies rather than falling separately \u2014 a quality she read as an emblem of a love that does not let go. The white was for purity. The distinction she drew \u2014 white for mothers who had died, coloured for mothers still living \u2014 was one of the more psychologically precise acts of floral symbolism on record. It acknowledged that Mother’s Day is, for many people, a day of grief as much as celebration. That both things can be true at once.<\/p>\n\n\n\n The carnation has a long history before Anna Jarvis gave it its specific American identity. It appears in Shakespeare. It was a staple of the Elizabethan garden. Its scent \u2014 warm, spiced, faintly clove-like \u2014 was prized in medieval posies and Elizabethan nosegays. In Spain and Portugal, it is associated with the Virgin Mary, whose tears were said to have become carnations where they fell at the foot of the Cross. This is a flower with deep roots and a long memory, and it is worth knowing this when you hold one.<\/p>\n\n\n\n In South Korea, the red carnation is given on Parents’ Day \u2014 the 8th of May \u2014 and it is given differently from how carnations are typically given in the West. It is not placed in a vase. It is pinned, directly, to the chest of the person being honoured. The flower is placed close to the heart. The gesture is literal in a way that most floral gifts are not, and more affecting for it.<\/p>\n\n\n\n How to give one:<\/em> Alone, in its white form, on a day when you want to acknowledge both the love and the loss. It does not need to be accompanied by anything else.<\/p>\n\n\n\n Rosa damascena<\/em> and its descendants<\/p>\n\n\n\n The rose arrived at Mother’s Day not through tradition but through market dominance. It is the most produced cut flower in the world. It is grown at scale in the highlands of Kenya, in the valleys of Colombia and Ecuador, in the greenhouses of the Netherlands. It is available in every colour, year-round, at a price point calibrated to every market segment. Its association with love in the general sense \u2014 romantic, parental, fraternal, occasional \u2014 makes it suitable for any occasion requiring a flower without requiring any specific argument.<\/p>\n\n\n\n This is not, strictly speaking, a criticism. The rose has been cultivated for its beauty and its fragrance for more than three thousand years. The Persian garden \u2014 the paradeisos<\/em>, from which our word paradise descends \u2014 was built around roses. The rose oil of ancient Alexandria was traded across the Mediterranean in quantities that Roman moralists found scandalous. The damask rose, ancestor of the modern perfumery rose, contains more than three hundred aromatic compounds. It is a flower of genuine depth, whatever the commercial floristry trade has made of it.<\/p>\n\n\n\n The pink rose of the commercial Mother’s Day \u2014 soft, slightly peachy, carefully positioned to evoke warmth without challenge \u2014 is not the same thing as a damask rose grown in a Bulgarian valley, cut in the early morning before the heat opens the petals fully, processed through methods refined over centuries. The former is the product of a supply chain. The latter is the product of a relationship between a specific flower and a specific landscape. Both are roses. They are not the same.<\/p>\n\n\n\n If you give roses, it is worth knowing where they came from. The fair trade flower movement has made meaningful progress in establishing certified supply chains with improved conditions for the women \u2014 and they are predominantly women \u2014 who grow cut flowers for export. It is not a perfect system. It is better than the alternative.<\/p>\n\n\n\n How to give them:<\/em> From a garden, if you have one that grows them. Failing that, from a florist who knows their provenance. One variety, simply arranged. The colour is yours to choose, and the colour will say something regardless of whether you intend it to.<\/p>\n\n\n\n Tulipa<\/em> species and hybrids<\/p>\n\n\n\n The tulip arrived in Europe from the Ottoman court, where it had been cultivated since the 15th century in gardens that made its cultivation a form of philosophical practice as much as horticulture. Ottoman gardeners developed thousands of named varieties; the sultans held tulip festivals in the palace grounds at night, the flowers lit by candles set in lamp stands, the whole garden illuminated in a way that made the blooms appear to glow from within. When the tulip reached Holland in the 16th century and sparked the first speculative financial bubble in recorded history \u2014 tulip mania, single bulbs trading at the price of houses \u2014 it was not because the Dutch had gone collectively irrational. It was because the tulip was genuinely extraordinary, and they knew it, and so did everyone else.