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EPISODE HIGHLIGHTS:
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[00:00]: Introduction to Colorful Wedding Designs
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[03:08]: Jove Meyer's Journey to Wedding Planning
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[10:57]: The Evolution of Design Aesthetics
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[15:19]: Incorporating Color in Wedding Design
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[26:08]: Balancing Playfulness and Restraint in Design
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[30:10]: Understanding Client Vision and Process
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[34:25]: Creative Floor Planning and Design Innovations
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[39:07]: Presentation Techniques for Client Engagement
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[46:06]: Navigating Trends vs. Personal Style in Weddings
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[52:02]: Collaborating with Vendors for Unique Designs
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[57:08]: Unlocking Creativity in Everyday Life
Who is Jove Meyer?
Jove Meyer is all about spreading joy through design. Whether he’s transforming your home or making life’s biggest moments pop with color, Jove creates vibrant, unforgettable spaces inspired by clients who love to stand out. Breaking away from his traditional roots, he built a global design firm focused on authenticity, celebrating diversity, and empowering marginalized communities.
Named a top wedding planner by Harper's Bazaar, Brides, and The Knot, his work has graced the pages of Vogue, Domino Magazine, The New York Times, Martha Stewart, and The Cut. You might recognize him from the Rachael Ray Show, Good Morning America, or the Today Show. Jove also hosts the popular podcast Weddings-ish with Jove, writes for The Knot Magazine, and is the creator of the Ally Pledge.
Do you feel like you always were equipped to be a wedding planner or a designer? Were you always super creative and also really organized?
I've always been super organized—definitely type A and a bit OCD. My house, ever since I was a kid, has always been clean and organized. Everything has a place, and I love sticking to schedules and being on time. I've never been a lackadaisical person; that's just not who I am.
Creativity has also been a huge part of my life since I was young. We grew up with limited resources—we were a pretty poor family. For every holiday, we made our decorations. I remember taking the back of Trader Joe's bags, that craft paper, and drawing, designing, cutting, and hanging everything up on the walls.
I spent a lot of my childhood at the Boys and Girls Club in my neighborhood, especially in the arts and crafts room. It was my favorite spot. After finishing my homework, I'd spend hours in there, often six hours a day. It was just so much fun for me.
My first job was at a balloon and flower store, where I made balloon arches and flower arrangements. Creativity has always been how I express myself. I think I had the tools early on; I just didn’t realize that being a wedding planner could be a legitimate career.
Since I was paying my way through school, I thought, If I’m going to invest so much in college, I need to graduate with a degree that offers job security so I can pay off my debt. Logically, that meant law school—because in my mind, it promised a six-figure paycheck. And if you “sell out” to corporate law, the numbers get even bigger.
To be honest, at first, I wanted to be a human rights attorney. That was my dream. But the guy I was dating at the time said, “That’s nice, but unless you’re wealthy, it’s not realistic.” I asked him what he meant, and he said, “After Columbia or Harvard, you’ll be a million dollars in debt. That’s a $5,000-a-month loan payment, minimum. And as a human rights attorney, you’ll make $35,000 a year.”
I was floored—$35,000? I thought, How can I help people if I can’t even pay my rent? That realization was a slap in the face.
Then my best friend got married, and things started to snowball from there. I realized I loved planning weddings. Eventually, the lawyer and I broke up, and I decided I didn’t want to be a lawyer after all.
Do you feel like as you were continuing in your career there were moments that you purposely tried to improve or you sought help to hone in on your craft? Or do you feel like it was really more just the evolution and time?
I’m the kind of person who always wants to be the best at whatever I do. “Okay” is never good enough for me. So, the moment I realized there was a list of top planners, I thought, I want to be on it. The moment I saw there was an “in-crowd,” I thought, I want to be part of it. I’m an overachiever, through and through.
