Hill City Keys Launches Third Year of 
Art, Music and Community Advocacy

When Libby Fitzgerald saw beautiful, professionally-painted pianos being played by people of all ages along the streets of Lancaster, Pennsylvania, she knew that this idyllic scene belonged in Lynchburg, Virginia as well. She returned home from her trip in 2013 determined to start a similar project—with one notable difference.

“The new idea I got after returning home was to have student artists in our area schools paint the pianos, rather than using professional artists as they had done in Lancaster,” Fitzgerald says. “My thought was that we could combine music with art to showcase student talent, give them a chance to make a civic contribution, and create pride within those school communities.”

After Fitzgerald received sponsorship from the James River Council for the Arts and Humanities and several donated pianos, Hill City Keys (formerly Keys for the Hill City) made its debut in May 2014.

Two years later, Hill City Keys is still bringing art and music to Lynchburg but on an even larger scale. Five high schools participated in the inaugural event. This year, nine schools are participating: E.C. Glass, Heritage, Altavista, and Brookville high schools; Linkhorne, Dunbar, and Sandusky middle schools; James River Day School; and Liberty University. The pianos made their debut at various businesses downtown at the First Friday event on May 6 and will remain on display until October 31.

New this year, Hill City Keys attained sponsorship from the Academy Center of the Arts. One boon of this relationship is additional staff support. “There are now more staff to help me with ideas, marketing, outreach, billing, planning musical events around the pianos, and so many other details. I am truly grateful for that help, and I think the Academy is the perfect home for Hill City Keys,” Fitzgerald remarks.

She says this new relationship also benefits the community as a whole. “Hill City Keys is part of the exciting new Outreach Initiative at the Academy,” Fitzgerald says. “That means that any funds I raise from the program, beyond my expenses, will help support that effort, which includes over $17,000 in need-based scholarships for Academy classes and camps, free tickets to Academy shows, a Healthy Snacks and Cinema program for local youth, and a partnership with the YMCA Summer Learning Loss Prevention Program, to name just a few components. All of it is geared toward making the arts more accessible to underprivileged parts of our community.”

Evan Smith, director of community outreach at the Academy, believes that the Academy’s sponsorship of Hill City Keys benefits the Academy, Hill City Keys, and the community at large. “Hill City Keys serves the Academy’s new focus of serving our community through arts and culture,” he says. “For this goal to be met, we must have programs like Hill City Keys that are accessible to everyone in Lynchburg. We expect this program to have more exposure and more impact with it being at the Academy.”

Local schools are also making an impact by breathing new life into the pianos donated to Hill City Keys. Mike Bremer, a social studies teacher at Sandusky Middle School and longtime sponsor of student-led Relay for Life teams, saw the project as an opportunity to highlight Sandusky’s efforts to raise money for cancer research. In collaboration with Sandusky art teacher Karen Camden, Bremer proposed that Sandusky’s Relay for Life team, “Spartans for a Cure,” take the lead in designing the artwork for the piano. According to Bremer, the students were thrilled to be involved.

“The students were enthusiastic about the project, particularly through the design phase,” he says. “They expressed excitement to be able to show their commitment to fighting back against cancer in a new, public forum. A core of dedicated students prepared the piano and then a select group performed the more delicate painting tasks.”

The students decided to decorate the piano to go along with this year’s theme for Lynchburg’s Relay for Life, “County Fair—Give Cancer the Boot,” using boots of all sizes to reflect the fact that cancer affects people of all ages. Bremer notes that as the students worked on the piano, other students asked to become part of the project and adults at the school “became curious, donated boots and supplies, and supported students in completing the project on time.” Funds were also donated to “Spartans for a Cure” during this time. Between mid-February and the end of April, students volunteered over 125 hours to complete the project. “Once a student learns the value of volunteerism, it becomes an integral part of a sense of belonging that lingers into adulthood,” Bremer remarks. “These students will continue to enrich our communities and participate in improving our lives in meaningful ways.”

