Photography: JOVANA RIKALO @jovanarikalo
Model: Phoebe @phoebymontari
Mushrooms: Ana Youkhana @ana_youkhana
Decor: Tandrbal @tandrbal

Readers of this journal are certainly familiar with the various flower fairies of Great Britain and Ireland, which have been written about extensively in academic journals as well as children’s books. More recently, fairyologists have focused on the flower fairies of the North American continent, such as the Lupine Fairy, the Bee Balm Fairy, and the Joe-Pye Weed Fairy. Although less popular with the public, our native tree and shrub fairies, such as the Dogwood, Redbud, and Buttonbush Fairies, have also been subjects of scholarly attention. However, almost no attention has been paid to what may be the most interesting and elusive fairies of all—the mushroom variety.

Noticing this lacuna, the editor of this journal, Professor Ebenezer Brown, graciously invited me to write about mushroom fairies for my fellow fairyologists. It has been my pleasure to study the Mushroom Fairy (Fata fungi) for the past decade, ever since I completed a Ph.D. in Fairy Studies at Harrington-Hall University in Massachusetts.

At first, my advisor tried to dissuade me from studying mushroom fairies, telling me the topic was simply too obscure. “Why don’t you choose one of the tree fairies that are still under-researched, such as the Spruce or Sycamore Fairy?”

he asked me. He even urged me to consider the nascent field of moss fairies.

“But all of these fairies are already the subjects of established scholarly research,” I told him. I wanted to study something no one had studied before. And ever since I was a child, foraging in the forests of western Massachusetts with my grandmother, I have loved mushrooms, from the common turkey tail (Trametes versicolor) that grows along rotting logs to the resplendent and deadly fly agaric (Amanita muscaria), its crimson cap spotted with small white dots like a sign clearly indicating “Do not touch!”

Seeing that he could not dissuade me, Professor Brown reluctantly agreed to supervise my dissertation, The Varieties of North American Mushroom Fairies, which will soon be published as a scholarly monograph available from Harrington-Hall University Press. What follows is an excerpt from the introduction.

There are many different kinds of mushrooms all over the world, and therefore many different kinds of mushroom fairies. The term mushroom fairy can be used for the entire

family, including for the fairies of toadstools, which are simply poisonous mushrooms. However, it is more accurate to call these fairies by their specific names, such as the Inkcap Fairy or the Common Puffball Fairy. Of course, fairyologists prefer to use the even more specific Latin genus and species designations, so the Hen of the Woods Fairy (also called the Maitake Fairy) is Fata Grifola frondosa.

In North America alone, there are so many mushroom varieties that it would take a lifetime to study them all, and wherever you find mushrooms, from the California hills to the forests of Maine and the Louisiana bayous, you will find their fairies. Just like the flower and tree fairies you are probably familiar with in your own garden, the mushroom fairies guard and care for their mushrooms in various ways. For example, the Morel Fairies wash out the distinctive honeycomb-shaped sacks of the morels with rainwater and tend to any injuries caused by weather or depredation. They protect their mushrooms from the beetles that seem to love them so, although they cannot do much against the deer and grouse that are equally fans of the delicious morels. When I tell you that there are more than fifty different species of Morchella, the true morels, you can imagine how many different kinds of fairies must tend to this one genus of mushroom alone.

The fairies of poisonous mushrooms are even more proactive, and if you are out sketching or photographing mushrooms, you must watch out for their darts or arrows. Although these are small, approximately the size of an acacia thorn, they can be quite dangerous, and if you are stung by them, I recommend an immediate visit to your local poison control center.

Naturally, mushroom fairies have evolved to resemble the fungi they live among, so the Black Trumpet Fairies blend right in to the dark patches of those mushrooms on the forest floor, and the Saffron Milk Cap Fairies stand out as brilliantly orange, unless they are in a group of their mushrooms, in which case they are almost indistinguishable. While flower fairies’ clothing is generally made of petals, and tree fairies’ clothing is sewn from leaves or soft bark, mushroom fairies make themselves outfits using their mushrooms. Their garments can look like anything from the white frills of the shaggy mane, which resemble the fringe of a 1920s flapper, to the wrinkled brown leather of wood ear or the purple velvet of the violet wellcap.