<\/p>\n\n\n\n The normalised tulip \u2014 the \u00a35 bunch from the corner shop, the five-for-ten arrangement from the supermarket \u2014 carries this history within its botanical identity, whether or not anyone involved in its purchase is aware of it. Persian poets read the red tulip’s dark centre as an image of the heart on fire with love. This reading is available to you when you hold one. You do not have to use it.<\/p>\n\n\n\n The tulip comes to Mother’s Day through seasonal availability rather than symbolic tradition: it blooms, abundantly and beautifully, in the spring months when the day falls in the northern hemisphere. This is not a lesser form of association. Seasonal flowers carry the quality of their moment \u2014 the particular light and temperature of early spring, the air’s specific quality in March and April. A tulip given in May is a spring flower given in spring, and this simple fact is itself a kind of meaning.<\/p>\n\n\n\n How to give them:<\/em> In a generous bunch, mixed colours or single variety, long stems. They open wider each day in the warmth of a room, and the opening is worth watching.<\/p>\n\n\n\n Lilium<\/em> species, particularly Oriental hybrids<\/p>\n\n\n\n The lily’s association with mothers has deep roots in the Christian tradition, where it is the flower most closely identified with the Virgin Mary \u2014 the archetypal maternal figure of Western religious culture. The Madonna lily (Lilium candidum<\/em>) has been present in sacred art for more than a thousand years. The Easter lily bridges the liturgical and the domestic calendar in a way that gives the lily a genuine cultural continuity at Mother’s Day, rather than the commercial imposition that accounts for many of the other flowers in this list.<\/p>\n\n\n\n The lily is unusual among Mother’s Day flowers in that it is not primarily a visual gift. It is an olfactory one. The Oriental hybrid varieties \u2014 the tall-stemmed, wide-headed, spectacularly fragrant types that dominate the cut flower market \u2014 produce a scent that fills a room, that persists for hours after the flowers have been removed, that is in some homes the smell of the day itself rather than merely a component of it. Sweet, spiced, slightly animalic in its deepest registers. The lily announces itself before it is seen. It stays after it is gone. As a gift, this is a form of generosity that most flowers cannot match.<\/p>\n\n\n\n In Japan, where Mother’s Day (Hahanohi<\/em>) follows American convention but has been adapted to Japanese aesthetic sensibility, flowers are chosen with reference to hanakotoba<\/em> \u2014 the Japanese language of flowers, in which each species carries a specific meaning legible to the recipient. Pink lilies signify ambition; white ones, purity and refined femininity. The deliberate choice of meaning \u2014 the expectation that the recipient will read it \u2014 reflects a relationship with flowers as a communicative medium that Western commercial floristry does not cultivate. It is worth recovering.<\/p>\n\n\n\n How to give them:<\/em> A single large stem or a simple grouping of three, in a wide-mouthed vessel that allows the heads to open fully. Choose a room where the scent can expand. Leave the door open.<\/p>\n\n\n\n Chrysanthemum morifolium<\/em><\/p>\n\n\n\n In Australia, Mother’s Day is sometimes called chrysanthemum day. The designation is simply seasonal: the chrysanthemum flowers in the southern hemisphere autumn, which falls in May, which is when Mother’s Day falls. The flower available at the right moment becomes, by that availability, the flower of the occasion.<\/p>\n\n\n\n There is more to it than that, though most Australians who give chrysanthemums on the second Sunday of May are unaware of it. The chrysanthemum has been cultivated in China for more than fifteen hundred years. It is one of the most completely observed plants in the history of any culture’s relationship with the natural world: thousands of named varieties, competitive exhibitions under the Tang and Song dynasties, a festival \u2014 the Double Ninth \u2014 in which chrysanthemum wine was drunk each autumn as a medicine against age and a rite of seasonal acknowledgment. The flower that blooms when other flowers have retreated became, in Chinese symbolic culture, an emblem of virtue persisting under adverse conditions, of the scholar who remains true to principle when circumstances make it inconvenient.