When I first started, I had no idea what I was doing. I was planning weddings for friends, then moved on to Craigslist weddings. That’s when it hit me—there were other wedding planners out there who dressed much nicer than I did, probably spoke better, and could afford to take cabs. Meanwhile, I was eating Cup Noodles, taking the subway, and pretending to be someone I wasn’t.
I had this idea in my head that to be a wedding planner, you had to be an affluent, wealthy, overtly gay man in New York City. David Tutera was all over TV, and I thought, That’s the blueprint for success. So, for a couple of years, I tried to fit into that mold. But it was exhausting and completely unfulfilling.
Eventually, I realized there was a market for me. I could show up as myself, bring my own perspective, and draw from my unique experiences and expertise. That realization—though it came years later—was incredibly freeing. There’s no one-size-fits-all mold for being a wedding planner.
The only real “mold” people seemed to know was J-Lo in The Wedding Planner. And honestly, I can’t even count how many first dates I went on where someone asked, “So, are you like J-Lo from The Wedding Planner?” If I had a dollar for every time I heard that…
Can you share a bit about your approach to using color? Are there specific guidelines you follow, or do you take more of a “whatever crazy works, works” mindset?
I think the wedding industry is often a sea of sameness, with safe designs that feel elegant, appropriate, and timeless. Beige, white, and gold are classic—they’ve been loved decade after decade for good reason. If that’s your vibe, I think you should absolutely go for it.
But for me, I always go back to our childhoods and how much joy we associate with color. To me, color evokes happiness. It’s not about standing out or being different; it’s simply what makes me happy. Think about it—if you’re in a neutral or down mood, stepping into nature, surrounded by its vibrant colors, can instantly lift your spirits.
For the longest time, I wondered why our industry is so obsessed with white—the symbolism of purity and virginity—when, realistically, most couples are living together and have already “done the deed.” Let’s be honest, very few people are virgins before marriage anymore! So, if that’s not the reason for white, why the obsession?
That’s why I started playing with color—it’s what I know and love. Everywhere I go, I seek it out. I understand that incorporating color can feel daunting, though. Couples might worry their wedding will look like a rainbow explosion or a box of melted crayons. And I agree—that’s probably not everyone’s vibe. But color doesn’t have to be loud or overwhelming.
For instance, if you love white linens, what about using colorful napkins, vibrant ink on your menus, or naturally colorful flowers? You can anchor your palette with one or two main colors, then decide if you want a pop of color or something more subtle. You don’t have to go all-in if it makes you nervous. The key is to experiment and find the colors that bring you joy.
When picking colors for your wedding, it helps to start with what feels safe and then layer on accents. Maybe your base is white and gold—classic and elegant. From there, think about adding secondary colors. Do you prefer warm tones or cool tones? Are you drawn to pastels or bright hues?
Also, have a conversation with your partner. You’d be surprised how strong their opinions might be! For example, I once found out my fiancé hates yellow—all shades of yellow. Years ago, I designed a home on Fire Island with yellow as the main inspiration. He later said, “I’m glad I met you after you designed this because if we were serious then, this house would not be yellow!” So, talk to your partner about what colors make them happy—or what colors they don’t like—and go from there.
Natural flowers, for instance, come in limited shades. Sure, you can dye or paint them, but that’s not really my vibe. If you want blue flowers, it can be tricky. There are soft blues, maybe purpley blues, but not a true navy. That’s where you can incorporate color elsewhere—linens, furniture, or stationery. It’s about finding creative ways to bring in the hues you love.
Also, think about your venue. Is it neutral, colorful, rustic, or contemporary? Do you want your design to blend with the venue or contrast it? There’s no right or wrong answer—it’s about what feels right for you.
When you’re at the rental showroom, don’t be afraid to try something new. You can start with a safe, familiar setup but then experiment. Pull a linen or a plate that catches your eye, even if it feels bold. If it’s too much, you can scale it back. Maybe it’s not the bright linen, but the charger plate with a gorgeous border that sparks joy.