Mushroom fairies also seem to take their personalities from their mushrooms. For example, the Chicken of the Woods Fairies are outgoing and gregarious, while the Chanterelle Fairies are opinionated and as peppery as their mushrooms are reputed to taste. The Hedgehog Mushroom Fairies are earthy and practical, rather like hobbits. The Porcini Fairies are brave, even heroic, in defense of their mushrooms. The Yellow Blusher Fairies are so shy that you will rarely see them. I have seen them only once, and they do indeed blush as yellow as their mushrooms. The Old Man of the Woods Fairies in fact resemble wrinkled grandfathers, while the Pettycoat Mottlegill Fairies look and sound exactly like little girls in pinafores.

Once again I should warn you about the more dangerous varieties of mushrooms, whose fairies are equally so. You must watch out in particular for the death cap, whose fairies look so friendly and unassuming—they will smile at you as they shoot poisonous darts into your hand. The Destroying Angel Fairies are easily spotted by their distinctive white robes and wings, which however are purely decorative. (Unlike flower and tree fairies, mushroom fairies do not have wings or fly, which may be connected to the mushroom’s method of reproduction by spores rather than pollen.) You will know the Funeral Bell Fairies by the tolling of the bells they carry. I have already mentioned the fly agaric, whose fairies are easy to identify by their attractive red dresses with white polka dots.

There is still much we do not know about mushroom fairies. They can be male, female, or neither, depending on the type of mushroom. Regardless of their appearance, they seem to reproduce along with their mushrooms, so if you grow mushrooms, you are guaranteed to have mushroom fairies as well. Thoughtful fungus farmers (who grow mushrooms, yeasts, and molds) will provide water and shelter for the fairies that guard their mushrooms, knowing that the mushrooms will be healthier with fairies to care for them. However, if you wish to retain fairies for your mushrooms, you must use organic methods, because fairies will not stand for insecticides of any kind and will leave your farm directly if you use them.

If you wish to communicate with a mushroom fairy, I suggest you find one of the more sociable mushroom species, such as honey or oyster mushrooms, or even puffballs, although their fairies can be unpredictable. If you approach the fairies of whichever mushroom species you have chosen very politely, they may sit beside their mushrooms and have a conversation with you. I myself have been fortunate to gain the friendship of a Greenspot Milkcap Fairy who has told me a great deal about the secret life of the forest, to which humans are not usually privy. But the mushroom fairies see it all: the slow growth of trees over many seasons; the spring birth, summer blossoming, and autumn decay of flowers; the brief, vivid sojourn of foxes and owls and chipmunks. She has also

told me about the lives of the mushrooms. Did you know there is much more of a mushroom under the ground than above? And did you know that through an underground network, mushrooms communicate with trees and enable them to communicate with one another? My Greenspot Milkcap Fairy has shown me how everything we see in the forest is connected, like a great web. We have sat together for hours on a mossy bank, me in my jeans and flannel shirt, she in a rippling green robe resembling the green cap of her mushroom, listening to the sounds of the forest around us. Sitting there, it seemed to me that I learned the great secret of the forest, which is patience.

There is still so much work to be done in the field of mushroom fairy scholarship. I urge my fellow fairyologists to study these important fungal spirits. Without them, how would the mushrooms grow? And without the mushrooms, how would the forests and our other natural ecosystems thrive? Graduate students in particular should focus on the fairies of lesser known mushrooms such as the shaggy rose goblet, which looks like a scarlet cup; the dog’s nose mushroom, which looks exactly how it sounds; the sulfurous staghorn jelly; the milky, globular shooting star; or the fluted bird’s nest, which seems to contain small white eggs. There are so many mushrooms and their fairies still to study! By searching for these species in the forests and fields and deserts where they are found, researchers will add important scholarship to the field of fairyology and teach us more about the fascinating Mushroom Fairy.

by Yinsey Wang and Hajnalka Berényi-Kiss of Heroines & Muses

Model: Yinsey Wang @tornandpolished
Make-up: Jennifer Brillante @brijance.makeupartist
Hair and make-up: Nina Willenpart @stylingsbynina, @shadesbynina
Retouching assistant: Julia Lomaka @julia_lomaka_retoucher
Photographer/Creative Direction/Post-production and retouching: Hajnalka Berényi-Kiss @heroinesandmuses

In Renaissance-era portrayals of women, it’s not uncommon to see femmes fatales dominated by the male gaze, imposing antiquated stereotypes of what a woman should be. Men’s paintings of female bodies often incorporate the seductive elements of Venus and other characters from myth and legend, or on the other end of the spectrum, we find portraits of modest, dutiful wives and well- behaved daughters educated in the domestic arts. The Heroines & Muses project has set out to subvert these tropes and focus on the agency of the female figures we’ve chosen to depict.

