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The balloon store turns the image and likeness of a traditional bouquet on its head with whimsical creations

The idea for Ballooms’ inflatable bouquets, which conflate Koonsian kitsch with decorative charm, was born out of a desire to create objects that spread joy.

“It’s quite possible that it was a reaction from a few unfortunate years for all of us, where we lost a lot of human connection,” says Dylan Kwacz, the brand’s founder and creative director. Having spent the past eight years supporting the ambitions of others, he decided to pursue Ballooms in the summer of 2023 as a manifestation of his own creative impulses.

Ballooms
Ballooms

Founder and creative director Dylan Kwacz conceptualized Ballooms as a manifestation of his own creative impulses. Balloon Stools by Objects by Willem.

With a small team consisting of Kwacz and his partner, each Ballooms bouquet is fashioned from natural and biodegradable latex balloons and ranges anywhere between $45-$70 each – however, the two are open to experimentation and tackling unconventional requests.

With springtime blossoms in full effect, Ballooms aims to recreate the innocent delight of being reacquainted with pastoral sprawls, domestic flora and the general sense of invigoration associated with the season. Kwacz is especially motivated to move past winter’s neutral-heavy palette by embracing unabashed colour. He is also attuned to other sources of aesthetic stimulation. “Ballooms is rooted in nostalgia and currently I have been inspired by the colour palettes of ’70s art-house films – particularly, the work of Alejandro Jodorowsky,” Kwacz adds.

Lavender Balloooms are animated yet delicate.

Balloon Stools by Objects by Willem.

Chrome Ballooms add an extra kitschiness to the bouquets.

Having already worked with an impressive roster of clients – including The Drake Hotel, UGG and Cadillac Fairview, just to name a few – the brand will also be partnering with local artists to further broaden the Ballooms identity in the near future.

“We want Ballooms to become synonymous with celebration,” Kwacz said. “I feel like that’s what we all need right now, a reminder for people to spread cheer, no reason needed.”

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Okay, but it clearly is

For the first 16 years of my life, the bat cave at the Royal Ontario Museum (ROM)—a reconstruction of an actual cave in Jamaica—was among my favourite places in the city. The cave was decorated with cast stalactites and wax bat models, which hung from the ceiling and threw jagged shadows on the walls. A few other features imbued it with spooky verisimilitude: the drip-drip-drip sound effects, the mirrors arranged to create the illusion of infinite depth, the strobe lights strategically placed to make the shadows flutter. When I visited as a five-year-old, the bat cave scared me. When I visited as a stoned fifteen-year-old, it scared me even more. Then came the renovation.

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