From LOEWE Flores to London Flower School, Federica Carlini shares her journey to floral artistry in preparation for MADRID BLOOMS.
How did you get started in floral design?
It was kind of by chance. I had moved to Madrid to do a Master's in Business and Sustainable Design at IED, which had nothing to do with flowers. I've always been surrounded by photography, design, and art thanks to my family; my parents are deeply involved in the world of antiques and Italian design. When I started working, I knew nothing about flowers. I was looking for a weekend job to learn Spanish when I came across a magazine I really liked, Kinfolk, and I discovered Elizabeth Blumen's floral studio. It had a very English, slightly decadent style, which was new to me. In Italy, floral design wasn't as developed. I loved the aesthetic of the studio, so I sent an email asking if they needed help. One day, I got a response saying they were looking for staff. She offered me a training course, and I learned the basics with her. During the day, I was doing my master's, and in the afternoons, I was learning about flowers. Then I fell in love with the work, especially the expressive side of flowers, rather than the flowers themselves. I was fascinated by the meanings they had for clients and the artistic side, connected to culture and tradition.
What led you to start teaching?
It all started with LOEWE Flores. Elizabeth Blumen was in charge of opening the store, and she recommended me. I was there for three years, but I was also doing flower markets and working as a freelancer: attending the Flora Festival, doing weddings, editorials... I fell in love with the floral world in Madrid. After that, I started teaching. Since we were located at the entrance of the building, in the store, people would often see us making bouquets and wanted to learn. So, I began offering courses for LOEWE clients, and later for others. That was my first step into teaching. After three or four years, I felt I had experienced everything I could in Madrid. I started looking for work abroad and found London Flower School. When I arrived, I fell in love with the place, and the director offered me a teaching position. It was a wonderful experience because it allowed me to develop my own style.
What is your signature style when designing with flowers?
It depends a bit on the season, as my style has evolved a lot in recent years. Right now, I’d say the choice of materials is very important to me; I don’t mix too many materials, I prefer to select a few. I also place a lot of aesthetic value on each one of them. I tend to create distinct flower groupings so that the essence of each material stands out in the design. Also, shapes and lines play a crucial role. When I do installations, whether large or small, I approach them in a very photographic way. It’s like creating a photograph within a frame, with the arrangement as part of that frame. I always use fruit, vegetables, props, or other materials. I use the floral elements to complement the space. I think a lot about the composition, and if the space around it isn’t right, I find it harder. I need to have a clear story behind it.
“I want there to be a reaction, but not one that’s disruptive; something organic that merges with the surroundings.”
What are your main sources of inspiration?
For a long time, food has been a big inspiration for me. In fact, there were times when I enjoyed arranging with food more than with flowers, but now I’ve gone back to flowers. My source of inspiration is strongly linked to tradition. For example, with weddings, I love looking at what was done in the past. I’m passionate about seeing, historically, what happened in each century with floral art. There are very different aesthetics that change through the ages and are deeply connected to what was happening in society. I draw a lot of inspiration from this. If a project is connected to a place with a historical reference, I research how flowers were used when that place was founded. If I have an industrial location, I try to do something that surpasses the building. You could say my inspiration is more connected to the history of floral art, tradition, and the craftsmanship of each place where I work.
What’s been the most significant lesson in your career?
We all have something creative inside of us. It’s not true that some people are creative and others aren’t. We all have something within us that can be nurtured by both practical and creative means. Some people need more practice to unlock this, while for others, it’s an essential part of them. There are times when I have tons of ideas, and my style develops coherently, but there are also times when I feel like I’m in an arid desert. I’ve learned that, to develop my style and creativity, I need to experiment and give myself time to try things out. I often look at photos of someone whose work I like and try to make it my own. If I see that it works, I keep going. If I don’t take the time to observe the details and try things out, my work won’t evolve.
Are there any emerging trends or innovative techniques that you find particularly exciting?
I don’t think it’s so much the innovative techniques that excite me, but rather the techniques from countries I haven’t visited. For example, the work done with bamboo in Asia, or the work with leaves in Thailand, Indonesia… these are things I don’t know how to do, but I’d love to experiment with them. I need to take courses to learn more. In Japan, for instance, I’d take a course on bamboo structures. What excites me most are the artisanal techniques from traditions in countries far from Europe. There are things that we might not think of as part of floral art, like the technique of basket making, and that’s something I’d love to incorporate into floral art.
What sustainable practices do you incorporate into your daily work as a floral designer?
I don’t use floral foam, which is quite common nowadays. In England, most designers don’t use it. I got so used to not using it that it’s hard for me to go back. My designs rely more on chicken wire or kenzan. Then, on a sustainability level, I’m a big fan of using flowers from local farms, they’re aesthetically beautiful, and there are some incredible farms here in England. I also use seasonal flowers because anything that adds value to sustainability, I think adds value to the work itself. Using seasonal flowers gives more meaning and purpose to the arrangement, and it’s more sustainable. Using chicken wire or kenzan also gives a better aesthetic result. I don’t understand why sustainability isn’t more fashionable, especially from an aesthetic point of view. I believe the final result is of better quality.
What do you want people to feel when they see your work?
It’s quite obvious, but I want them to feel good. I want it to feel something very essential, connected to the beauty we all have inside. I don’t necessarily want what I do to be “pretty” in the most superficial sense of the word; I’m not interested in making something just "pretty". It has to be something that makes an impact. I want there to be a reaction, but not one that’s disruptive, rather something organic that merges with the surroundings, that’s part of the experience the people are living at that moment. I don’t want to create an isolated experience; I want the flowers to complement what’s already happening.