The Renaissance Is Female series draws on myth, legend, and history to echo and amplify the original concept of an era of rebirth. We use soft, ethereal lighting; subtle transitions; and atmospheric effects to give the images a painterly feel. In the images on pages 87 and 88, we pay homage to the Lady of the Lake from Arthurian legend, popular from the Middle Ages through the Renaissance and beyond. In some tales, she’s the guardian and bestower of Excalibur, the legendary sword that King Arthur wields in battle. Our images portray her as a protagonist in her own right, not merely a side character to Arthur. Here she’s a formidable warrior endowed with mystical wisdom, her strength anchored in deep contemplation. Our goal is to highlight her pivotal role in Arthurian legend—and build on her own legend as well.

The image above features our fictional empress in Qing dynasty attire, her power and royalty symbolized by the traditional color yellow. Chinese tales often depict ambitious concubines ascending to dominance through seduction, as happens in many tales of ancient and traditional narratives. To add depth to this character, the team portrayed her as a strategist and scholar, challenging stereotypes of docile, nubile courtesans and obedient wives to emperors and tropes of “women going above their station.” During the Qing dynasty (1644–1911), there was a fascinating influx of Western ideas and trade through increased contact with other cultures. The Qing rulers were challenged on their ability to deal with encroaching Western imperialism but also on questions of how to strike a balance between preserving Confucian culture and embracing modernity.

The late Qing period also saw a woman rise to supreme power: Empress Dowager Cixi, a former concubine, who ran the government from 1861 until her death in 1908. She was a controversial figure in China; the historical record shows a wide range of stereotypes attached to her reign and how often she was blamed for the downfall of the dynasty.

We want to reinvent what we see as the Renaissance, take our own interpretation and bring a rebirth to the term itself, one that centers the agency of women. Let’s usher in a Renaissance that is female!

So we think these captures of Italian model-artist Emanuele Zappariello by Polish artist Agnieszka Lorek could have been lifted from some cobweb-covered Renaissance-era masterpiece hidden away in an Italian castle somewhere. Don’t you? Who knows what treasures are buried out there, just waiting to see the light of day?

In fact, they’re the result of an enchanted weekend when these two met up for the first time at Lorek’s “hermitage in the mountains” in Poland. For Zappariello, the visit was like entering fairyland. He described part of her house as full of “wings, capes of all colors, gorgeous jewelry, mirrors, flowers—it was really the secret room of the fairy queen.”

On the first day, she did his makeup and they went into the forest, where he posed among the logs, moss-covered stones, and fallen leaves. “I felt like Oberon, the king of the fairy people,” he says. “I was inexplicably happy. I was laughing all the time, and with every word we were smiling. It felt like we had known each other for a very long time.” On the next day, the feeling was different, more “divine.” Lorek took him to a place full of large stones and magnetic energy. He was dressed, he says, part alien, part rock-and-roll; part Apollo and part Mercury. There was wind whipping around him and “Agnieszka gave me the strength to pose in a very new way for me, full of masculine energy and power.” The strength he felt that day because of her changed his life, he says.

As for Lorek? “It’s like a figure from a mystical, ancient world,” she says, “to whom the wind gave wings and light. There was a moment during the photo session when we were both terrified by the force of the sudden wind, which lifted literally everything Emanuele was wearing and created wings. It was so beautiful that I stopped taking pictures for that moment and watched as if enchanted. I felt like I saw a real angel being lifted by the power of nature itself.”

Two years have passed and Zappariello often speaks of Lorek to his parents and his friends. “I found not only the queen of the fairies but also a friend and a talented artist. I feel so much gratitude. I wish that every artist could have someone like Agnieszka in their life.”

Photography: Agnieszka Lorek @agnieszka_lorek
Model: Emanuele Zappariello @emanuelezappariello
Costume: Barbara Gunia @les_ateliers_barbara_gunia
Arm Jewelry: Venus Forge @anajolartist

We felt that this issue could not possibly be complete without the work of Chicago artist Brooke Hummer, who pays homage to the glories of art history as well as the modern—and glam, and powerful!—phenom known as the unmarried cat lady. “Cat lady is a pejorative term that our society has used to transfer shame onto women who challenge traditional values,” she says.