Of course, the most rewarding experiences are also subject to considerable challenges; Heritage High School art teacher Jon Roark can attest to that. After completing their Van Gogh–inspired piano on a Friday, Roark and his art students returned the next Monday morning to a flooded hallway and classroom. “When we walked into school at 6:30 a.m., there were two inches of water in the hall leading into my room and the same two inches of water in my class,” Roark recalls. “Fortunately, the piano bench was up on a table, and there on an apparent high spot in the room sat the piano, as if on some tiny desert island with a circle of water around it. Clearly the floor wasn’t level.”

Aside from this incident, which Roark says is now funny, the process was smooth and inspirational. Roark wanted to do a Van Gogh theme for the piano in part for a personal reason. “I’ve used Van Gogh in class for years as an example for students to aspire to,” he says. “Recently my brother-in-law Mark Lindamood has become a huge fan of the man, sort of pushing me to look deeper. I’ve done several copies of his self-portraits as gifts for Mark, and the kids always see this stuff being done. I think that inspires them to also look deeper.”

The creative process involved several steps including sanding the piano, cleaning it, painting it white, measuring the panels and redrawing them as simple shapes in Adobe Illustrator, transferring the shapes to the piano, and painting the images on those shapes. Seniors who had worked on Heritage’s previous piano took the lead on the project, but Roark was also keen to involve freshmen and other underclassmen.
“I love watching the students take pride and ownership of their work,” he remarks. “Combine that with seeing the new freshman and underclass talent rearing its head for the first time, and you have a teacher’s dream.”

For E.C. Glass art teacher Linda Harding, getting to design a piano for Amazement Square was a dream come true. “I jumped on the opportunity to create something for the children’s environment that many of my students have loved,”
she says. “Amazement Square has taken a new direction in the educational opportunities they are bringing to our community’s children. Their new Make Shop will focus on repurposing and reengineering items to learn and invent through exploration.”

To this end, Harding and students from her painting and advance studio/advance placement classes used parts from the inside of a piano on the outside of another piano. “We disassembled a piano action and explored several boxes of random instrument parts,” Harding remarks.

“Students were given parts to look at and design what they could be. These sketches took on themes of ocean, field, and jungle. We added a sprinkle of Dr. Seuss and our piano began to take shape.”

The piano E.C. Glass created two years ago has taken up permanent residence at the school, marking Hill City Keys as an honored tradition. “The piano we completed two years ago was part of my seniors’ experience, and it now graces our halls at Glass,” Harding says. “Younger students were excited to be a part of this tradition and program themselves. Often you hear lovely music and conversation as students and staff take a moment to express themselves on the keys.”

Music, conversation and self-expression are at the heart of Hill City Keys’ mission as a community art project. Fitzgerald’s favorite memory so far encapsulates all of these things and shows how they can transform a person’s—and possibly an entire community’s—life. “My favorite anecdote is the fellow who used to sit by the Bank of the James, speaking to no one, seemingly lost in his own world,” she recalls. “The first year of the pianos, on the first day they appeared, he proceeded to sit down and play amazing music on one after the other, and ever since he has been a changed person, engaging with everyone.

It’s proof to me of the power of music.”

For more information about Hill City Keys, visit the Academy Center of the Arts’ website: academycenter.org. Use #hillcitykeys with your photos and videos of the pianos on social media.

By Emily Hedrick

Portrait Painter, Sculptor and Artist in Various Media
Age: Old enough to be called “Dear,” sometimes “Honey,” and even occasionally “Would you like some help with that?”

How did your interest in art begin?
At age five and later in school, drawing my classmates in my notebooks and textbooks. Growing up, my mother encouraged my sister Jan and me in the arts. We moved every two years as my dad’s company was building bridges and dams, and everywhere we moved, Mom looked up the local private art and piano teachers for us. I quit piano when [my teacher] here in Lynchburg threatened just one more recital.

How has your technique changed over time?
I experiment, experiment, experiment. Once when I got a “Best in Show,” the judge said, “I gave it to you because you are
not afraid of variety.”

Should an artist be open to change?
Whatever an artist looks at will imbed, so it’s good to be aware of that. It will stick. Within those parameters, never be afraid to stretch out to extend your limits either.