Follow that joy. Let yourself imagine and play, like when you were a child. Weddings have been so rigid for so long, but that’s changing. There were years where people would say, “You’d use a blue chair here?” And I’d say, “Yes, I would.” That’s my recommendation. Ultimately, you hired me for my aesthetic and expertise. But design requires taking a leap of faith—and that leap can lead to something uniquely beautiful and joyful.
I agree with everything you said, your designs are very custom, do you find that can be hard to “show” before it exists?
I think taking a leap of faith is so important—and so is playing and experimenting.
This isn’t a day you just throw together in five minutes. Your wedding is such a significant celebration; it should truly reflect you. It should look, feel, and even taste like you and your partner. It’s a reflection of your unique love story, and that means it shouldn’t be the same as anyone else’s—because you’re not the same as anyone else.
If you have an inkling, an idea that excites you—whether it’s a certain design, color, or detail—you need to listen to that instinct. Turn down the volume of other people’s opinions and expectations. Your coworkers, your parents, and society at large will all have their thoughts about what your wedding “should” look like. But at the end of the day, the most important opinions are yours and your partner’s.
It’s your celebration. We’ve all been to so many weddings, and while they’re lovely, they often feel the same. What makes a wedding exciting is when you walk in and think, Oh wow, I didn’t expect this. That’s so cool. It’s not about impressing or inspiring your guests—it’s about showing your personality and your story.
A good way to start is by looking inward. Your closet, for example—what does it look like? What kinds of clothes are you naturally drawn to? Or your home—does it have lots of color, art, or unique touches? Your wedding should reflect you in the same way.
Don’t be afraid to experiment. Try different linens, napkins, or plates. When you’re at your floral sample meeting, don’t shy away from adding some color. Or go to a local bodega, buy a few flowers in colors you love, and arrange them at home to see how they could work in a space. Have fun with it! This isn’t supposed to be so serious—it’s a celebration.
it’s loving and joyful. You’re not here to one-up anyone. Unfortunately, Instagram and Pinterest have created this sad reality where people feel like they’re in constant competition—not just with others, but with the internet itself.
I kind of miss the days before social media, when your wedding was just yours. Only the people in the room experienced it, and they had the best time. Now, there’s this pressure to share every detail on social media, to be judged or validated by likes and comments.
I get it—those voices are loud, and they’re everywhere. I hear them too. I’m getting married next summer, and even I’m fighting off those same demons. But it’s worth it to shut them out and focus on your truth, your joy, and your unique perspective.
When people come to your wedding, they want to see you. They want to feel your vibe and your energy throughout the entire day. That’s what makes it special—and that’s what they’ll remember.
One thing that I kind of want to touch on and ask you about is I feel like you have a very signature style. It's playful, yet refined, whimsical, elegant. There's a restraint there also that I feel like is something you develop as a designer. Have you honed in on this ability to strike a balance between those two worlds?
Designing for a wedding is a skill you develop over time. For me, there’s always a sense of restraint—and often that restraint comes from my clients. Not all of them let me go “all the way,” and I completely respect that. At the end of the day, my goal is to make them happy and bring their vision to life. Sometimes the limits come from the client, sometimes from the budget, and sometimes it’s just that editing feels right for the design.
Wasn’t it Coco Chanel who said, Before you leave, look in the mirror and take one thing off? Weddings can sometimes be the opposite—where it feels like you just keep adding and adding. More flowers, more lights, more everything. It’s tempting to think, It’s a wedding, so everything should be everywhere, all at once! But for me, it’s a journey.
I want guests to start in one space, then move to another, and experience a sense of discovery along the way. Each new area should reveal something special. But if you start at a “10” the moment they walk in, where can you go from there?
Exactly. Otherwise, it’s all downhill after the first moment. This can be hard for clients to understand. Sometimes they’ll say, We spent so much money on this space—why not keep everyone there for as long as possible? But I always tell them, No, let’s let people experience it in its best light and then move them on to something new.
