Remarkable Women in Floristry

Join Us in Celebrating International Women’s Day

By Molly Lucille

Every International Women’s Day, Florists’ Review honors the influential women that help form the beautiful community that is our industry. Women are the backbone of floristry, with 87 percent of the American flower industry made up of women, according to a 2022 Data USA survey. Similar trends can be seen worldwide. From growers to wholesalers to designers and beyond, women drive innovation and success at every level of the business. While choosing just a few trailblazers to feature is no easy task, these seven women stand out for their leadership, passion and remarkable contributions to floristry. We’re proud to share their stories as designers, educators, entrepreneurs and visionaries, and to recognize the incredible impact women have had—and continue to have—on the global flower industry.

Eun Jin Yang is a skilled designer, floral sculptor and educator in Seoul, Korea. Yang hosts workshops for aspiring designers from around the globe, with the goal of floral education as well as cultural exchange. On top of her studio and educational endeavors, Yang crafts custom designs and installations for fashion photoshoots, experimenting with unconventional materials and techniques. 

Your work is so sculptural and often includes creative materials. What are your biggest sources of inspiration?

I majored in visual design with a focus on brand design, which shaped my aesthetic approach and love for minimal beauty. This perspective naturally extends to my floral design, where I strive to create impactful results without excess. Inspiration often comes from experimenting with unconventional materials. Incorporating elements like fruits or other unexpected objects alongside flowers brings new meanings to the designs. Seasonal changes in color, texture and form also serve as key starting points. Beyond nature, architecture and contemporary art greatly influence my work, as blending sculptural elements with innovative materials bridges the natural world with human creativity.

You often host workshops in your studio, creating fantastical installations with international designers. Can you tell us more about these workshops and the discoveries you’ve made through collaborative design? 

Workshops are not just spaces to teach techniques, they are moments for florists from all over the world to learn and create together. Collaboration allows us to share cultures and perspectives, leading to new ideas. For instance, a flower that is considered common in one country might be rare in another. Observing other florists approach the same material in ways I never imagined gives me fresh perspectives. This process helps me realize the infinite possibilities of creativity and pushes me to grow as well.

Collaboration seems to be at the heart of your work—you are often posting collaborative shoots with models and high-fashion styling. What is your creative process in styling and designing for these shoots?

In collaborative shoots or high-fashion styling projects, storytelling is the most important aspect. I start by setting a clear concept and then share ideas with the photography team, stylists, hair and makeup artists, and models to create a cohesive vision. From there, I select a color palette and flowers that complement the story, along with matching costumes and makeup. I aim to ensure that the floral design harmonizes with the fashion and the set, working on detailed adjustments to create a seamless connection between all elements. I prefer shoots where the flowers don’t dominate but blend naturally into the scene. The key to these projects is communication and mutual consideration to avoid overshadowing each other.

What is an achievement that makes you particularly proud?

One of the most special moments was when florists from different countries came together to work in my space, sharing their unique cultures and perspectives. Through these workshops, I realized that my work goes beyond design and creates meaningful connections with people worldwide. It is incredibly fulfilling to see florists take what they’ve learned during our time together and apply it effectively in their own work. I’m also deeply grateful that people travel to Korea, a small country, to learn about floral design.

Another moment I cherish is when my clients place their complete trust in me. Instead of providing sample photos, they share their budget and entrust me with the entire design process. Seeing them satisfied with the results is an experience I am genuinely thankful for.

Finally, with your approach to education, what core concepts do you work to instill in your students? 

When I teach, I emphasize the importance of “finding your individuality.” While techniques can be learned, individuality and creativity must be discovered personally. I teach my students to observe natural elements and find their unique style through that process. I also stress the importance of not fearing failure and continuously experimenting. Creativity grows through challenges and mistakes. I’ve seen many students give up after trying various approaches, but individuality doesn’t come overnight. It’s through continuous exploration and experimentation that one creates their unique style, which is what I emphasize the most.