Whose art were you influenced by?
Primarily the impressionists and abstract expressionists, but there is always the unequaled immortal Rembrandt. The world stands in awe of his chiaroscuro lights and shadows but should also recognize his divine inspiration. A movie about Rembrandt’s life and paintings included Rembrandt’s remarkable Christian faith and its effect on his work.

What’s your history here in Lynchburg?
We moved to Lynchburg when I was 14. I was a member of the first graduating class of the “New E.C. Glass High School in 1954,” which is why I did the paintings for the Glass Athletic Memorial Lobby to commemorate the basketball champions of 1954, many of whom are still among our many class survivors who are still active and have not changed all that much, and who meet monthly at Charley’s Restaurant for lunch.

Where and how did you formally study art?
E. C. Glass High School; Sullins under Alvin Sella; earned a BFA at University of Georgia under Lamar Dodd; The Art Students League of New York with David Lafel and under Frank Mason… many sculptors at the Loveland Academy in Loveland, Co. over 10 years, and also under several directors of the Lynchburg Center for the Arts here in Lynchburg.

When did you begin doing commissioned pieces?
Since around the age of 19. I have always loved painting and drawing people and animals. Especially grandchildren, because they are being painted out of the great love for them of their grandparents. I feel that, and I think it shows in the paintings.

What do you enjoy about that process?
I enjoy drawing and painting people because I seem to be able to capture a physical likeness, but also something inside the subject I think. For portraits, I try to illustrate my subjects the way they would like to be remembered, or how my clients would like to remember their intended subjects at a given time, especially grandchildren who change so rapidly. I love doing grandchildren!

What are some of the more memorable pieces you’ve worked on for clients?
Some of my more memorable paintings include the large oil painting of the famous young cellist Zuill Bailey with his Goffriller cello; we were fortunate to have had him here in Lynchburg twice. I was also honored to have been commissioned to paint two Poplar Forest patronesses. Fred [my husband] and I also made [the] two gold leaf ornamental frames.

But I [also] love doing landscapes and animals, so I think my favorite lately will be the life-sized painting-in-progress of Lynchburg City Police Chief Raul Diaz with a German Shepherd. Another favorite is the former JP Hughes, a large oil painting, which is more of a portrait type, but with an interesting expression!

I also enjoyed doing a 12-foot-wall composite recently for E.C Glass High School’s athletic department of the 1954 first graduating class championship basketball team, for which Fred spent six weeks building the framework and structure for the combining of my many separate paintings and drawings of that basketball team (that was volunteer work).

How did you become involved in both painting and sculpture? How are they similar? How do they differ?
One translates visually, and the other is both visual and tactile. I really began sculpture late, and felt reborn, after a fashion. I have always enjoyed trying new media, such as sculpture, glass, resin, clay etc. Some mediums have proved to be fugitive though [meaning they crack or turn yellow]! Fortunately, varnishes and some media have improved (hopefully) with newer, lightfast qualities.

Where do you find inspiration?
Reality plus imagination. Artists paint what they find inspiring, and translate it in the best way we can for others to enjoy. I cannot look at God’s beautiful earth without praising Him every day. Painting can be a praise to God or the opposite. I choose to praise Him, and I thank Him for the talent to do so.

How would you describe your personal philosophy of art?
I coined the term “Contemporary Impressionist” because there are few hard edges in my work except sometimes when I intentionally add some line drawing for effect. I prefer to suggest, and let the viewer fill in the blanks. I think that way art and the viewer can identify at some level within the painting because part of the viewer is filling in the blanks. With both painting and sculpting, the artist is always adding and subtracting. I sometimes say that creating art is making one correction after another. Put something down, then do something with it.

Paintings are sometimes like novels—the characters get away from you and assert themselves! Artists either paint to make things more real, more beautiful or to express something for others to see. Often art is used as a means of [expressing] “in your face,” “notice me,” or “This is art—accept this.” Remember the expression “Art will tell”—what it tells about is the artist. But the medium can also produce a vivid statement.

