Louise Worner: The tranquil beauty of Ikebana



From the Ministry of Defense to Ikebana artist, Louise Worner reflects on her artistic journey leading up to her participation in MADRID BLOOMS.

Could you tell us a little about how you started in the world of floral design? What was your first project?

Well I consider myself an Ikebana artist more than a floral artist. I started studying Ikebana 25 years ago as just a hobby, whilst I was living in Japan. Previously I was working at the Ministry of Defense in Australia. In Japan, I was awarded my Sogetsu Ikebana Teacher’s Certificate. Since then, Ikebana has transformed my life. Ikebana is a level of being humble that reflects Japanese culture. I usually have people contact me, instead of promoting myself. I’m not very commercial, I think that there is a balance between marketing and overmarketing. 

Are there any specific themes, colours or elements that you are drawn to repeatedly in your work?

I have had the opportunity to live in different places around the world. I’ve realised that my style has been very influenced by the Ikebana artist from the city that I was living in. When I moved to Madrid, it was hard to come by, so I started working with non-floral materials, like recycled materials and plastic. It was very fun. When you have restrictions, it is when you can get the most creative. The situation I lived in had an impact on me and my creative process. I remember moving to Brussels and it was winter going through spring, and I could go to the fields and choose the flowers. The season would dictate what I would use. Now that it’s winter, there are no flowers but that’s enabled me to be more creative. Ikebana teaches you to be creative with nothing, to learn to use space. It’s a parallel of life really, it’s like saying that I don’t need excesses to express myself and to be creative. In Ikebana, we make the most out of nothing.

Who or what are your main sources of inspiration in the world of floral design?

For Ikebana, I am inspired by Tetsunori Kawana and Tory Watarai. 

Are there other artists or designers, not necessarily in the floral industry, who inspire your work?

The greatest inspiration for me comes from nature, it changes with the season. Each flower is different from the other. In Ikebana, the imperfect flower is much more beautiful than the perfect one. This is a key difference between floral design and Ikebana. Sometimes I prefer to leave the flower on the branch. But speaking of artists and designers who inspire me daily, I have many: Makoto Azuma, Hideyuki Niwa, Yuji Kobayashi…

What has been the most significant learning experience in your career as a floral designer?

To be flexible enough to change. And also to learn to say no. When you start you think you need to please everybody but it’s not like that. You have to have the courage to say no, so that something better comes along. 

"Ikebana is very personal, it’s an homage to nature. It’s not about speed, but the process is important". 

Could you highlight one of your favourite floral design projects and what made it special to you? What was your last project?

It’s very hard. I love all of my projects. They are all enjoyable. The most recent one is in Philadelphia, in the US, where I gave demonstrations for Ikebana teachers- teachers of high level. It was wonderful teaching and having the opportunity to meet so many people. To connect with local growers and share our approaches. Currently I am working on a new project- a group installation for WinterFloridylle at the Botanical Gardens in Meise, Belgium. As a member of the Sogetsu Azalea Study Group, Sogetsu Ikebana artists from around Belgium.

Is there an event or client that stands out in your memory as especially rewarding?

One of the most rewarding projects of my career is the book I have published called “My First Ikebana”, a book about educating children about Ikebana. Last year I was approached by a Belgian publisher, and they asked me to write a book about this. I was really eager to do it since Ikebana is also facing issues regarding the current ageing population. We need to coach younger generations about Ikebana. In the book, there are both complex and simple arrangements, many of them suitable even for 5 year-olds. Releasing this book changed my professional career. It’s a huge acknowledgement. And it’s a nice legacy for the world of Ikebana.

Are there any emerging trends or innovative techniques that you find especially exciting?

In Ikebana, it’s not about new technologies, it’s about creativity. What you give to the arrangement is already unique and innovative. Lately I have been using onion skins for my projects. They are my favourite thing to use. I love finding new approaches to flowers.

What specific sustainable practices do you incorporate into your daily work as a floral designer?

I always say that Ikebana is the original sustainable floristry. Sustainability is part of what we do, it’s not new. Part of the approach is using seasonal materials and flowers. Look at gardens and fields and find inspiration there. 

When people experience your floral designs, what message or emotion do you hope they take away?

Sometimes it’s not necessarily about what other people experience of your design. Ikebana is very personal, it’s an homage to nature. It’s not about speed, but the process is important. The connection with nature… It’s an intimate conversation with myself and nature. You have to listen to your materials. I don’t put my ego onto the flowers. If anything, I hope that viewers see beauty in the simplicity of my designs.

@louise_worner | louiseworner.com

Louise is one of the designers at MADRID BLOOMS on the 20th of February 2024.