It’s all about balance. Whether it’s constraints of the space, the budget, or client preferences, I try to craft a cohesive vision. For example, we once did this flower sculpture installation for a wedding, and I was obsessed with it. It was minimal but incredibly chic. Each element was its own work of art. Other designers might’ve added more flowers, drapery, or fabric for a “more is more” effect. But for that wedding, the minimal approach felt right.
The table numbers were literal chunks of green marble—no flowers on the tables. Instead, the ceiling was the statement. Sure, we could’ve added more to the ceiling, more to the tables, more to everything. But at some point, you have to ask: What’s the vision? Where do you want the eye to go? What’s the journey of discovery in this space?
Everyone has different preferences. Some people love “more is more,” while others appreciate “less is more.” Some prefer organized chaos, while others want perfect symmetry. There’s no right or wrong—it’s about honing your style through experience and practice.
For me, the space itself is always my biggest inspiration. I prefer to sit alone in a venue—no salespeople, no clients, no workers—just me. I absorb the energy of the space, study the rig points, the ceiling, the floor, the lighting. I take in everything I can. That way, when I start designing, it’s truly with the space in mind. I focus on what the space can do for us, what its limits are, and how we can work within those constraints to create something beautiful
Do you have a process that you like to follow creatively to get the vision or the information from the client?
The goal of every project—whether it’s interiors, events, or weddings—is to bring the client’s vision and their DNA to life. My inspiration comes almost entirely from them. At Jove Meyer, we don’t do meetings; we do dates. First dates, second dates, third dates—it’s fun, it’s cute, and it has that little nervous, excited energy.
Before the first date, I send my clients homework. Each person sends me 12 images, but if it’s a wedding, those images cannot be of weddings. I don’t want to see their Pinterest boards—I want images that reflect their vibe: art, travel, interiors, anything that tells me who they are aesthetically. Each person does this individually, without consulting the other.
Sometimes they push back, saying, But it’s a wedding—I have a Pinterest board. And I say, I don’t want to see it. Instead, I want to see images that represent who they are, separate from traditional wedding influences.
Once I have those images, I spend time marinating on them. Then, during our in-person dates, we do activities together: word associations, emotional exercises, and vibe-related discussions. These help me understand what they want to achieve, what excites them, and what their vision truly means to them.
When we get to discussing the images, there’s often a lot of discovery. For example, they might send me an image of a Van Gogh painting, and while I might assume they like the landscape, it turns out they’re drawn to one tiny detail in the corner. That level of detail—understanding not just what they like but why—is essential for me to design something that feels deeply personal.
Through these conversations, I learn who they are, who they’re not, and even who they might be trying to be—which is a huge part of weddings. Weddings are performances in a way. People want to present themselves to society, their family, and their friends in a certain way.
I also observe everything. If we’re at their apartment, I notice little details: Is their plant dead or alive? Did they offer me water when I arrived, and was it still, sparkling, or tap? Do they take their shoes off at the door? Are they wearing gym clothes, or did they dress up for this meeting? There’s no judgment—these observations simply help me understand who they are.
I never pick the restaurant; I want to see where they choose to go. Is it dark and moody? Bright and casual? Upscale or laid-back? What do they order—wine or cocktails? Every choice gives me insight.
Ultimately, though, the foundation of my designs comes from their images, words, and the activities we do together. Once I have all of that, I sit in their event space alone. Salespeople think I’m crazy when I ask to be alone in a space, but I tell them, Just put “do alone in the space” on the calendar—it’ll work.
I bring a notebook, specific to that client, and I start doodling. My sketches aren’t great, but they help me organize my thoughts and create initial ideas. Sometimes I start with a floor plan. For instance, at the Plaza Hotel, everyone usually seats the room the same way. But I thought, What if we change the table arrangement?
We did a herringbone pattern instead of the traditional setup. It was tricky to execute—lining everything up mathematically with the dance floor and the band—but it completely changed the energy of the room. When guests walked in, the arrangement felt fresh and intentional.
