An invitation to “Tea and Tulips”: Designer Ed Libby creates a spring floral wonderland at Bellagio’s Conservatory and Botanical Gardens in Las Vegas. Bellagio’s Conservatory Designer Ed Libby drew on a sumptuous floral palette to transform Bellagio’s Conservatory and Botanical Gardens into the most fanciful of tea parties. In “Tea and Tulips,” on view at the iconic Las Vegas hotel through May 18, a dreamlike garden tea fête reflects the enticing colors and qualities of four tea favorites: rose hip, chamomile, ginger peach and lavender. Each bed celebrates one of the varieties, using breathtaking botanical artistry to create an unforgettable teatime wonderland. Libby, the renowned creator of larger-than-life events, shares about the path that led him to push the boundaries of design and storytelling.
DJ: Before we ask about the Bellagio, tell a bit about yourself.
EL: I was born in Manhattan and grew up in a suburb in New Jersey. Growing up, while most kids were out playing baseball, I was more interested in going to the art store. My parents were incredibly supportive of my artistic passions, which led me to pursue a career in design. I went to William Patterson for art school and studied art and set design in places like Florence and Paris. My current home has an atrium filled with vibrant plants and koi fish, a nod to the Bellagio Conservatory.
DJ: How did you become the Bellagio Conservatory Designer?
EL: It all began in 2016 when a photo of a wedding I designed caught the eye of an art director at MGM Resorts. This encounter led to the opportunity to develop something that resembled the Bellagio Conservatory at MGM’s new property in National Harbor. I was sent to meet with the MGM Resorts executive team and after an interview and a presentation of my design ideas, they were so impressed that they asked me to design the Bellagio Conservatory as well. My first exhibit at the Bellagio Conservatory was the 2017 Lunar New Year display.
DJ: What were your early experiences with flowers and gardens?
EL: My affinity for flowers and gardens stems from a childhood filled with artistic expression. My mother was an avid gardener, and since I was 5 years old, I’ve been infusing spaces with floral arrangements. Cooking, design and gardening were not just hobbies for me, but a way of life instilled by my parents. My upbringing laid the foundation for my transition into the world of larger-than-life floral installations, which are a major component of my design brand. I started my career as a driver in a flower shop, and now my company is an industry leader in producing extravagant weddings and events.
DJ: Have you had teachers or mentors whom you would like to mention?
EL: Baz Luhrmann is a beacon of inspiration in my creative journey. His larger-than-life productions, reminiscent of the grandeur of old Hollywood, helped fuel my passion for creating unforgettable experiences. Watching productions like Busby Berkeley’s rotating stages and showgirl musicals inspired me to push the boundaries of design and storytelling.
DJ: How many times does the Bellagio Conservatory change its installations in a calendar year?
EL: The Conservatory is changed out five times a year — Lunar New Year and the four seasons. The team works six days a week, 24 hours a day to transition the exhibits.
DJ: How are themes and layouts determined?
EL: We begin developing the concepts for our Conservatory displays about a year out. The Bellagio team trusts me to come up with the theme of each exhibit. I use inspiration from the season and current trends to develop the concepts, collaborating with the Bellagio horticulture team to determine logistics. From there, we have to get approval from leadership at Bellagio. At the start of the process, I curate elaborate breakdowns for each exhibition. I typically sketch out the design first, then have it digitally drawn, then send it to our builders to see what they can come up with. Even when the exhibit is being installed, I’m still drawing and producing new ideas. There are about 100 people in total involved in installing the displays.
DJ: Where do the plants and flowers come from?
EL: Sourcing plants and flowers starts with understanding the theme of each show — everything is sourced accordingly with the theme. The selection of plants is dependent on color, color story, the type of plant and what matches the theme of the display. Bellagio’s Horticulture team works with wholesale brokers to understand needs and where to source the best plants from. Many of the plants have to be contract grown six months to a year in advance and the plants are sourced from various nurseries and gardens. Most flowering plants are California grown or from locations in the west. More tropical plants come from places like Hawaii or Florida. Certain farms are utilized for sourcing specific types of plants. Sourcing is also dependent on what flowers are in season and market availability, so we have to be cognizant of this as we plan for the displays. Flowers are composted once a display is complete.
DJ: Where are the non-floral elements fabricated?
EL: Our non-floral elements are crafted by a network of specialty builders — it’s a mix of local builders and select outsourcing to ensure the highest standards of quality and creativity. We have established relationships with trusted partners who facilitate the fabrication of the pieces, whether these are sculptures, installations or even clothing materials. I collaborate with Lea Jonic, the conservatory project manager, to pinpoint the best builders for the project and our vision.
DJ: Do you visit the conservatory to see visitor reactions?
EL: I love to see the guest reactions. Watching their awe and delight firsthand is incredibly gratifying and reaffirms the hard work we put into the exhibits. People are blown away by the displays and oftentimes are stunned that we change it out five times a year. I’m extremely proud of the work we do and how special the conservatory is to visitors from around the world.
Susan Cohn is a member of the American Theatre Critics Association and the San Francisco Bay Area Theatre Critics Circle. She may be reached at susan@smdailyjournal.com.
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