What’s the role of art in a community?
Whatever its role, art will reflect the culture of a community. It’s a question of whose and what.

What do you recommend for someone interested in studying art?
I would recommend good art videos. Today it is not necessary to spend thousands [of dollars] to attend far-flung workshops. Many excellent artists have donated their time, and gone to the trouble, to create wonderful instructional videos available at the push of a button. I would also encourage seriously studying anatomy in live anatomy classes. We have the Academy Center of the Arts here, as well as the Lynchburg Art Club, Riverviews and Magnolias etc.— thanks to Lynchburg’s interest in promoting the arts, for which, all of us who benefit from their generosity, are appreciative.

What are some memories you have of various shows you have done?
When I had a one-woman show at the Lynchburg Academy in 2011, I had more than 70 paintings and sculptures, but when I was painting for it, the subject matter initially was featuring musicians and their instruments. . . such as Zuill Bailey with his Matteo Goffriller cello, and some other paintings of musicians, but also a large painting in red of Randy Riley and his group. [I also recall] a non-musician portrait of English professor Elsie Bock at her Lynchburg College office computer, writing a novel. That painting won a “Best in Show.”

Any closing thoughts?
The purpose of art is to be seen. I hope my paintings are more interesting than 1,000 words about me or my opinions. . .also artists should be secure enough in their own style to appreciate the uniqueness of other artists and enjoy each others’ art. Artists sometimes need to lighten up. I am delighted that Lynchburg Living would choose some of my artwork to feature in their latest issue. Thank you so much.

How can readers get in touch with you? Call (434) 610-1733.

10 Years!!

For Geoffrey Kershner, the beginning of Endstation Theatre Company marked an ending of sorts as well. After years of traveling as a graduate student with Florida State University’s School of Theatre, he—along with fellow MFA student Krista Franco—went to Germany and toured theatres across the country. Franco, who is Endstation’s production manager and scenic designer, recalls seeing a modern adaptation of “A Streetcar Named Desire” and feeling “moved to make theatre that I could creatively invest new ideas into.”

This and other shows and theatres in Germany inspired the two students to form their own company, and upon seeing a production called “Endstation America” in Berlin, Kershner had the name: Endstation Theatre Company.

“The name [Endstation] is the final stop on a train line,” Kershner says.

“In founding Endstation, I returned to my home in Virginia to create theatre. With home being my final destination, after a number of years of travel, the name felt appropriate.”

Thus, Endstation Theatre Company was born in Amherst County.

A decade later, Endstation is delivering high-caliber, groundbreaking productions to large audiences every summer.

Like the best plays, Endstation’s story is dynamic, replete with successes, challenges and myriad changes—many of which took place in the early part of 2015.

Last year’s temporary closing of Sweet Briar College, which had been Endstation’s home since 2006, was an unforeseen obstacle for the company and for Kershner personally. “It was terrible initially,” he says. “Sweet Briar is where I grew up, and my father is a professor there. At first, it was personal because my father lost his job. The Sweet Briar home had also been essential to the company.” Despite the setback, however, Endstation quickly found a new home at Randolph College. “For Endstation, [the temporary closing] escalated a relationship with Lynchburg,” Kershner notes. “The company had been doing more and more work in Lynchburg because our largest audience base was in the city.

When the closure happened, we quickly mobilized to keep the company in a safe spot. Randolph College stepping up to support us during that time was huge. I think a Lynchburg home is an exciting venture, and I am excited for a new chapter at Randolph College.”

Kershner was named Executive Director of the Academy Center of the Arts in May 2015, but he remains an Endstation board member and hopes to direct for the company again. During his time as artistic director at Endstation, Kershner saw the company grow due to their focus on community. “We were always very interested in our specific community and how theatrical activity would excite and inspire this particular audience in Central Virginia,” he remarks.

“From this, our focus on ‘theatre of place’ was born. Our work was inspired by the location. Whether it was the site-specific work or creating original work inspired by local history or lore, we always started with this area as inspiration for our work.

The landscape, the history and the people are incredible for theatrical creation.”