“The Cat Women series is meant to playfully subvert this sexist stereotype.” Her initial inspiration came when shooting a funny holiday mother-daughter-style promo of her (non-child-having) artist’s rep Andrea holding her cat Bunny; they ended up doing the promo in the style of a 19th century American folk-art painting. Soon after, several other women approached Brooke, wanting portraits with their own cats. (Umm, us too, please!) She knew she wanted to tackle the Italian Renaissance next. The result is the image above, painted in the style of a Renaissance wedding portrait, in which the landscapes in the background (along with the brides in the foreground) were all about showing off the husband’s property. This one features the Hancock Building and Sears Tower instead of Tuscan towers, since the subject, Lindsey, an ad agency producer in Chicago, “belongs to no one and owns the whole city.”

We suspect that Lindsey’s pearl-bedecked cat Clementine owns her fair share of it too. See more of Brooke Hummer’s work at brookehummer.com.

ELIZABETH EBSWORTH PHOTOGRAPHY

Her oath unbroken, sacrifice unspoken,
She hails the coming of winter.
The rule was golden, the summer beholden,
Until the green began to redden and crisp.
Barren the earth will become,
And so she returns, like the sun to the horizon,
To a hearth set in the earth,
Her sword raised one last time.
With a steed so black, her hair bright as a coal—
Will her story resound as she sheathes her sword
And abandons this world for the next?
Or shall the untold tale be lost in seasons to come?

Our photo shoot draws on the themes of autumn and the contrasts it brings. Autumn in literature is often a symbol of transition and the cycle of birth, death, and rebirth. We wanted to tell the story of a queen who has done her best to rule skillfully and fairly … but now it’s her time to make way for a new ruler. Nothing is eternal except the cycle of the seasons—including the seasons we experience in this life and the next and the passing of the crown to another.

To tell this story, we chose the colors gold and red, strongly associated with the changing of the seasons. With autumn comes the radiance of golden and fiery colors, but at the same time these colors foretell the arrival of winter and the hibernation that follows.

Here, now, is one last chance at splendor.

With the harrowing knowledge that winter will soon envelop the land, our queen looks to her past achievements and the burdens she has carried. She’s done her best. She has planted the seeds of her principles—fairness, equality, justice. Now she entrusts her future to the spring.

She takes her leave, riding her black horse to the afterlife.

Yinsey Wang is an occasional self-portrait artist, model, writer, and costumer. Although she is a full-time lawyer, she loves getting creative when she can. Find her on Instagram @tornandpolished.

Find photographer Elizabeth Ebsworth at elizabethebsworthphotography.com.

Text and photography by Steve Parke

A Queen in the Forest: Capturing the Magic of My 87-Year-Old Mother

I’ve photographed countless people in my decadeslong career—including the artist Prince, over many years as his art director at Paisley Park, and numerous models for Faerie Magazine, now Enchanted Living, as photographer and photo editor. (I believe at this point I’m up to sixteen covers!) But when I learned the theme for this issue, I proposed doing what might be my most epic photo shoot yet: one with my very own mother, Joyce Parke, eighty-seven years old and a queen if there ever was one, straight down to her mismatched earrings.

Many moons ago she and my dad plucked up a red-haired baby that needed a family (yes, I’m adopted!), and she was the best mother she could have possibly been to me, always treating me as no less than her firstborn. She has a gigantic heart and is accepting of everyone she meets; in fact, she’ll usually send new friends a handwritten card through the mail if she spends more than two hours with them. She’ll tell them about the weather, the latest murder mystery she’s watching, and how sadistic her new weight trainer at the gym was (or wasn’t) that day. My mother’s letters are famous.

Embracing the Magic: A Deep-Forest, Witchy Queen Photoshoot

Here was a way to give something back to her.

I wanted the opportunity to show her in a queenly light, which is the way she should be shown, of course, but as a deep-forest, witchy kind of queen, because that’s her style. Just take a look at her ability to fit more tchotchkes in one square inch than any law of physics should allow, or watch her side-eye when she says something hilarious and you’re not sure if you heard her correctly. (You did.)

My wife, Kim, and I came up with her outfit, centered on the glorious red velvet cloak she’s wearing, and I did her makeup myself, having watched her do it throughout my childhood. I set my sights on the fairground at the Maryland Renaissance Festival, a place I’ve loved and worked at since my teenage years. And then my mother posed flawlessly for a couple of hours, remarking on how exhausting modelling seems as a potential profession. I don’t think she has any idea how many people a third of her age get just as tired under the same circumstances.