Courtney Kneifl is a floral designer, artist and the owner of Iris & Fig. She has a Bachelor of Arts degree in English and worked in higher education for many years before deciding she wanted to get out from behind the desk to create with her hands. As a longtime gardener, Kneifl is known for creating naturalistic installations, deeply inspired by the nature surrounding her studio in the Pacific Northwest. 

Your portfolio reveals that experimentation and exploration of materials is deeply ingrained in your work. How does this nature of curiosity and playfulness fuel your creativity? Where do you draw inspiration from? 

This is a great question. I’m always drawn to ingredients I haven’t used before and love to try combining old varieties in a new way. Anything that has an interesting shape or texture will catch my attention, and it’s fun to just play around with your materials and see where it leads. I’m inspired by fashion, interior design and of course nature. I recently heard of a fashion theory called the “wrong shoe theory.” It says sometimes wearing the “wrong” or unexpected shoe with your outfit will make it more interesting and elevate your look. I think that’s true with flowers as well. 

Your team designs a wide array of projects—from weddings to editorial, events and beyond. What kind of project gets you most excited? 

I’m honestly excited about any project that’s a good fit stylistically. We always love to try new ideas, so it’s fun when a client asks for something we haven’t done before. As long as we have their trust and the freedom to explore and create, I’m pretty motivated.

What achievement makes you especially proud?

The achievement that makes me feel the proudest is when another floral designer reaches out to me and wants to join our team or asks if we offer classes. There is no greater compliment than when someone whose work you admire or have followed for years admires your work as well.

On top of all the beautiful work you do in Seattle, you also design destination weddings. How do you maintain your floral design voice while traveling? Do you have to alter your process when creating for destination events?

Destination events require a lot more logistics than local events because you have to figure out where to source your materials, where you’re going to create and who will work with you—that’s the hard part. Once those are determined though, maintaining our voice is just a matter of staying curious and open to possibilities. Getting our hands on new materials and seeing what we can create with them is always exciting. 

You mention your garden often in your online posts. How does the process of gardening influence your creative practice and how you perceive flowers?

Gardening is such a huge influence on my work, especially when it comes to creating installations. I love naturalistic design, and when I see a beautiful garden design or a natural landscape, I immediately think to myself, “how can I create that?” My team would also tell you that the phrase I repeat most often when we’re working is, “place the stems as they would naturally grow.” Nature is the best designer, and we can only hope to mimic what she does so perfectly.

Erice McNeff, owner of the Southern California-based Everbloom, is a floral designer known for her refined, organic and artisanal designs. Driven by a passion for aesthetic harmony, she draws deep inspiration from life’s natural artistry. An accomplished award-winning designer and entrepreneur, McNeff is` also an acclaimed floral educator, recently recognized on The Knot’s “Ones to Watch” list and as one of Mayesh’s Design Stars.

Your work has such a rich, artistic approach, with a lovely balance of color. Where do you draw your inspiration from? 

Thank you! I draw inspiration from so many different places. If I’m just designing for fun, I might get inspired from other artist’s work I stumbled upon online. (I’m always on Instagram or Pinterest looking to see what trends are catching on or what creative ideas others have.) Sometimes the flowers themselves inspire me. When I’m shopping at the flower mart the right combination can fall into place so naturally, I don’t even feel like I’m thinking too much about it. I’ve found that I’m most attracted to compositions that feature movement, texture and harmonious color palettes, so I’m always looking to source flowers that feature those elements. If I’m designing for an event, I will draw much of my inspiration from the event design as a whole. It’s a priority of mine to ensure my pieces seamlessly fit with the rest of the design. I’ll spend far too long immersing myself in the design concept, so I have a strong understanding of it. From there, I’ll dive deep into flower availability and begin putting together a wish list of items that look and “feel” like they belong. After that, I like to play around with different compositions until I perfect the floral design.

You’ve been recognized on major platforms like The Knot’s “Ones to Watch” and selected as one of Mayesh’s Design Stars. How does it feel to have your work acknowledged and honored by such prestigious names in the industry?

It’s so humbling and I’m so grateful. You can easily feel siloed in this line of work. I’m my own boss and only employee, so recognition like that oftentimes feels like the “pat on the back” others might get in traditional jobs from co-workers or supervisors.

