Michael George was seemingly born to love flowers. His father was a New York City florist, and his first education to which he was disposed was the privilege of being surrounded with beautiful flowers. Michael thereby developed an admiration and understanding of flowers in their natural state at a very young age. He always adored the way they looked when they were in their hampers or neatly packed in boxes, and still recalls having always thought this was when they looked their best. I guess you could say that this concept “stuck.”
The years in the flower shop with his dad were influential beyond measure. Michael paid attention. He helped and learned, and even day-dreamed. Then, in 1980, Michael opened a small, grotto flower shop of his own. With visions of neatly packed, tidy boxes that appealed to his boyish sensibilities still dancing in his head, combined with not wanting to subscribe to the available floral stylings of the day, Michael began experimenting with simple mono-floral, monochromatic flowers; the concept of the abundance of one species, neatly arranged in clear, glass vases. Oddly enough and quite by accident, Michael stumbled onto something magical and transforming: the technique of keeping the stems in a perfect, graphic form, quickly discovering that the stems themselves were as beautiful as the flowers they supported. The end result was transcendent—a perfect blending of his youthful admiration for neatly packed boxes with the accidental discovery and appreciation of the simple beauty of floral stems—bringing about the signature low, dome-shaped flora presented by the flowers in abundance, combined with the simplistic allure of graphic stem-work.
While graphic florals have certainly become a trademark, Michael George has the ability to style both modern and period pieces alike, “within the limits of good taste, of course.”
Freshly stylized. Simply abundant. Graphically elegant.