I think she has a big career ahead of her. Don’t you?

Find Steve Parke’s portfolio, prints, and publications at steveparke.com.

For nearly a decade, photographer Ken Miner has used collodion wet-plate photography to capture witch Brianna Shambrook and document the evolution of her craft.

This historical process involves exposing an image onto treated glass or metal and developing it on the spot with a mixture of wet chemicals.

The result is haunting, as in the photo to the right, where Shambrook holds the first broom she handcrafted and wears the outfit she once wore to handfast a fellow witch on the previous new moon. She’s standing on the land that she’s been restoring for four years, turning a junkyard on Vancouver Island into an enchanted forest. When her family purchased this land in 2019, it came with more than 10,000 pounds of dumped garbage. Now flowers, grass, and moss are growing again. The forest is filling with green along with foxgloves and other plants. Taken with a twenty-five-second exposure on glass, this image symbolizes the integration of Shambrook’s shadow self and the reclamation of her—and her land’s—power. It’s a “portrait of a witch standing her ground,” she says.

“To me, witchcraft means becoming my own healer so that I can reclaim my personal power and magic,” Shambrook explains. “It also means creating a relationship with nature and recognizing that nature is my mirror. My spiritual practice is leading me to a greater understanding of my higher self and of the universe.”

Being a witch is often also about having a familiar—that is, as Shambrook describes it, “a spirit guide that will manifest as an aspect of nature, like an animal, and have a consciousness.” The familiar will show up within divine time and be your partner as it supports and assists you along your magical path. Not every witch will have a familiar, Shambrook says, but if you do, it will surely assist you in your growth, your spiritual awakening, and your expansion of consciousness.

On page 84 [above] you’ll see a wet plate on tin of Shambrook and her third familiar, Binx, who died just over two years ago. “This particular plate holds a really special place in my heart,” she says. “Binx was an incredibly special and unique familiar; his soul shined so bright that he left an imprint on everyone he met. He had a profoundly spellbinding connection with nature, and getting to witness that really opened my heart in ways I didn’t know were possible. Binx taught me how to lead from love and use my heart space as my compass.”

With the help of his mobile darkroom, Miner has been able to take wet plates of Shambrook (and her familiars) throughout her journey, in every season. For those who wish to dive deeper into the wet-plate process and witness the creation of even more photos, check out Brianna’s YouTube channel @Briannashambrook.

To learn more about Shambrook and join her online coven, visit soulandselene.com.

Learn more about Ken Miner at kenminer.ca.

Photo by Priscilla Hernandez

“… a great lady, taller than any woman that Edmund had ever seen. She also was covered in white fur up to her throat and held a long straight golden wand in her right hand and wore a golden crown on her head. Her face was white—not merely pale, but white like snow or paper or icing-sugar, except for her very red mouth.” —from The Lion, the Witch and the Wardrobe by C.S. Lewis

When the air starts to turn crisp, the leaves fall, and the sun vanishes for long periods behind gray clouds, it’s easy to lose the inspiration to dress as your most magical self.

Soft hoodies and fleece leggings call to be worn under cozy blankets while sipping hot chocolate. But just because winter weather presents some challenges to enchanted dressing doesn’t mean there aren’t options for the discerning modern witch or fairy!

The best place to embrace a fae style in your winter clothing is undoubtedly a warm coat. We recommend you look for one in a rich, bold color that makes you stand out against the harsh elements! Look for embroidery, velvet, and faux fur trim for an extra dose of magic. A little silver embroidery across a dark wool coat can go a long way. If you’re feeling especially bold, you might even try a cloak instead of a coat. Cloaks are incredibly warm, and you really can’t beat them for drama.

Winter is the time to embrace contrasts in your clothes. Pair wool with lace, a fuzzy sweater with a skirt of sheer layers, or velvet pants with a filmy top. Color-wise, think particularly about employing colors that pop against each other, like red on white. (Picture the White Witch’s mouth on her pale face.) You can also try throwing in an unexpected color—like bright pink—to shake things up a bit!

With jewelry, it’s always tempting to go for all silver and clear or white stones like quartz, moonstone, and diamonds. This kind of jewelry recalls the shimmering snow, the bare trees, and the storms of the winter season. We’d recommend looking for pieces that incorporate branches to increase that effect. That said, don’t snooze on gold at this time of year—as the White Witch demonstrates, a golden wand and crown can be quite striking too.

