'A story always begins with a small idea'

With a refined eye shaped by the traditions of Ikebana, Hiroto Inoue of Japan brings a quiet, contemplative elegance to the world of floral design. His work balances form and emptiness with intention, using authentic Japanese materials and sustainable practices to create arrangements that are both grounded and poetic. Rooted in simplicity and guided by intuition, Hiroto's artistry invites the viewer into a space of subtle beauty and thoughtful expression.

'My work is rooted in the quiet, deliberate discipline of ikebana. Within my ikebana-style flower arrangements, I seek balance and space - between form and emptiness, stillness, and movement. Many of the materials I choose come from Japan. They are authentic and carry with them a sense of place, of history.'

'Inspiration can come from anywhere. Flowers, materials, shapes, interior spaces, et cetera inspire me. An idea begins small - almost invisible at first. A curve. A gap. A gesture. A story always starts with a small idea. I build from there, letting the composition unfold naturally. When a form is right, you can feel it.'

'I choose materials that are readily available. Sustainability is not something separate from design - it is part of the thinking from the beginning. I reduce waste, use eco-friendly Oasis, and avoid excessive packaging. These are simple choices, but they matter.'

'When I think about what I am most proud of, my answer is very simple: being able to participate in the World Cup. That alone is enough.'

'I am very pleased to be able to take part in a competition in Europe, the home of floral design. I have the greatest respect for European floral designers - they are always on the cutting edge.'

'If a designer is enjoying themselves, the flowers will bloom vividly and beautifully. That is the most important thing. The role of the floral designer is not to control the flowers, but to let them be what they are - beautiful.'

'To compete is to share beauty'

Floral artist Rodolfo Casati brings together four generations of horticultural heritage. His concept-driven approach is rooted in biology yet unbound by convention. He transforms unexpected materials and objects into elegant, transparent compositions. Committed to sustainability, Rudy's work encompasses both intimate designs and monumental installations, earning him a reputation as an inventive voice in contemporary floral design.

'I tend not to follow predefined rules or standards. I love to experiment. Still, elegance, naturalness, and transparency often surface as a common thread in my work. Creating something that appears simple - but is never banal - is for me the most difficult and rewarding challenge.'

'I observe everything. Lines, movement, tension ... the energy that gives soul to things. Landscapes - the woods, the mountains, the sea - anything that can fascinate me. That fascination is where I begin. Every design starts from a concept. Expressing an idea, a mental image, through color, materials - botanical or not - awakens curiosity and emotion. That's the goal: to excite myself and the viewer.'

'I have a deep affection for materials with personality. It's not about commercial value; it's about poetry. Sustainability? It's a popular word now, but it's been important to me long before it became a trend. I love giving new life to what others discard - from garden clippings to un expected objects. Some of my favorite materials come straight from my own garden - zero kilometres, full of meaning.'

'There's great satisfaction when creativity flows into large-scale artistic projects and installations. I'm particularly fond of moments from places like Alden Biesen, Oxford, Chaumont-sur-Loire, Venaria Reale in Turin, Huis Ten Bosch, Myplant in Milan, and the schools - Minoprio, where I now teach, and Vea, Sikastone in China. Each of these has given me something unique.'

'Floral design is more than a profession; it's in my blood. I was born into a family of florists, gardeners, and horticulturists - four generations deep. I always knew what I wanted. After studying at the Minoprio School, and later Biology, I immersed myself in our family business while teaching, designing, and traveling. Whether I'm working with Sanremo Italian Style, at festivals, classrooms, or expos in Russia, Japan, or China, my focus stays the same: passion, emotion, structure, and soul.'

'The World Cup is a powerful opportunity to test myself. I'm no longer the youngest, but that doesn't matter. To compete is to share beauty. And in a world that has perhaps forgotten how to marvel at the simple things - like a flower - that beauty becomes even more essential. That's how I want to stand out. Not with tricks or spectacle, but by creating moments of true emotion.'

'Maybe my strongest quality is thinking outside the box'

Inventive and expressive, Gábor Nagy from Hungary brings a fearless, experimental approach to floral design. With roots in fine art, he blends structure, bold color, and unconventional materials into fresh, surprising compositions. His work is characterized by creative thinking, technical awareness, and a deep sensitivity to sustainability - both in competitions and in the day-to-day reality of running a flower shop.

'I like to describe my signature style as bold and experimental. I'm always curious about using unusual materials or taking familiar ones and finding a completely new way to work with them. Colour plays an important role for me too - there's something exciting about creating with vibrant combinations. I think what really defines my approach is how I blend my fine arts background with floristry, trying to push boundaries and develop something that feels fresh and different.'