<\/p>\n\n\n\n Applied to motherhood, this is a precise and apt symbolism. The chrysanthemum that an Australian child gives their mother on a Sunday morning in May carries this entire history, unarticulated, within its botanical identity. It is one of the more quietly resonant coincidences in the global floristry calendar.<\/p>\n\n\n\n A note of caution: white chrysanthemums are associated with death and mourning in both Chinese and Japanese cultural traditions. This is not a universal association, and in Australia it is simply not present in most people’s awareness. But it is present in the awareness of the Chinese and Japanese diaspora communities for whom both Australia and chrysanthemums are part of daily life, and it is worth being conscious of when choosing.<\/p>\n\n\n\n How to give them:<\/em> A large, full-headed variety \u2014 the kind sometimes called football mums for their substantial bloom \u2014 in yellow or deep pink, in a simple ceramic vessel. They last well. They do not need fussing over.<\/p>\n\n\n\n Paeonia suffruticosa<\/em> (tree peony), Paeonia lactiflora<\/em> (herbaceous peony)<\/p>\n\n\n\n The peony asks something of the person who gives it. It requires attention to timing. Its flowering window in the northern hemisphere is two to three weeks in late spring, no more, and it cannot be artificially extended or commercially approximated in the way that roses and carnations can be. You have to know when it is the moment, and you have to act on that knowledge, and then you have to present a flower that will be gone within days at its most extravagant.<\/p>\n\n\n\n This is the peony’s symbolic gift. In Chinese aesthetic culture \u2014 where the peony was cultivated for fifteen hundred years, praised by Tang dynasty poets in terms that make the enthusiasms of Western floristry seem restrained, and elevated to the status of national flower \u2014 seasonal attentiveness is itself a form of care. The person who brings you a peony when peonies are available is saying: I was paying attention to the season. I noticed when the moment arrived. The flower is the evidence of that attention.<\/p>\n\n\n\n F\u00f9gu\u00ec<\/em> \u2014 wealth and honour \u2014 is what the peony signifies in Chinese floral symbolism. To give one to one’s mother is to acknowledge the wealth of her care, the honour of her devotion. The extravagance of the fully opened flower \u2014 its many petals arranged in successive layers of such generosity that the bloom seems almost excessive \u2014 is itself the message. Maternal love, in the culture that gave the peony its meaning, is not moderate or carefully proportioned. It is this.<\/p>\n\n\n\n The peony does not keep. Within days of cutting, it will open further than seems possible and then begin to lose petals. Put it somewhere you will see it. Look at it while it is here.<\/p>\n\n\n\n How to give them:<\/em> A single stem, or three, chosen the day before giving while the buds are still tight enough to have days of opening ahead. Pink or deep blush. No other flowers necessary.<\/p>\n\n\n\n Myosotis<\/em> species<\/p>\n\n\n\n The forget-me-not contains its entire symbolic programme in its name, which makes it the most legible flower in this guide and, for some purposes, the most honest. Mother’s Day is not only a celebration of living mothers. For many of the people who observe it, it is a day of absence \u2014 a day when the person it is designed to honour is not there to receive anything.<\/p>\n\n\n\n The forget-me-not speaks to this. Its name is a command and an anxiety simultaneously: do not forget me. It operates in both directions on a day of maternal memory. The child who plants forget-me-nots in a mother’s garden after her death is honouring the command. The mother who grows them, saving seed year after year, is ensuring that the command will be issued after she is no longer there to issue it herself.<\/p>\n\n\n\n The flower’s habit reinforces its meaning. It self-seeds abundantly, returning each spring from the previous year’s fallen seed without any intervention required. A forget-me-not planted in a garden will return, reliably, for years \u2014 for as long as the garden exists, possibly longer. This botanical persistence is a form of faithfulness that no other Mother’s Day flower quite matches, and it makes the forget-me-not, among all the flowers in this guide, the one most specifically suited to the grief that this day, like all occasions of marking, necessarily carries.