Kershner recalls his work on Endstation’s 2011 production of “Hamlet” with particular fondness: “Making that work was an inventive and truly collaborative process and was also profoundly personal.

Walter Kmiec, Endstation’s new artistic director, was Hamlet. [The play] deals directly with mortality in a profound way in this play. Walter had lost his mother that year and the performance he gave remains the highlight of my directing experiences. His performance was deeply personal, selfless, dynamic, raw and moving beyond words.”

Kmiec and Kershner met at Florida State University (FSU) in 2004, and when casting Endstation’s first show in 2006, Kershner gave Kmiec a call. Since then, Kmiec has worked as an actor, writer, and director at Endstation before becoming artistic director last year. He cites Hamlet as his favorite role as an actor, calling it a “dream role” that was very personal due to his mother’s death. As a director, his favorite production to work on has been “The Two Gentlemen of Virginia.”

“I enjoyed working on ‘The Two Gentlemen of Virginia’ because I had co-written the show, and I had the original idea,” Kmiec says.

“I sometimes worried during the creative process that people would stop coming to our shows if I did a terrible job, which I think is just part of the anxiety of being an artist. The fact that it did well means a lot to me, and I consider it one of my personal highlights.”

In his role as artistic director, Kmiec wants to continue honoring and advancing communities across central Virginia. “Perhaps my main goal as artistic director is maintaining the artistic integrity of the company while expanding our reach in the community,” he remarks.

“Endstation has always considered itself a company that is community-centered, and my goals for the company very much reflect that stance. I want us to be engaged in the community in all aspects where theatre is concerned: education, entertainment and cultural ecology. We, as artists, should be helping to bring the community together however we can. Our work should promote discourse that helps advance the community while also helping them at times to step away from the daily grind; achieving both is what I strive for.”

Kmiec also hopes to see continued growth and change for Endstation in the coming years. “I want us to become regular fixtures at major community events, to become partners in city-wide initiatives, and to be a place where people can come to use theatre as a means of personal and community growth,” he says.

“I want to expand our presence beyond the summer, producing shows during the holiday season or taking shows on tour to schools and community organizations. I would like to see Endstation become a household name in Lynchburg and Amherst.”

A few months before Kmiec was named artistic director, Katie Cassidy was named Endstation’s managing director.

Like Kershner, Franco, and Kmiec, Cassidy also received her MFA at FSU, where she first heard about Endstation. She worked as a stage manager for Endstation’s productions of “Our Town” and “In Sweet Remembrance” in 2014 before becoming Kershner’s assistant and subsequently managing director.

Cassidy, like her colleagues, cites Endstation’s commitment to the Lynchburg and surrounding communities as a major source of the company’s growth and success.

“I think our mission to strengthen our community through the theatrical exploration of its people, its landscape and its history has really resonated with our audience,” she says.

“Whether it’s Thomas Jefferson and James Madison portraying 80s rock stars in ‘The Two Gentlemen of Virginia’ or exploring the class divide in Lynchburg at the Texas Inn in ‘Counter/Top,’ our Community-Centered New Works program has given central Virginia 10 new works in our company’s history. Our theatre is so community-focused, I don’t know how we could have done it anywhere else.”

As managing director, Cassidy strives to collaborate with other organizations to build an arts community. “As a rising tide lifts all boats, Endstation believes a strong and supported arts community can only improve all organizations in the region,” she notes. “For example, Endstation Theatre Company produced their first production outside of the summer season in February 2016 bringing ‘The Whole Bunch’ to schools around the central Virginia area. ‘The Whole Bunch’ is a new work based on educating Lynchburg elementary schools on the importance of healthy eating. Endstation’s production visited 16 schools, performing 18 shows in 10 days plus four public performances on Randolph College’s campus. We reached over 4,500 students in two weeks of touring.”

In its 10 year history, Endstation Theatre Company has thrived on change, and it will continue to do so in the future, but one thing remains constant: the strong camaraderie of its team.

“The artists, the team: I love them so much,” Kershner says. “They gave me the best nine years of my creative life, and none of our work would have been possible without so many selfless, gifted and dynamic individuals.”

