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A Blooming Business: The Pleasues and Pressures of Floral Designing
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15652 |
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Section : |
LIFE
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| Issue
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2 / 1989 |
3,471 Words |
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Howard Peacock and Anne Garner
Howard Peacock and Anne Garner, of Woodville, Texas, are free-
lance writers who sometimes team up for a special article. |
"One final question. You've answered all the other ones right. But this one's the most important question of your entire job interview. Get it right and you're hired. Get it wrong . . . and I'm sorry."
Dean Georges was speaking to an applicant for a job at a large flower shop at one of the world's most sophisticated and prestigious addresses: One Rockefeller Center, New York City. He's the managing partner of Irene Hays Wadley & Smythe Lemoult (henceforth, IHW&SL), a flower emporium so well established that it doesn't need a catchy name.
The applicant was a young woman who wanted to be a floral designer. Just as easily, the job seeker could have been a retired engineer, a fired corporate manger, a housewife, a prison parolee, a frustrated artist, a person with powerful altruistic motivations, or a whiz-bang entrepreneur planning to make a million. Today, people who want flower-shop jobs and expect to carve out a career in floral designing come from every age group and virtually every economic level of society. For example, Frankie Shelton, a floral design teacher in Houston, Texas, counts among thousands of former students an ex-ruler of Cambodia, an ambitious street urchin, and a Florida operatic soloist. For most of today's students, the job prospects are good, perhaps excellent. But the path isn't easy.
"Ready?" asked Georges of the applicant at IHW&SL. "Here's the big question: If you come to work here, where do you expect to be five years from today?"
The applicant failed the test. After a few moments' thought, she answered,
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