<\/p>\n\n\n\n Victorian mourning culture understood this. The flower appears in mourning jewellery of the period, in the correspondence of the bereaved, in the gardens of those who wished to maintain some visible connection with the dead. Its blue \u2014 the pale, slightly greyish blue of sky reflected in still water \u2014 is the colour of fidelity, of distance held in mind.<\/p>\n\n\n\n How to give them:<\/em> As a growing plant, in a pot small enough to fit on a windowsill. They will spill from it, seed themselves wherever they find a foothold, and return next year without being asked.<\/p>\n\n\n\n Phalaenopsis<\/em> and related species<\/p>\n\n\n\n The orchid arrived at Mother’s Day through commercial logic rather than cultural tradition, and this is visible in the thinness of its specific symbolic associations. It means elegance, refinement, lasting beauty. These are good things. They are not, as cultural meanings go, very particular.<\/p>\n\n\n\n What the orchid offers instead is persistence. A Phalaenopsis<\/em> in reasonable conditions blooms for three months, rests for several more, and then blooms again \u2014 potentially for years, potentially for decades. The plant given to a mother on a Sunday in May may still be in her home, producing its arching stems of white or pink flowers, a decade later. By then, the association between the plant and the occasion of its giving has been reinforced by ten years of annual returns. The plant is a form of continued presence, and this \u2014 rather than any symbolic tradition \u2014 is its claim on the Mother’s Day gift.<\/p>\n\n\n\n In Chinese cultural tradition, the orchid is one of the Four Gentlemen of scholarly painting \u2014 alongside plum blossom, bamboo, and chrysanthemum \u2014 and it carries associations of refined virtue, modest inner quality, and the beauty that does not call attention to itself. This is not the quality of the supermarket Phalaenopsis<\/em>, which is specifically designed to call attention to itself in the manner of accessible luxury goods. But the two are the same plant, and the deeper associations are there if you choose to bring them.<\/p>\n\n\n\n How to give it:<\/em> Potted, in a simple ceramic pot \u2014 repot it from the plastic if you can, before giving. A white or pale pink variety. Include a note explaining that it will bloom again after resting, and that the resting is not failure.<\/p>\n\n\n\n Lathyrus odoratus<\/em><\/p>\n\n\n\n The sweet pea does not appear in commercial floristry statistics as a significant Mother’s Day flower. It appears, instead, in the personal accounts of maternal memory with a frequency that suggests it occupies something more than a commercial position in the celebration’s informal life. It is the flower that people grew in their mothers’ gardens, that arrives in recollection attached to a specific summer, a specific person, a specific fragrance that is unlike any other fragrance and that triggers memory with the directness of smell rather than thought.<\/p>\n\n\n\n Sweet peas cannot be mass-produced and shipped intercontinentally. They wilt within hours of cutting without water, and their stems are thin enough that they must be handled with care. They are available, in the northern hemisphere, only for a brief period in late spring and early summer \u2014 roughly coinciding with the period around Mother’s Day \u2014 and only from growers who have given them the cool growing conditions they require. These are the characteristics of a flower that resists industrialisation, which is perhaps why it has retained, more than most flowers in this guide, the quality of the personal.<\/p>\n\n\n\n In the Victorian language of flowers, the sweet pea signified blissful pleasure and departure \u2014 an unlikely pairing that is, in the Mother’s Day context, oddly precise. The pleasure of the occasion and the departure it acknowledges \u2014 the passage of time, the movement of the generations, the children who have left \u2014 are held in the flower’s symbolism with a specificity that the rose, with its generic love, cannot match.<\/p>\n\n\n\n How to give them:<\/em> A loose bunch, ribbon-tied, in a tall narrow vase that lets the stems drink. Mixed colours or all one colour \u2014 the single-colour arrangements have a quiet formality that suits the fragrance. Do not crowd them.