As a floral educator, what are the core principles that guide your teaching approach?

First and foremost, I’m passionate about florists having a strong working knowledge of their business finances and processes. I love to teach budgeting, back-end processing and efficiency. I’m also known to chat with my freelancers about bookkeeping and basic accounting practices. I think these skills are just as important as learning how to design because keeping tabs on this area of your business is what allows us to pay ourselves, provide for our families and ensure that we’re being paid our worth. 

When it comes to teaching design, I love teaching florists how to create dimension and movement. It took me years to figure out how to do this in my own work, so helping others unlock that skill is very rewarding for me. 

In the “About Me” section of your website, you mention that floristry was an unexpected discovery for you. Can you tell us how you began?

I graduated school with a degree in broadcast journalism and media production and wanted to pursue a career in TV and movie production. My first job out of college was as an assistant to talent managers and producers. I quickly came to hate it. The hours were grueling and the standard for perfection was high. After some time, the pressure became too much for me and I moved home with my parents. I didn’t have a clue what I wanted to do next. With advice from my dad, who told me to “pursue what sounded fun or interesting,” I took a job at a flower shop cleaning buckets. I ended up falling hard for it and quickly knew I wanted to do flowers forever. 

What achievement makes you particularly proud? 

I’m proud of the community I’ve found and built within the world of flowers. I’ve made some dear friends with whom I love working. I’m always so thankful they show up to help when I need it. We have fun together, and our studio chats are always something I look forward to when it comes time for a job to start. 

Rachel Cho is the visionary behind Rachel Cho Floral Design, a premier flower company based in New York City. As a first-generation American and native New Yorker, Cho discovered her love for flowers in her mother’s small Bronx flower shop. This early connection inspired her lifelong passion for floral artistry, which she has honed into a distinctive, sophisticated style shaped by the dynamic energy of the city. While balancing high-profile collaborations, expanding her digital presence and raising three children, she exemplifies the spirit of a modern entrepreneur who seamlessly blends artistry with business acumen. 

Your studio designs for a wide variety of clients—from hospitality to events to high-profile brand collaborations. How do you maintain your floral design voice across these vastly different platforms?

When we look at a project, so many factors are important to how the end product will translate. I look at the context for the event, the client, the venue and any particular purpose or theme of the event. An initial call or consultation is supremely important in learning the context of the event, as that sets the tone for how we would approach the design, florals used and what the style and colors would be. I always find that the flower choices are the easy part. The bigger challenge is finding the essence and style of the event that reflects the client and the purpose for the event. 

What are some sources of inspiration that influence your creative process? 

The inspiration is always the client and finding their essence. The words they use, the photos they show and seeing what they gravitate towards is always the initial inspiration. We then find work from our past, search through social media channels, such as Pinterest or Instagram, and put coloring and florals together based on what would be available at the time of the event. Mood and design boards are extremely important in conveying the look and feel for the flowers, vessels and styling choices we want to make.

What is an achievement that makes you especially proud? 

That is a very hard question to answer for someone who is always looking back at what we can do to be better next time! If I were to celebrate one thing I’ve learned in the 20 years I have owned this business, it is adaptiveness and being open to change in order to stay relevant. That applies towards staying relevant in design, being at the forefront of social media influence in my niche with content creation and investing in business coaching to be the best boss I can be to a great team I’ve taken years to build. If I can add to that, when my husband joined me 10 years ago to run this company, we needed to make big changes to be able to reap the benefits of being a husband-and-wife team while minimizing the family drama that can come from co-owning a business with your spouse.

Alongside your work in the flower studio, you’re also an educator, having taught courses at FlowerSchool New York and regularly sharing educational content on social media. What advice do you share with beginner florists?

There are three core pieces of advice: 

• Practice makes perfect. Be open to being critiqued and criticized. 

• Be open and adaptive. Every studio has a different way of doing things, so first learn all the “rules” and be open to the different ways florists do things. 

• There are various ways we achieve the same result, and as long as you are open to learning, you will continue to expand your knowledge and be comfortable with the botanical materials you are working with. 

