The duo behind the Best in Show award-winning mannequin at Fleurs de Villes Downton Abbey talk about their experience building a floral masterpiece at Kew Gardens, and their journey to running a floral business together.

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WHAT FIRST SPARKED YOUR PASSION FOR FLORAL DESIGN?

Both of us come from design backgrounds, but the real spark happened in the flower markets of Kunming, China –  Xue is from China, and Rachel spent five years living and working there. Immersed in that environment and learning from visiting designers who treated flowers as a sculptural medium rather than simple decoration, we discovered new possibilities for floral work.

Since then, we’ve teamed up and invested deeply in learning, not only from floral masters but also from neighbouring crafts that enhance the sculptural side of our practice, including rush-plaiting, willow weaving, and traditional sculpting. This broader approach has pushed us to expand our material vocabulary and to treat flowers as part of a wider design language, rather than the whole story.

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WHAT WAS YOUR REACTION TO HEARING THAT FLEURS DE VILLES WAS COMING TO KEW GARDENS FOR THE FIRST TIME?

It was such an amazing opportunity –  floral design has never been showcased at Kew Gardens before, and being part of that first experience felt really special. For us, as first-time participants, it was a fantastic experience working in such an inspiring and iconic location, and it was wonderful to see our mannequin come to life in such a beautiful setting.

TELL US ABOUT THE CREATIVE PROCESS OF BRINGING THE MOLESLEY MANNEQUIN TO LIFE EN FLEURS?

Mr Molesley set us a very particular challenge. As our first floral mannequin, we wanted him to look realistic while still using materials that speak to who he is as a character. The silhouette mattered: the jacket couldn’t become bulky and stiff, and the trousers needed to fall with those slightly hesitant, lived-in ruffles. We even tailored the jacket and trousers ourselves just to secure the right cut before we began.

We were keen to catch not only his look but his temperament –  that inward, slightly awkward habit of stewing over things. That idea led us to dried green tea leaves as the primary surface. Tea is literally something you stew, and it carries that quiet, domestic, unshowy quality that suits him. We rolled the jacket in green tea leaves to get a subtle, matte, almost over-thought texture, then added the fine detailing with individual petals. To achieve the gentle ruffling in the trousers, we layered lotus leaves almost like papier-mâché until they behaved like cloth.

For us, the success of this piece lies in that kind of thinking beyond conventional blooms, in choosing materials that say something about him, and in giving the same level of attention to every inch of the mannequin, right down to the individual strands of grass that formed his hair. Each detail was handled with the same care that Molesley himself would apply when quietly stewing over how to get something “just so.”

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WHAT IS THE MOST MEANINGFUL ARRANGEMENT YOU HAVE CREATED?

One of our most meaningful creations was the 5-meter-long woven rush tunnel we designed for the 2024 RHS Chelsea Flower Show. This immersive installation was a tribute to the resilience of nature, featuring a blend of British-grown florals that symbolised a fallen tree through growth and renewal. The tunnel invited visitors to walk through a living tapestry of blooms, offering a sensory experience that celebrated both the beauty and fragility of our environment.

We feel particularly fortunate to have had many opportunities to design freely on projects like this, outside the day-to-day briefs of clients. They allow us to explore sculptural ideas fully, experiment with materials, and push the boundaries of what floral design can be. By combining this creative freedom with our commitment to sustainability –  using locally sourced materials and eco-friendly techniques –  we created a piece that was visually striking and deeply meaningful.

WHAT IS THE MOST CHALLENGING ASPECT OF RUNNING A FLORAL BUSINESS?

The biggest challenge is balancing creativity with the practical realities of working with flowers. They’re delicate, seasonal, and ephemeral, so each project requires careful planning and precision. At the same time, we always want to push boundaries and experiment, which means finding ways to innovate while respecting the materials’ natural limitations.

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WHAT'S YOUR FAVOURITE FLOWER-RELATED QUOTE OR SAYING THAT RESONATES WITH YOU?

One of our favorite flower-related sayings is: “Flowers don’t worry about how they’re going to bloom. They just open up and turn toward the light, and that makes them beautiful.” – Jim Carrey

It resonates with us because it reflects how we approach design. We try to let materials guide us, exploring their natural qualities and embracing imperfections, rather than forcing them into something they’re not. 

Like the flowers in the quote, the beauty of a design often comes from responding to what’s in front of us and allowing it to evolve organically.

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DO YOU HAVE ANY UPCOMING FLORAL PROJECTS THAT YOU’RE PARTICULARLY EXCITED FOR?

We have huge plans for 2026, as we’re part of the lead design team for the Rooted in Florals Festival at Hodsock Priory. This immersive event transforms the historic estate into a living story, with each installation responding to the architecture, gardens, and centuries of history. We’re particularly excited to explore how sculptural floral designs can interact with the grandeur of the interiors and the charm of the outdoor spaces, creating a continuous journey through art, nature, and heritage. It’s a rare opportunity to design freely on a large scale, telling stories through flowers while celebrating the timeless beauty of Hodsock.