<\/p>\n\n\n\n Lavandula angustifolia<\/em><\/p>\n\n\n\n Lavender’s association with motherhood is not primarily visual and is not primarily symbolic. It is olfactory, which means it operates through the brain’s most direct emotional pathway, bypassing reflection and arriving somewhere close to the body’s emotional centre before any conscious thought has time to intervene. The smell of lavender, for many people across northern Europe and the cultures that descended from it, is one of the earliest and most reliable triggers of maternal memory. It is the drawer sachet, the linen cupboard, the pillow. It is the smell of the home when the person who made it a home was still there.<\/p>\n\n\n\n This association cannot be manufactured. It is the product of a specific domestic practice \u2014 the gathering and drying of lavender, the placing of it in the spaces of daily life \u2014 transmitted from one generation of women to the next over a very long period of time. The lavender that a mother placed in the wardrobe continues to release its scent for months after it was placed there, and for years after that in memory. It is, among all the flowers in this guide, the one most specifically embedded in the daily life of women rather than in their ceremonial recognition, and this embeddedness is its particular depth.<\/p>\n\n\n\n Lavender as a Mother’s Day gift does not read as a formal celebration in the way that a peony or an orchid does. It reads as an act of personal recognition \u2014 of the specific woman, and the specific practices through which she has expressed care. This is not a lesser thing. It may be a more honest one.<\/p>\n\n\n\n How to give it:<\/em> A bundle of fresh stems, tied with natural twine, at the moment in midsummer when the flowers are just opening. Or a small pot of the growing plant, placed somewhere with sun. Or \u2014 if you know the person well \u2014 nothing more than a sprig cut from a garden they planted themselves, given without comment.<\/p>\n\n\n\n Narcissus pseudonarcissus<\/em> and cultivated hybrids<\/p>\n\n\n\n The daffodil arrives at Mother’s Day through seasonal availability and national association rather than deliberate symbolic choice. In Wales, where it is the national flower, it is worn on St David’s Day on the 1st of March, a week before Mothering Sunday, and its temporal proximity to the celebration gives it a natural connection to the occasion. More broadly, the daffodil’s status as the first substantial flower of the northern hemisphere spring \u2014 its arrival, often through late frosts and grey skies, with an insistence that seems almost aggressive in its refusal to be discouraged \u2014 gives it a character well suited to a celebration of maternal persistence.<\/p>\n\n\n\n The daffodil’s most significant quality for the purposes of this guide is its botanical stubbornness. A bulb planted in a garden and then neglected will return, each spring, without intervention, for decades. A bulb planted by a mother in a garden she no longer tends \u2014 because she has moved, or because age has made the garden too much, or because she is no longer there \u2014 will continue to flower long after she last looked at it. The naturalised daffodil, spreading through meadow grass or along a riverbank far from any garden, is among the most moving of all botanical memorials. It asks nothing and returns reliably, which is a quality that means different things at different moments in a life.<\/p>\n\n\n\n How to give them:<\/em> As a growing bulb, in a pot, in autumn \u2014 which means planning ahead, which is itself a form of care. Or as a cut bunch in early spring, before the stems have straightened fully, when the heads are still nodding slightly with the weight of the flower.<\/p>\n\n\n\n Acacia pycnantha<\/em> and related species<\/p>\n\n\n\n Australia’s golden wattle \u2014 the national floral emblem \u2014 is to the Australian Mother’s Day what the mimosa is to the Italian International Women’s Day: both are Acacia species, both produce their characteristic clusters of yellow spherical flowers in the season when the respective celebrations fall, and both carry the quality of incandescent yellow that functions, across cultural contexts, as the colour of warmth and celebration.