Have you ever wondered about the advantages of floristry competitions or thought about entering? We recently interviewed Joseph Massie and Kirsty Noble, the winners of our UK Florist of the Year 2024 and UK Florist of the Year: Newcomer 2024, to bring you their experiences.
Earlier in Feb they were both on the BFA Bloom Room where each competitor shared their thoughts and answered members questions too…. If you missed it, this blog will let in in on a few of their fantastic pieces of advice!
Can you remember what first attracted you to Floristry as a career?
JM: I’d started out working a Saturday job on a local flower stall, when I was 14. After working there for around a year or so, I began to seriously consider it as an option for a career. I feel very fortunate to have found something that I love so much, at such a young age!
KN: I’ve always had a strong creative streak, always making, painting, creating something. I followed that all the way to art school eventually. During my time at university, a lot of my work was inspired by nature—floral and botanical themes kept appearing in my paintings.
I loved the process of creating, but I didn’t always enjoy the paperwork or the constant need to explain my work. As I neared the end of university, I started looking for a hands-on, creative career that allowed me to work with nature and channel my artistic passions. Floristry stood out as the perfect fit.
I’ll never forget my first day as an apprentice at The Floristry School: the atmosphere, the smell of fresh flowers, and the endless creative possibilities immediately captivated me. I was just hooked from that moment on.
What or Who encouraged you to compete for the first time? And can you share what you made?
JM: I’d seen an advert for the BFA Young Florist of the Year in The Florist magazine when I was 16, and figured it sounded rather exciting. I applied by portfolio, made the top five, and then was asked to compete in the national final. I made four pieces of work I think … and it’s probably for the best that there is no photographic evidence of that particular time!
KN: It’s no surprise to anyone who knows me—it was Jo Biddle who first encouraged me to compete. I was still early in my apprenticeship and, honestly, struggling with confidence after being let go from my first job. At that point, I thought I wasn’t good enough, and had made a huge mistake choosing this career.
Jo persuaded me to enter WorldSkills UK, and that competition was a turning point for me. My first piece was for the passive assessment, and I also competed in the regional heat, where I somehow managed to secure a place in the national finals. To my amazement, I won the silver medal.
The very first piece I made for competition was a traditional arrangement in foam, it was a vibrant table centrepiece—a bit of a throwback to much older style, which feels so far removed from what I do now. It’s funny to look back on it and see how much both the industry and my personal style have evolved.
When prepping for a competition as a new competitor, what is the most important thing to remember?
JM:
- Give yourself more time than you think you’ll need.
- Start your preparations way before you need to have them ready.
- Document the process, and the result properly.
- Be brave.
- Don’t be too hard on yourself. We must be very patient and kind to ourselves when we’re trying anything new.
KN: The most important thing I’ve learned during my time in competitions, is to embrace imperfection. I know that sounds contradictory, but for a new competitor especially, aiming for absolute perfection can stifle your creativity and make the process far more stressful. Not to mention is just impossible.
Instead, I try to give myself a little leeway to adapt and respond to what the piece needs as you work on it. That flexibility can lead to a design that’s more innovative and impactful than the rigid version you might have originally envisioned.
I’ve found the judges love originality, and you see that through your ‘idea’ marks. I know that workmanship is a huge part of your marks too, but I think this happens over time, creativity and originality, is uniquely yours, from the very beginning, it deserves to be fully embraced.
Once you had a few competitions under your belt, can you share how your preparation changed or evolved?
JM: I could see how much good preparation made a difference. Seeing how brilliant the other competitors were, and just how fantastic their work could be, made me want to take my own approach to competitions far more seriously.
KN: My preparation process has changed dramatically over time. When I started, I focused mostly on the aesthetic—how the piece looked. I would endlessly sketch my design again and again to get a handle on the end product. But now, I’ve learned to prioritise the mark scheme. Understanding where the most points can be earned has completely shifted how I approach competitions.
For example, I spend more time planning proportion, mechanics, and techniques that maximise marks. It’s all about combining artistry with really good strategy. “Points make prizes” is a cliché, but it’s true—and focusing on where those points are available has been a game-changer.
I know start from the ground up with my parameters given by the scheme, and the idea grows from there, Essentially, trying not to run before I can walk.
You had a recent win at FleurEx in 2024. Can you tell us how preparation helped you to achieve that win?
JM: Frankly, my result wouldn’t have been possible without serious preparation. I began preparing for the competition once we had clarified the schedule, around a month before FleurEx, but then I had to go on a short demonstration tour of Asia (booked way before the competition), so I had to pause preparations, and continued them when I got back home, around five days before the competition. It was a pretty busy few weeks!
KN: Preparation was absolutely critical for my 2024 FleurEx win. Timing was unbelievably perfect because I’d just opened my shop, and I set myself a clear goal to win. I had an unbelievably turbulent year but saw this as the perfect opportunity to showcase what I could do, with that being said, I prepared more than I ever have before.
I reached out to my mentors and trusted colleagues—Jo Biddle, Abby McGuire, Tracey Campbell, and Kerry Booker—and soaked up every bit of advice they could give me. I asked them about everything: Bounce ideas off of them, came up with mechanical solutions, flower choice everything I could.
From there, I spent a lot of time practicing under competition-like conditions, brainstorming ideas, constantly drawing and refining my approach. I learnt my processes inside out so that I. Had the confidence to adapt on the day and push through challenges.
What do you look for first in a schedule, and how do you begin your search for inspiration?
JM: Read the schedule. Read it again. Question the schedule. All of the information you need is (usually) in there – you might just have to dig around for it a bit. Often a schedule will very clearly tell you how to approach the piece – what the judges are really looking for. All you need to do is then give it to them.