Kiana Underwood is the visionary founder of Tulipina, a globally celebrated floral design studio known for its artistic and opulent arrangements. Renowned for her bold use of color, texture and unique combinations, Underwood has redefined modern floral artistry. Her 2018 debut book, Color Me Floral, covers the secrets to designing show-stopping monochromatic arrangements for each season. Tulipina’s Floral Fantasy, her second book published in 2023, features an interview-style reflection on Underwood’s creative journey alongside hundreds of images of her favorite creations.

Your floral design is the definition of elegance and opulence. What are some sources of inspiration for your work?

Thank you so much. Inspiration comes at me in waves, usually based upon something that I’ve seen unrelated to flowers. It might be a piece of art, a song or composition, an article of clothing, architecture, or simply a color or texture. These may inspire me for a color palette, flower variety and even a shape, whether for individual compositions or larger-scale installations. It’s hard to describe precisely how my designs come to be, as they are loosely pre-planned and take final shape during creation—which can be a challenge for wedding design. Once I have everything in front of me, the misty plan in my head escapes into art.

Can you walk us through your process of creating large-scale, immersive installations?

Similar to my previous answer regarding inspiration, we generally know the scope and scale of an installation during the planning and design process. I will sketch ideas, and we render those ideas in color drawings for clients. I always emphasize that any rendering is only an approximation. Once we have all the flowers and our structures built (partially in the studio or onsite), the final design evolves to the point that I feel it is complete in the best representation of Tulipina.

What’s an achievement that makes you especially proud? 

We did a rehearsal dinner at the Opera Garnier (Paris Opera House) in late 2023 that was massive in scale, with only 10 hours onsite to build out the space. We scaled our team to twice its standard size and produced something extraordinary that I remain incredibly proud of.

Finally, you have published two amazing and successful books. What was the feeling of seeing your design in print and watching the audience respond to your work? 

Books are a lot of work. I have massive respect for all authors in a different way than I ever could have before Color Me Floral and Tulipina’s Floral Fantasy. I enjoy connecting with florists and flower enthusiasts at book-signing events and workshops and learning how my journey as a designer has inspired others. Plus, it’s always fun to come across one of the books in a random bookstore and think, “Hey, I made that.”

The artistry of floral design wouldn’t be possible without growers. In turn, the artistry of growers wouldn’t be possible without the biologists that carefully monitor, develop and test new botanical varieties. One such biologist is Pilar Buitrago of Alexandra Farms in Bogota, Colombia. Since 2011, every new variety that is introduced to the farms’ portfolio of gorgeous garden roses first must pass muster with Buitrago and her team. 

What drew you to the flower industry and to Alexandra Farms specifically?

I felt drawn to botany during my university studies. Since then, I’ve worked primarily on plant conservation, care, rooting and phytopathology. Having previously worked on projects that help Indigenous communities preserve species or even identify and battle bacteria in Leticia (the Colombian portion of the Amazon Rainforest), I discovered that I was also interested in agriculture and how greatly overlooked it can be in such fertile land like Colombia. I focused on floriculture from then on. 

In the search for businesses that brought something different to the industry, I stumbled upon the Alexandra Farms website in 2010. What stood out to me was a picture of the variety ‘Baronesse’—fully open and shining. I completely fell in love with it. I read through the descriptions of flowers and the staff page. I didn’t hesitate to contact the president and offer my knowledge as a biologist. I realized that Alexandra Farms was looking for someone they could guide and train to specialize in garden roses from a scientific standpoint, rather than someone who was already an expert. I’ve always been interested in learning alongside a team of supportive leaders, so I felt very lucky they chose me.

At the time, Alexandra Farms was beginning to consolidate a handful of new processes, improving the productivity area, postharvest care and handling, and initiating socio-environmental measures to apply to production. I got to participate in all of it! It was a relatively small business in comparison to other big names in Colombia. What I liked about that (and still like, even though we have grown a lot) was the novelty. Every part of the process was unlike anything I had worked on before, and the humanity of every team member has always made me feel very grateful. I always learn from my mentors, and I get to work with spectacular, unique, beautiful flowers every day.