<\/p>\n\n\n\n The wattle’s yellow against the specific quality of Australian light in early autumn is a particular thing: not the pale yellow of northern European flowers in spring, but something richer and more insistent, the yellow of a landscape that has had six months of sun and is not quite ready to give it up. To give wattle in Australia is to give the season itself \u2014 the specific character of the moment, the particular smell of the bush in March \u2014 which is something that a Dutch rose or a Kenyan carnation, however beautiful, cannot do.<\/p>\n\n\n\n The wattle has roots in the Australian landscape that go back further than any of the cultural traditions in this guide. Various Acacia species have been food sources, medicines, and materials for Aboriginal Australians for tens of thousands of years. The golden wattle carries within its botanical identity a human relationship with the Australian land of extraordinary depth and duration, which is not present in any imported flower and cannot be replicated.<\/p>\n\n\n\n How to give it:<\/em> As a cut bunch, handled loosely \u2014 wattle branches do not like tight arrangements. Or, better, as a flowering branch broken from a tree in your own garden, if you are fortunate enough to have one, given still warm from the morning sun.<\/p>\n\n\n\n Pink is the commercial Mother’s Day colour. It was not chosen by mothers, or by the traditions that preceded the commercial holiday. It was chosen by marketing departments on the basis that it communicates warmth and approachability with sufficient clarity to sell reliably in a mass market. It is not wrong. It is partial: it encodes one register of maternal love \u2014 the tender and uncomplicated \u2014 while omitting the others.<\/p>\n\n\n\n White speaks to grief and purity simultaneously. It is the colour of the dual occasion, the Mother’s Day that holds both the living and the dead. It asks more of the giver and the receiver than pink does.<\/p>\n\n\n\n Yellow insists on the present. It refuses the elegiac and asks only that the current relationship, the living person, the moment that is here, be acknowledged. There is honesty in this refusal.<\/p>\n\n\n\n Red carries the depth of feeling that the other colours cannot hold. It is for the love that is serious rather than sweet, the love whose intensity the available vocabulary cannot contain.<\/p>\n\n\n\n Purple and lavender speak to the weight of accumulated time \u2014 the love that has a history, that has been building for decades, that is not trying to appear new.<\/p>\n\n\n\n Choose with some consciousness of what the colour says. The flower will say it regardless.<\/p>\n\n\n\n This guide has covered the flowers that traditions and markets have associated with Mother’s Day. It cannot cover the most important category: the personal flower. The flower that grows in a specific garden and is given because of that specificity. The flower that appears each spring in a certain place and whose appearance is itself the gift. The flower that a three-year-old presents with the absolute conviction that it is exactly right \u2014 because for a child giving a flower to their mother, it always is.<\/p>\n\n\n\n The iris that a grandmother divided and passed to her daughter, who divided it again, so that the same rhizome flowers now in three gardens across two countries. The sweet peas grown from seed saved the previous year, so that the plants are, in some meaningful sense, the same plants that grew in the same garden thirty years before. These are not in the floristry catalogues. They are not in the symbolic traditions. They are the whole point.<\/p>\n\n\n\n The gesture of giving a flower is, at its most fundamental, the decision to bring something perishable to someone who matters \u2014 to acknowledge an occasion with something that is beautiful now and will not always be beautiful, that is here and will be gone, that requires no justification beyond its own brief existence. This is not a small gesture. It may be the oldest form of attention that humans have paid to one another.<\/p>\n\n\n\n The flowers are all correct. The carrying is what matters.<\/p>\n\n\n\n
\n\n\n\nRose<\/strong><\/h3>\n\n\n\n
\n\n\n\nTulip<\/strong><\/h3>\n\n\n\n
\n\n\n\nLily<\/strong><\/h3>\n\n\n\n
\n\n\n\nChrysanthemum<\/strong><\/h3>\n\n\n\n
\n\n\n\nPeony<\/strong><\/h3>\n\n\n\n
\n\n\n\nForget-Me-Not<\/strong><\/h3>\n\n\n\n
\n\n\n\nOrchid<\/strong><\/h3>\n\n\n\n
\n\n\n\nSweet Pea<\/strong><\/h3>\n\n\n\n
\n\n\n\nLavender<\/strong><\/h3>\n\n\n\n
\n\n\n\nDaffodil<\/strong><\/h3>\n\n\n\n
\n\n\n\nWattle<\/strong><\/h3>\n\n\n\n
\n\n\n\nOn Colour<\/strong><\/h2>\n\n\n\n
\n\n\n\nThe Personal Flower<\/strong><\/h2>\n\n\n\n