“If I didn’t love the people I get to work with, I wouldn’t be a part of the organization anymore,” Franco remarks. “The designers, directors, performers, and staff I get to work with each year are truly amazing collaborators who help Endstation produce the high quality work that we do.”

“I’m incredibly lucky to be working with such amazing people,” Kmiec says. “The Endstation family is still strong after all these years, and I’m excited to see how that family grows and adapts in the coming years.”

“We really do love each other and the work we create, and I think that shows in our productions,” Cassidy says. “Theatre is such a collaborative art that if you can find a group of people who you love and want to make art with, it’s such a wonderful thing. I am so lucky to work here.”

By Emily Hedrick

Occupation: Art Teacher, Heritage High School
Hometown: Lynchburg, Va. | Age: 61

How did your interest in art begin?
I have always drawn. It was my way of learning about history—one of my first loves. I would copy photos out of books as a way of getting closer to the subject. One era led me to another, etc., etc.

One of my issues may be that I have too many varied stylistic interests. It’s hard to find your own style when everything you see pulls you in.

Congrats on recently winning “Best in Show” at the Hill Center Juried Regional Show in Washington, D. C. Can you share about that experience?
Amazing to get in that show—even more amazing to win a prize. It was an absolutely phenomenal group of artists chosen by Mark Leithauser, Senior Curator for the National Gallery of Art. More than 600 entries submitted with [only] 93 accepted. They told me my painting was number one from the first viewing.

I was also selected in 2014 for this show, which is a regional show encompassing six states. The Hill Center is an old Civil War Naval Hospital repurposed as a community arts facility and gallery not unlike our own Academy Center of the Arts.

Your art work is also showing up around Lynchburg. Can you tell us about your recent work with The Academy Center of the Arts?
I teach at the Academy in the summer, and they asked me, along with other artists, to interpret their new logo in a piece of artwork. I did a 3-D piece and had several of my students help in the spirit of old guild style work. The Academy has it hanging now at the entrance to their offices.

Did you always anticipate becoming an art teacher?
I absolutely hate speaking in front of a group of people so teaching was way down on my list of careers. I have made peace with speaking in front of a group but really love working one-on-one with students who have a passion for art.

What do you prioritize in the classroom?
Effort. Creativity and innate talent are great, but if you aren’t willing to work, you’re going nowhere fast. On the other hand, if you are passionate and willing to work, your innate creativity will serve you. Talent means very little to me. I was the student no one would have said could become an artist. In fact, I wasn’t allowed to take Art in high school until my senior year. But I have had great teachers take interest in my development mainly because they could see my interest. I try to be the same person to my students.

You and your students have done several community art collaborations. Tell us about them.
Last fall and winter we produced about 20, 4′ x 6′ luan panels (cheap plywood used in theatre) for Opera on the James. Each was a visual representation of an opera produced and staged by the Opera on the James. The Opera requested they be done in the style of Henri de Toulouse-Lautrec. So the kids had to research Toulouse-Lautrec, then design and illustrate a panel per opera using cheap house-paint, and the panels were hung in February 2015 at the Opera’s fundraising gala at the Academy.

Jeff Wagoner, the Academy Technical Director, had them lit in a way that made them glow—they looked like backlit transparencies. Just beautiful. The Opera later did a First Friday opening just for the students, which was a great event for them.
We have also published three children’s books at this point. One was written by my brother-in-law, the other two by students. The fourth story is being edited and hopefully we’ll begin soon. The third book was about mice living in the Academy Theatre as a way of introducing our students to the Academy. This one is sort of a prequel, explaining how the ancestors of our Academy mice happened to make it to Lynchburg onboard a James River batteau.

So this one will have a James River theme running through it.
I want our students thinking about their locale, about how things came to be here and the difficulties of travel and just life in general in that earlier Lynchburg as well as our impact on what is left for the following generations.

When I started at Heritage, we were basically unknown for visual art, and now we have folks in town asking us to help. I really like that change.