KN: As I mentioned previously I’ve now learnt to start with the basics: dimensions, medium, and any restrictions. Once I know the physical parameters, I look for the theme, which is usually where the inspiration begins. I love working with a narrative, and themes often guide me towards a colour palette which directly leans into choice of colours and flowers.
From there, I build my ideas step by step. I often create mood boards, sketches, or colour palettes to visualise how everything ties together. Staying grounded in the practicalities of scale and mechanics from the start ensures my concept is achievable and remains so.
Can you share a tip or advice for what to do in a competition if a design isn’t going your way? How best to deal with that situation and stay positive?
JM: Breathe. Gain clarity. Remove the emotion. Reassess the situation. Find the best solution. Execute.
KN: My biggest piece of advice is to keep moving and keep problem-solving. I talk to myself a lot, sometimes in my head sometimes not, but when something doesn’t work, I have my little inner monologue: “Okay, that didn’t work, but what can I try next?” It’s almost like talking to myself as a friend to stay motivated and figure out solutions. It sounds silly, but it keeps me out of my head and keeps me going.
For example, in one competition, a design toppled over three times in less than two hours. It was unbelievably frustrating, but panicking wasn’t going to fix it. I kept working, adjusted my approach, and eventually made it work. Time doesn’t stop in competitions, so the key is to stay focused, keep moving, and trust your skills.
Competition aids success in business too. Can you explain how you’ve used your successes and knowledge from competitions to help you in your business?
JM: I truly wouldn’t have the business I have today without my competition background. The skills you learn and demonstrate for competitions can take you around the world demonstrating and teaching, and I feel very fortunate to be able to share all of my experiences, skills and knowledge with students online, and around the World, today.
KN: Competing has been invaluable for my business. Firstly, the precision and techniques I’ve learned through competitions—like strong mechanics and attention to detail—are now second nature to me. This ensures that my designs are of the highest quality and last longer for my clients.
Beyond that, competition experience has boosted my confidence and credibility. It’s a fantastic talking point with clients, helping me stand out as a florist who goes above and beyond.
I can speak with absolute confidence in design choices, flower care, and managing expectations, to name a few. This means customers trust me, and I’m slowly building a reputation, of being highly skilled and knowledgable.
Not to mention, the attention it has drawn to the shop. Without the competition I would be a 25 year old girl in a shop by myself. Instead, I can stand there and be seen as a multi national award winning florist, which sounds a hell of a lot more impressive.
What is your favourite thing about competing?
JM: To me, schedules sometimes feel like a cool puzzle to unlock. I like the mental challenge it presents, and I enjoy the process of unlocking it, of creating the most beautiful thing I can imagine. It’s just pleasurable to my mind.
KN: My favourite part of competing is seeing my ideas come to life. There’s something magical about taking a concept you’ve worked on for weeks, and then seeing it fully realised with fresh flowers.
I especially love the moment when a design takes on a life of its own—when it transforms into something even better than you imagined. That feeling of stepping back and thinking, “Yes, this is exactly what I wanted, and it’s come together beautifully,” is incredibly rewarding.
Choosing the correct flowers for a design is so important. How do you remember all that’s on offer? Do you rely on memory, experience, or a system?
JM: This sounds like a cop out of an answer, but at this stage, I just know what I want to use, immediately. When I was younger I’d research different options, but I’ve been competing for twenty years at this point. It’s like seasoning a dish – you know what it needs, because you can just taste it.
KN: It’s a mix for me. I used instagram and Pinterest for ideas and inspiration. I shop direct from holland across multiple suppliers so I’m quickly gaining a good understanding of what’s available. `but I also rely heavily on photos to track varieties I’ve worked with and keep notes of favourites. It’s easier now with digital tools because photos are automatically timestamped, so I can refer back to them easily.
I’m also constantly absorbing new information. I’m early in my career, so I’m always learning what’s available, seasonal, or new on the market. It’s an evolving process, but having a system to record what I discover definitely helps.
How many times do you practice a design before making the final piece?
JM: The answer really depends upon the schedule. For a World Final, many, many times. For the national Final at FleurEx, I practiced my designs once beforehand. You should know the piece step by step, inside out, by the time you come to design it in the competition. Nothing should feel new, nothing should be a risk, and nothing is left to chance. Everything should simply be executed as practiced.
KN: This has changed a lot for me. Early on, I didn’t always have the resources to fully practice designs. Instead, I’d test mechanics or work with similar materials (from the bit bucket) to get a feel for the process.
Recently, I’ve made it a priority to practice properly. For FleurEx 2024, I planned every stage of my designs, practiced timing, and rehearsed mechanics. Writing out the process and refining it step by step gave me the confidence I needed. Even when the flowers themselves vary, as they always do, knowing your process inside out makes all the difference.
If you could pick just one flower to work with for versatility, what would it be and why?
JM: Not a flower, but I’d opt for Aspidistra leaves. If you’re good, you can do a million and one things with an Aspidistra leaf. Sometimes you don’t need anything else!
KN: It’s a tough choice, but I’d say I’m between Chrysanthemums and Roses. Flower shop staples. Chrysanthemums are incredibly versatile—they last ages, come in so many shapes and colours, and can look modern or vintage depending on how you use them.
That said, roses will always hold a special place for me. The variety, fragrance, and timeless appeal make them nearly unbeatable. There’s a reason they’re the most romantic flower in the world—they’re just stunning.
The UK Florist of the Year 2024 and UK Florist of the Year: Newcomer competition heats and finals were sponsored by OASIS® Floral Products.
Joseph is now off to the Florint World Cup in Floral Art in the Netherlands in August 2025 and he is sponsored by Floristmartdirect.
Kirsty has recently opened her first shop!
The BFA wish them both great success for the future.