You also help ensure the farm upholds its Colombian “green label.” What sustainable practices do you implement on the farm to maintain that certification?

Our team works within sustainability measures from a socio-environmental angle and from a judicial and marketing standpoint. Annually we update our sustainability and work environment practices, according to Colombian legislation and our discoveries in the development of processes. Each year, we apply for a Florverde Sustainable Flowers certification, and we have received it for 10 consecutive years, including 2025. This has allowed us to guarantee ethical production and high-quality flowers to our clients based on social and environmental responsibility. 

We develop a series of programs yearly to implement viable and sustainable practices in every part of our workflow: a robust program on water conservation and responsible consumption that’s tied to our hydroponic crops and rainwater storage; one for the responsible use of and guided instruction on active chemical ingredients; a carbon footprint program to manage and optimize fuel use and energy; integral management of waste products; and a biodiversity and landscape preservation program to keep native species flourishing.

When selecting roses to cultivate on the farm, what qualities do you look for?

We are always looking for varieties that are exceptional in their look and performance. Every year we source through different breeders around the world to look for the nostalgic, innovative and romantic flowers that represent our brand. We have an incredible team working to select new varieties to undergo a trial process. During the first phase of trials, we select rose varieties from various breeders and examine color (mainly tones for weddings and events), shape (we look for fullness, large petal count and romantic shapes like cups, quartered petals, heart shapes, rosettes, etc.) and – preferably – a romance-evoking fragrance. We also look for a long vase life and, overall, exceptional beauty.

Throughout the second phase, we evaluate more significant characteristics like production rate and stem quality. We test varieties to see how they handle the shipping process (temperature shifts and packaging). We also run trials by sending small amounts of stems to designers and other industry partners for feedback. This helps our team design a future marketing strategy.

Our aim is always to achieve a catalog full of the highest quality and best-performing garden roses with beautiful shapes and colors, long vase lives, durability through the shipping process and high productivity. Finding all these qualities in a garden rose is difficult, but this is our motivation to continue conducting relentless and thorough testing every year. We’re thrilled that we will add some fabulous new varieties to our collection this spring.

What’s a specific achievement that makes you proud?

I’m very proud to contribute to my country as a biologist at Alexandra Farms with the development of fieldwork and floriculture. This work has been incredibly demanding but equally gratifying. We look after our natural resources and spread awareness to everyone we work with. We apply scientific methods to every initiative to keep the business growing. We learn through multiple trials and educate others on how to best build sustainable processes and maintain good teamwork. I’m lucky to work alongside so many excellent and ethical professionals.

Sylvia Bustamante Gubbins founded Spain’s Madrid Flower School in 2019 and co-founded Madrid Blooms Congress in 2024. An historian, journalist and person who’s always in the process of writing, Gubbins swapped letters for scissors. At age 48, she attended a floral design class at the New York Botanical Garden and found her true passion. In addition to starting the Madrid Flower School, she has floral designer certificates from London Flower School and FlowerSchool New York.

When you were in the process of opening the Madrid Flower School, what were your main goals?

My goal was to give a round education. Because I’m a journalist, I know the importance of photography and marketing skills. Everything is to tell a story in the best possible way and to draw attention to the aesthetics when presenting a product. I don’t want my students to repeat, but to express themselves when designing. You have to find your voice, and the sooner, the better. To be different is a must!

What inspires you in your creative work?

The school is not me only. Each person on my team comes from a different country and culture. They have different ages, and even the music we like differs. Diversity is what makes our work enjoyable. And I give them the freedom to do whatever they want. But I have the last word. We can take inspiration from books, history, magazines, fashion and other florists’ work. We are open to the world!

It must be so fulfilling watching your students go on to have creative, successful practices, studios and careers. What is a core lesson you like to teach your students?

Very fulfilling. The core message right before they graduate is that they are not alone. We have a community that can answer questions, give a hand and even travel. We are here to help! The second is to honor what you can give to the world. Only by being yourself will you be satisfied with your work. 