Lastly, it’s hard to get around the fact that winter commonly means you have to break out your heavy boots. But even boots can contain a spark of enchantment. Seven-league boots aren’t a staple of fairy-tale clothing for nothing! Look for a pair that have a little something special to them—maybe it’s a pretty design sewn into their sides or a flash of color in the lining. If you have lace-up boots, you might consider swapping out the plain black or brown laces for something more fanciful. If none of those options work, a pair of fun, warm socks can really perk up your mood too.

In winter extremes, you might be tempted to throw on any old thing as long as it’s warm—but that doesn’t have to be your only option. Finding small ways to add a little magic to your cozy outfits can make a big difference when you’re facing the gloomy skies of winter!

Note: The line “cloaked in silver frost” appears in Lorraine Schein’s poem “To Chione,” published in the Winter Solstice 2018 issue of Eternal Haunted Summer.

Photography by Yinsey Wang

Circe, the daughter of the Titan Helios and the ocean nymph Perse, is a goddess and enchantress in the ancient Greek mythical tradition who has a bad habit of turning her enemies into animals. She also is a master of potions and herbs.

One of her best known associations is with the hero of Homer’s epic tale The Odyssey. As Odysseus and his seafaring companions try to find their way home after the long Trojan War, they end up landing on the island of Aeaea, Circe’s domain. She punishes the crew’s trespass by transforming many of them into swine. Odysseus is the exception. His intelligence and charming tongue fascinate Circe so much that she is convinced to spare the rest of his men and returns them to human form. She also decides to make Odysseus her lover; she will so fascinate him that he forgets his longing to return home to Ithaca. After a year, Odysseus realizes he must continue his journey back to his island kingdom and leaves Circe.

It is quite commonly accepted that women who are arbiters of their own fate and who channel power through their own agency are often linked with witchcraft and magic, and hence become a danger to men. Circe is primarily seen as a seductress and an episodic challenge for the great hero Odysseus in the Greek epic cycle, an obstacle to overcome before he accomplishes his main goal. In the Victorian period, she becomes a popular art subject to demonstrate the power of the femme fatale (the morally questionable woman who lures men away from goodness).

I wanted to explore Circe’s identity in my self-portraiture—to explore Circe’s complex emotions and the power she herself wields. I am looking through her eyes, rather than taking the stories told about her at face value, where she’s so often reduced to a lustful witch looking to exact vengeance.

PHOTOGRAPHY BY SABRINA L. GREENE

Photographer Sabrina L. Greene was driving by her local dentist’s office in Waynesville, North Carolina, late last summer when she was struck by the beauty of the massive strawberry vanilla hydrangeas out front. Frost was quickening the next week, so she decided to save them. After contacting the office for permission, she and her husband spent an entire week harvesting and preserving the blooms. It took them a whole week of work in the evenings to hang them to dry, and they ended up with more than 630 flowers.

Meanwhile, in Maryland, artist Brenna Mills was also gathering and drying hydrangeas. When the online friends realized their mutual obsession, they hatched a plan for a photo-shoot meetup. Mandy Tweed of Mountain Flower Fantasies agreed to create a fae-worthy gown, and after hand-dying and cutting fabric, she mailed remnants to Mills for her to use in creating “a Southern-garden-style witch’s hat that would make Aunt Frances and Aunt Jet proud.” Inspired by Kirsty Mitchell’s amazing photography, Mills (and her late grandfather’s glue gun from the 1980s) created the hat seen here, with dried hydrangeas spilling forth and over the brim.

In the midst of this hydrangea madness, Dallas and Andrea Eubanks imagined summer bursting from a fireplace as a summer witch longed for the season and nature rewarded her by blooming indoors. Summer blessed the witch’s hat and adorned it with flowers.

And so this Hydrangea Witch was born.

Photographer: Sabrina L. Greene Photography @sabrinalgreenenc
Photographer Assistant: Sara Cline
Model/Hat Design: Brenna Mills @thewillowandthevine
Gown Design: Mandy Tweed of Mountain Flower Fantasies @mountain.flower.fantasies
Venue Host: The Yellow House Bed & Breakfast, Waynesville, North Carolina @theyellowhousenc
Set Design/Makeup: Dallas & Andrea Eubanks @dallaseubanks and @you_can_call_me_dre