For me, it’s not just about color or vibe—it’s about the journey. Where do I want people’s eyes to go? What’s the flow of the experience? I start with the client’s inspiration, combine it with what the space can offer, and add my own expertise.
I always give clients a few options: one that’s safe, one that’s cool but slightly adventurous, and one that’s the boldest. When they choose the boldest option, I’m thrilled because it’s often the most creative and exciting. But I never pressure them. Some clients prefer to play it safe, and that’s okay too. My job is to guide them and push just enough to explore beyond their comfort zone—if they’re open to it.
At the end of the day, it’s their wedding. But I always want to push people a little bit beyond the safe if they want to go there that they have to want to play ball.
How do you present your designs to clients?
We usually present designs digitally. It’s often hard to schedule in-person meetings because clients are so busy, so we meet online. I present live on camera, and we go through the designs together.
Everyone is different when it comes to giving feedback. Some couples will jump in right away during the presentation, offering thoughts and comments mid-design. Others are very quiet, keeping their opinions to themselves, and at the end, they’ll simply say, “Thank you, we’ll send you an email.” You never know how a client will respond.
I’m very flexible with the process. My goal is to work in a way that suits the client best. If they want to discuss every slide as we go, we’ll do that. If they prefer to save all their questions and comments for the end, that works too. It’s all about making them comfortable.
Typically, I present two or three design concepts, depending on the client, venue, scope, and timeline. Ideally, we discuss the designs as we go. If they want to combine elements from different designs, or if they love one part but don’t understand another, I love being able to talk them through it in real time.
What I try to avoid is what I disliked in corporate America: long-winded backstories, history, and endless explanations. I focus on balance—I briefly explain the inspiration behind the design, then get right to the visuals. I know clients just want to see the designs.
At the start of every presentation, I set the tone by saying: I’m not offended by your opinion. This is your wedding, not mine. I want your honest reaction. If they give me candid feedback right away, we can edit and refine the design to make it perfect for them. But if they hold back and just go along with something they’re not vibing with, only to ask for major changes a month before the wedding, that’s a problem for everyone. It can lead to resentment, last-minute stress, and miscommunication—and no one wants that.
So I encourage clients to be honest—kind, but honest. If I pushed something too far, if the concept feels too colorful, or if it’s something completely unexpected that they need time to process, that’s fine. Maybe they need more imagery or even a paid rendering to better visualize it.
The answer is always yes—as long as they’re clear and kind. I’ll do anything for couples who communicate well. But if they’re quiet and don’t offer feedback, it’s tough. I need something to react to: good, bad, ugly, thumbs up, thumbs down, anything. That kind of feedback makes all the difference.
Yes, that makes sense! I always feel like designs are stronger when we're closer with the couple. Do you feel the same?
Yeah, exactly—you can’t give your best if you’re not getting feedback. One time, we did a design presentation at a client’s home, and it was such a cool experience. We put the presentation up on their massive TV, sat on the couch with some wine, and walked through everything together. I loved it. Being in the comfort of their home made it casual and relaxed, and, let’s be honest, a little wine always helps people enjoy things more.
In the world of design, I believe you should offer clients three options: something safe, something a little bold, and something that’s a leap of faith. Those three categories give them a spectrum to react to. Ideally, the progression goes like this: Oh, this is pretty. Oh, wow, that’s interesting. Oh, I’ve never thought about that! That’s how I want their minds to work as we go through the designs.
Here’s my secret trick, which I probably shouldn’t even be sharing: I always include something in the deck that’s an obvious no.
Everyone, no matter who they are, wants to say no to something. It’s human nature. Clients are ultimately in charge—they’ve hired us, after all—but there’s this interesting dynamic with a creative process. They want to trust our expertise, but they also want to feel like they’re in control without being mean or labeled a “bad client.”
So, by including something that’s clearly not the right fit, I give them an opportunity to say, I love this, but I’m just not sure about that one thing. And I immediately respond with, You’re absolutely right, let’s take it out! I delete it right then and there.