Tell us about an accomplishment that makes you proud.

During the Pandemic, I organized two groups—one in Spain and the other in Latin America—that connected the different actors in the industry. The group in Peru pushed a campaign for the government to approve the recollection, distribution and sales of flowers with a special law. It touched my heart because I’m also Peruvian.

I see online that you used to be a journalist and studied creative writing! From one writer to another, do you find any parallels in your creative approach to writing versus your creative approach to floristry? 

Yes! Instead of using words, I’m using flowers. But there is a difference with the writer. You can invest years in writing a book, but it only takes 15 minutes to design a bouquet. 

Florist, educator and Instagram’s “Flower Crown Queen,” Sophie Powell has a distinctive and fun approach to design. With more than a decade in the industry at some of London’s top florists and five years of teaching at the legendary McQueens Flower School, Powell unveiled her own studio—U. FL. O. Unidentified. Floral. Object.—in 2023 and has been inspiring us ever since. From impressive installations to events and wearables, her approach to flowers helps us view each bloom in an entirely different light.

Your designs are so unique and playful. What inspires you? 

Thank you so much. To be honest, it’s the flowers themselves that inspire me. Even in my other work (not just the crowns), I look at their color, their form, whether they are fluffy or shiny or if they remind me of an object, such as a feather or a fabric or even toys. Sometimes where they grow takes me somewhere, so their origin. For example, I once made an English garden crown and included little garden gnomes. I guess I prefer to look at life through fun glasses rather than serious ones. Quite childlike or what the professional artists would call naive. And if I can include what I call a “wild card” object or prop—that is the best for me! That’s what I really enjoy.

What accomplishment makes you especially proud? 

I’ve been so lucky to have been involved in a few mega moments that I’ll be eternally grateful for. But the ultimate one that I’m going to find it very hard to top is when I taught my signature crown design in Frida Kahlo’s Blue House in Mexico City to 30 amazing women. There was a moment when one of the ladies said to me (in Spanish), ‘Frida is here right now looking over us.’ Honestly, it sounds a bit over the top, but I cried. We were making the crowns in the garden in the sunshine without music and the birds were singing, and honestly that’s where I felt the real magic of flowers connecting us all. And of course, Frida being one of my huge idols—what an amazing opportunity!

You’re an accomplished educator as well as a floral artist. What lessons do you strive to teach your students? 

Oh wow, thanks so much! As I have mentioned before, and maybe if you know me, you’ll know that I am not someone who takes themselves very seriously. I do take passing on knowledge seriously, especially if students want to become professionals. I will of course be professional, but for me, it’s about confidence. Be confident in what you do, and your client will choose you time and time again. Remember flowers are already beautiful, we are lucky that we work with a medium that has already done all the hard work. Unlike working with clay or glass where you have to start from scratch, flowers are already complete, so it’s very hard to make something bad. If you have confidence in your design, then people will love it. Respect your medium and the design will bloom! 

Beyond being the “Crown Queen,” you also create set design floristry, installation and other creative projects. Does your approach change for different projects, or do the same principles guide your process across the board?

My goodness, the Crown Queen—that’s a huge title. I am so grateful of everyone’s support of me shoving flowers on my head, but I think I still have a long way to go before I can sit on any throne! Unfortunately, I am one of those people that leaves everything to the last minute. I was the same in school with art projects. I’d be up through the night making my papier-mâché design in my dad’s garage. And to be honest, my approach is exactly the same now, just not in my dad’s garage. I am a lot more productive with a very short deadline. I think it’s because I overthink things, but if I leave it to the last minute, I am far more confident and just go for it. The lead up to the “mad panic of construction” is normally a lot of time with ideas buzzing around my head, sketching terrible drawings and going to the flower market (which sounds productive but isn’t as I get distracted with other random pretty things and chatting). I am fortunate that my partner is also a florist, so I can pick his brains about flower choices, availability and longevity. He is the grown-up florist in our relationship and helps me come back down to earth on what is possible. Poor guy, he never has a day off when I’m in the creative mode.