What’s been your experience with Keys for the Hill City?
We painted a piano for downtown’s Keys for the Hill City the first year they held it. We produced a Beatles-inspired piece since it was the 50th anniversary of their first trip to the U.S. We listened to Beatles everyday.

The kids designed some amazing art and did a fabulous job painting it. They wouldn’t let me help, so I got inspired and asked our building trades teacher to add a panel to the top back, and I painted the “Let It Be” portraits on it. I was having so much fun watching the kids; I just had to play also.

I have some really amazing students. We have just begun our second piano. This time it will be a Vincent Van Gogh–inspired piece.

In your opinion, what’s the role of art in a community?
Art is a mirror into our soul. It is a record of our time—a visual representation of us. In education, I believe it improves academic performance and student discipline as well as exposes students to the beauty of our world. In our greater community, I believe it challenges us to think in new ways while celebrating the old and can act as a catalyst for change in a community.

What do you envision for our region and the development of the arts over the next few years?
I believe The Academy Center of the Arts restoration is going to lead to even greater investment and development of our downtown and the fact that the Academy has returned to its roots as a community center (key word “center”).

I see the Academy as a hub of downtown revitalization with more and more opportunities for artistic expression and community involvement.

I am very excited for my friends at the Academy and thrilled that the word “Center” has been brought back to the importance it deserves.

Trending Wedding Themes with a Local Touch

The moment you share the news of your engagement with family and friends, two questions will soon follow:
“Have you set a date?”

“What’s your wedding theme?”

The answer to the first question is pretty straight forward (once you and your sweetie decide what works best). Answering the second question requires a little more detail.

When it comes to choosing a wedding theme, your style can be as unique as you want. In fact, many brides will choose their favorite elements from a variety of wedding themes to create a blended style. Perhaps you’ve always wanted a classic wedding with luxurious florals and chandeliers, but you love the look of burlap and lace. Mixing trends is a great way to express your unique style.

Local touches are also becoming increasingly popular. Sourcing elements like flowers, décor, favors and cuisine from local vendors is a fantastic way to tie in your roots. Choosing to incorporate local touches into your wedding theme shows your love for small businesses, too. “We often help couples incorporate local food items in guest bags or as favors, such as Virginia peanuts, local honey, apple butter, chocolate and wine,” says Kerry Giles, General Manager at The Farm Basket.

Maybe you’ve dreamed about your wedding theme since you were 5 years old. Maybe you’ve done your research and know exactly what you want. Or maybe you’re looking for inspiration and building your wedding theme as you go along.

From traditional to trendy, here are four of our favorite wedding themes this year.

Rustic Chic
Maybe you’ve been to a rustic wedding. There were probably a lot of natural elements, like centerpieces incorporating wood slices and antique lanterns. But rustic chic is a little different—it blends warm, rustic accents with upscale touches.

Danielle Rottweiler at Bridal Guide explains the difference between rustic and rustic chic like this: “There’s rustic with mason jars and lace, and then there’s rustic chic with sparkle and wildflowers. With more couples wanting the barn-style wedding, the rustic chic theme is very appealing.” In her article “The Hottest Wedding Themes for 2015,” Rottweiler explained, “Many couples who want barn weddings still want there to be some formality; they are avoiding the mason jars and burlap runners and opting instead for gorgeous farm house tables, Chiavari chairs and bright pops of color. Many brides, in this case, will also rock out a pair of cowboy boots instead of heels with their dress.”

One of the most poignant rustic chic trends is to incorporate bedazzled lighting elements. Whether it’s hanging a crystal chandelier over the dance floor or adding glammed up candelabras to each table, the sparkling glow will create a fancy feel even in a country barn.

Another rustic chic essential is a rich color palette, bursting with bright floral accents. Unlike rustic, where colors are muted and typically incorporate pale hues of blush or cream, rustic chic colors are vibrant. Create eye-popping accents by draping bright table runners over wooden tables and adding rich colors to floral bouquets.

“The contrast of nice linens and classic touches in a rustic chic setting is very appealing,” says Giles. “I like that it can be as casual as smoking pork and filling mason jars with freshly-squeezed lemonade, and I love how you can dress it up in a relaxed, more elegant way, too.”