This way, they get to say yes to what they love and no to something they don’t, and everyone leaves the conversation feeling good. It’s psychological—we all want to say no to something. Think about when you’re touring a house: you instinctively look for a flaw or a problem. This approach gives clients a safe outlet for that same impulse, while keeping the process positive and collaborative.
Are there common mistakes that you see as a designer?
I’m torn on this, to be honest. Of course, I want my couples and clients to be happy—if you’re happy, I’m happy. But sometimes I think clients are happy because they’ve seen something that’s trendy or popular and it’s been validated by others. It’s cool, so they want to do it. And if they genuinely love it and it makes them happy, then great! But if they only want it because it’s trendy, that’s where I start to push back.
There’s a difference between loving something because it speaks to you and loving it because it’s fashionable right now. For example, bows. People are obsessed with bows—big bows, small bows, bows in fashion, in hair, on clothes, and even as part of ceremony decor. If you’ve always been a “bow girly” and it’s part of your personality, then absolutely, let’s lean into that. But if you just saw it in Vogue and now you like it because it’s trendy, I’ll challenge you a bit.
I’m not saying liking something popular is bad—it’s not. But I want to make sure it’s truly connected to you. As a human, as a partner, and as someone hosting a wedding, how does this trend reflect who you are?
Otherwise, it just becomes another case of everyone doing the same trendy thing. And trends fade. There’s no originality or creativity in simply replicating what’s already been done a hundred times. For example, we’ve seen phases of Marie Antoinette-inspired weddings, and now it’s bows everywhere, or people being obsessed with quirky, “kooky” cakes. And while all of that can be really fun, the challenge is interpreting these trends in a way that feels authentic to you.
That’s where the magic happens—not in just copying a trend, but in reinventing it to reflect your personal style and story.
Do you think weddings should be timeless?
That conversation always makes me laugh—when people say, I want to look back and have a timeless wedding. I don’t entirely understand that mindset, because your wedding is a moment in time. It’s a snapshot of your life—who you were on that day, in that year, surrounded by those people, with that vibe.
You shouldn’t look back in 20 years and think, Oh, this could have been yesterday. No. Evolution and change are natural. You want to look back and say, Oh my God, when we were 30 and did this wedding, we were so crazy, and it was so fun! You want it to reflect that time in your life.
Not, Oh, this is the same wedding my parents had or This is the same wedding our kids will have. I see the romance in that kind of timelessness, but your wedding should represent you—who you were in that year, in that moment. It’s such a pivotal event in your life, and it deserves to reflect the uniqueness of 2024, 2025, 2026—whenever you get married.
One thing I wanted to ask you about is your process for collaborating with vendors. As the planner and designer, you have this vision in mind. How do you go about sharing that with the vendor team?
Once the couple has approved the full design deck—when we’ve finalized the layout, vibe, and overall direction—I bring in the creative partners I believe are the best fit for the project. My approach is never to dictate to these partners but to provide them with as much information and inspiration as possible.
For example, with stationery, I’ll say, This is the mood, this is the vibe, and here are some ideas I think will translate well for the couple. Then I let them do their thing. We’re hiring them because of their expertise and magic, so I’d never tell them exactly what to do. Giving them the freedom to play and explore within the parameters of the design allows them to bring their best work to the table.
It’s the same with florists. My design deck might include individual flower stems I think would work well, along with sketches, scribbles, and notes about where I envision installations or specific arrangements. But I always leave space for them to use their expertise. They might say, That flower is great, but it would pair even better with this one. And I’ll say, Amazing—you’re the expert. My role is to provide the inspiration, the vibe, and practical details like knowing whether a space has rigging or if they’ll need to build it themselves, along with an understanding of time and costs.
For me, collaboration is the joy of the process. Take those cool flower sculptures we did for a ceiling installation. I sat at the bar with the florist, we shared a bottle of champagne, and I sketched little squiggles while describing what I wanted: depth, dimensionality, and a feel like you’re walking through a museum. I wanted each piece to stand out, almost competing for attention but in harmony—like saying, I’m prettier than you, but we’re all pretty together.
