Profile

Long before 2001, when George moved from Bergdorf to this 2,200-square-foot Tudor City studio, designers like Calvin Klein and Tom Ford sought out his signature architectural arrangements of white calla lilies, paperwhites, or cream-colored roses. To achieve George’s graphic, monochromatic look, stems are shaped with dazzling precision and set into clear, sandblasted or black glass vases. The result is a lean but moneyed minimalist chic, like an understated couture ensemble too swank to boast a logo. The near-sculptural floral compositions, which nod as much to O’Keefe as Fragonard, have won the loyalty of domestic moguls like Martha Stewart, whose layouts and on-air demos often showcase George’s work. With a constant influx of custom orders for society weddings and big-ticket corporate and charity events, the studio functions more as a workshop than a retail outlet. Hefty minimums for gift orders of Italian blue muscari or the shop’s classic, best-selling red-rose arrangement tend to deter walk-in customers, but on-the-spot bouquets can be arranged from a seasonal stock of flowers. — Nitasha Tiku

Aspiring arrangers can sign up for seminars led by Remco van Vliet, the Metropolitan Museum’s director of flower design, and by George himself.

Weddings
George was one of the pioneers of the fuss-free floral look. He often makes arrangements with masses of a single type of flower (mostly calla lilies, roses, or tulips—sometimes 300 or more in a bunch). Bridal bouquets and centerpieces from $150.

Related Stories

Best of New York Awards

• Best Flower Arranging (2004)