Classic Modern
A classic modern wedding is defined as traditional with rich details, plus a few current trends mixed in. This theme incorporates a well-defined color scheme with sleek and luxurious details, creating a cohesive look throughout. The classic modern theme is timeless, honoring tradition while seamlessly paying homage to modern trends.

“If you’re going with this theme, more is more when it comes to florals,” says Stefania Sainato of Bridal Guide. “For the color scheme, white with silver or gold accents is a regal look, or you can go with pale pinks for a more romantic effect.”

When it comes to invitations and wedding programs, traditional cursive or calligraphy against a white textured background will set the stage for your big day. Just make sure the wording and tone of your invitation matches the formality of your event.

Incorporating opulent accents in the décor, venue and attire is the key to creating a classic modern theme. White flowers make a pristine statement with bold, matching floor-length bridesmaids’ gowns and classic black tuxedos. Adding floral arrangements along the aisle will create a dramatic effect at the ceremony location. And—of course—sending off the bride and groom in a vintage car is the perfect way to wrap up a classic modern wedding.

Vintage DIY
Chalkboard signs. A birdcage bridal veil. Flea-market-find embellishments. Simple, understated floral arrangements in antique vases. These are all things you might find at a vintage “do-it-yourself” wedding.

The vintage DIY theme is incredibly popular. Handmade and “up-cycled” items create a nostalgic, romantic atmosphere that’s both warm and inviting. Pairing wildflowers with mercury glass vases creates a subtle, simple centerpiece with dramatic impact.
Add touches of your own personality by stacking antique vases, clocks or birdcages on top of your favorite vintage books. Opt for an antique vanity (complete with vintage mirror) to display your guestbook or favors. Pin an old-fashioned brooch into your hair or bridal bouquet.

“The bare bones of vintage revolve around antique details, lace and some weathered accents,” says Andrea Fowler of The Knot. “The key to pulling off beautiful vintage decor is to style these old-world elements in such a way that the venue looks aged in a charming fashion.”

Local photographer and videographer Jeremiah Guelzo of Stone Blue Productions says the beauty of a vintage DIY wedding is that it allows the unique style of the couple to shine. “My favorite wedding theme is one where I can see the couple in the design. The wedding day is about the couple uniting as one.”

You can find inspiration for your vintage DIY theme literally anywhere. Start with a trip to your favorite thrifting destination. Take a leisurely stroll through the housewares section with an open mind. You’ll probably find an assortment of dishes, picture frames, glassware and décor that can easily be combined to create your vintage style. Variety is the key when it comes to curating the perfect pieces to feature in your vintage DIY wedding.

Coastal
Aaaah, coastal.

There’s something about the lure of the sea that makes this theme oh-so trendy.

Combining soft nautical comforts with bright splashes of color, a coastal-themed motif breathes pure relaxation.

Inspired by all things nautical, the coastal theme incorporates natural seascape elements like seashells, sand and starfish along with maritime accents like rope, anchors and lanterns.

When choosing your wardrobe and accessories, opt for flowy fabrics and refreshing hues. Hair and makeup should be soft and relaxed to evoke the sense of a calming seaside escape. Add texture to ceremony and reception décor by incorporating natural elements like driftwood and coral. Indulge guests by serving your favorite seafood as an appetizer, such as Mahi tacos or mini lobster rolls.

The coastal theme lends itself naturally to spring and summer weddings, so it’s important to consider your wedding season when creating this theme. “The setting, colors, food and florals that reflect the season and are fused with local and personal touches create the most memorable weddings,” says Giles.

Ultimately, your wedding theme should be about you and your sweetheart. It should reflect who you are and what you love. Look at the ways you dress, decorate, work and play. What are your favorite things? Find ways to work those in, and your wedding theme will be the perfect reflection of you both as a couple. The aesthetic you create for your big day is all about your individual style. Make it unique—make it you!—and it will be a day you and your guests will never forget.

By Claire Molineaux Foster