We trust each other, and the collaboration flows naturally. I squiggled, then she squiggled, and eventually, she said, I’ve got it. Later, at the flower market, she’d send me pictures and ask, Are you envisioning more rust or burgundy rust? I could instantly say, That one!
But I’m not micromanaging how she shapes the sculpture or what ingredients she uses. My input focuses on the big picture: scale, shape, size, color, and vibe. After that, it’s about trusting her craft.
I think it’s essential to approach all creative partnerships this way. Give people all the information and inspiration they need, then step back and let them bring their expertise to life. That’s where the magic happens.
If someone wants to improve their design skills or stretch their creative muscles, where do you recommend they start?
I truly believe everyone is a creative person. It’s easy to say, I’m not creative, but have you actually tried it? For example, I don’t consider myself a florist, but I arrange flowers every week. I use an amazing flower delivery service that drops off a variety of blooms. Every Thursday, I take an hour out of my life, put on some music, pour a drink, and just arrange flowers. It’s so much fun! I’m always surprised by what I come up with, and it opens up another part of my brain.
Start small. Host a dinner party and arrange some flowers. Or make a creative tablescape using fruit. No one in your friend group is going to make fun of you—and if they do, it’ll be out of love! The key is to let yourself experiment without judgment.
The arrangements I make at home? I don’t post them on the internet. They’re not for other people—they’re for me. It’s a personal joy, and it’s also given me a deeper appreciation for florists. I now understand how much work goes into even a small arrangement, let alone something on a larger scale.
Ask yourself: How do I learn best? Are you someone who thrives in a class environment where you get hands-on instruction? Do you prefer to read a book and follow step-by-step instructions? Or are you more free-spirited, grabbing an idea from Pinterest or the internet, buying the materials, and experimenting at home?
When the stakes are low, the potential for creativity is high. You can make mistakes—it’s part of the process. It’s like learning to ride a bike: if you’re afraid of falling, you’ll never get on. So just start. Go to the grocery store, buy some flowers, come home, and have fun with it.
If you don’t like it, you’ve still learned something. Ask yourself, Why don’t I like it? Maybe you cut the stems too short, or the arrangement feels too round and boring. Fine! Take a smaller vase and create a new, smaller arrangement. The point is to try.
We often stand in the way of our own creativity, but we shouldn’t. Unlocking your creativity at home can spill over into your work, your relationships, and even how you view the world. You start to notice things—Someone made that! A human being physically created that. And you realize they’re not inherently better than you—they just put in the time and effort to develop their skill. So why not try it yourself?
If you’re unsure where to start, ask: How do I style fruit? Then get creative—buy some toothpicks, grab some fruit, and have fun! The stakes are low, but the rewards are high. Getting away from your computer or phone and creating with your hands is incredibly rewarding.
Take a ceramics class. Get your hands in the clay. Experiment with as many different mediums as you can. Doing this unlocks a part of your brain that’s been suppressed by thinking, That’s what they do. That’s not what I do. But it is what you can do—you just have to give yourself permission to start.
Connect with Jove Meyer
For more from Jove, head to his website or follow him on Instagram.
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QUESTIONS?
If you have any questions, DM me on Instagram at @asktheplannerpodcast, call the wedding planning hotline at 585-210-3467, or drop it in your review on Apple Podcasts.
Plus, don’t forget to check out the Wedding Planning template shop, including my new Wedding Day Master Organizer which includes the same spreadsheets we use in our day-of production books.
And for all my planners out there, check out my new wedding planner coaching service! Whether you’re in the first 1-2 years of your business and you don’t know how to increase your prices, build a team, attract your ideal clients, find your brand’s voice, or you’re a little further in your career and you want to take it to the next level with a digital product, start a podcast, or something else, I would love to help you build the dream wedding business you deserve!
Learn more and schedule a call with me to see if this is what your business needs at verveeventco.com/coach.
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