'Inspiration comes from everywhere - fashion, art, music, dance, architecture - but nature remains my greatest source. Sometimes it's just a shape, a rhythm, or a detail in a plant that catches my attention. I tend to store ideas in my head, often combining two or three influences, and when the right moment comes, I try to bring them to life.'

'My preferences shift often, so I can't really name just one material or flower. I'm drawn to things that are a bit unusual or unexpected. Pot plants are something I especially enjoy working with. I also pay close attention to sustainability in everything I do. I try to make my work as natural and eco-friendly as possible, not only in my creative projects but also in the daily operations of our flower shop.'

'There are a few moments I'm particularly proud of - winning Eurofleurs in 2017 and placing second at the European Cup in 2022. But it's not only about competitions. I've had the chance to lead a lot of workshops and demonstrations in recent years that left me with strong memories and a real sense of connection. Those experiences have shaped me just as much.'

'It feels great to represent Hungary at the World Cup. I've really missed the atmos phere of international competition, so I'm looking forward to the whole experience - being there, creating under pressure, and seeing how others approach the same challenge.'

'My aim is always to be creative, to bring something special, something unexpected. Maybe my strongest quality is thinking outside the box - and just being myself. That's what I plan to do: show up with my signature style, stay authentic, and let the work speak. I'll see what happens.'

'My only competition is myself'

Renowned for his original design vocabulary and thoughtful engagement with botanical materials, Joseph Massie represents the United Kingdom with a voice that is both distinctly personal and universally resonant. Joseph combines artistic insight with a strong educational mission. Through platforms like Flower Class and his international presence as a teacher, writer, and podcaster, he inspires a global community while remaining grounded in a deeply personal creative practice.

'I'd like to think my style is either classic or contemporary, but always authentic to my own voice. Whether I'm commissioned to create permanent sculptures or installations, or maybe you find me demonstrating or teaching a workshop - regardless of where I am in the world or the creative discipline - I always want to give an expression of creativity that feels true to me. I wouldn't want to live life any other way.'

' I've found my most fruitful quotidian path to be the one in which I follow my own curiosity - a practice of engaging with life, of harnessing the beauty of botanical materials in the way that feels most authentic to me. To dive into one's curiosity is something I wish every florist would have the time and space to do. It may, on the surface, sound a little self-indulgent, but I've found it immeasurably rewarding. It gives you a trove of inspi ration that no other can read - a wealth - and a foun dation that is just yours.'

'In approaching the competition tasks, I've worked fastidiously through this approach. What excites me the most? Where do I find the greatest connection to the work? How can I create something entirely sui generis - a tessellation in which all my ideas, indulgences, and influences converge?'

'I've always found it more rewarding to be the author of your own design vocabulary, rather than chasing trends. Trends are fleeting. Sustainability, on the other hand, is vital. It's an essential part of my practice, and I think it should be in everyone's work.'

'When people ask me what it is I do, I always come up short. If I had to say, I'm an artist, an educator, a writer, and yes, a podcaster. Through my platform Flower Class, we've built a truly global learning community, and that feels incredibly meaningful.'
'I am so thrilled to be competing in the World Cup Floral Art. It is a huge honor to represent the United Kingdom. I'm looking forward to meeting all of my fellow competitors, but truly - my only competition is myself. I'll keep my head down, and my eyes firmly on the prize. I simply want to create the best six floral designs I possibly can.'

'Nature doesn't run out of ideas'

Inspired by the beauty of nature, Christopher Ernst combines expressive floral design with an eye for structure, contrast, and emotion. His work is distinguished by layered transparency, refined details, and sensitivity - all with the aim of captivating the viewer. As a former German champion in flower arranging, he approaches each creation with technical finesse and artistic depth, making his mark on the international floral world through both innovation and authenticity.

'Organic, vibrant, full of contrasts - that's how I'd describe my style. Nature is my starting point, always. There's something captivating about the tension between structure and lightness, between wild and precise. That duality finds its way into almost everything I create. I pay close attention to aesthetic clarity, to detail, and to how a design breathes. I want people to feel something when they look at my work - whether it's poetic stillness or raw intensity.'

'Nature doesn't run out of ideas. A twisted tree shaped by the wind, shadows moving across a field, forgotten corners of a forest - these moments often trigger something in me. But I also find impulses in architecture, in art, or through everyday impressions. Often, ideas just come spontaneously. I grab them as they appear - sketch them, photograph them, jot things down - and then gradually translate them into design concepts.'

'I'm especially drawn to expressive flowers - Gloriosa, Heliconia, Clematis - they offer structure, uniqueness, and a kind of dramatic character that I enjoy working with. What I love most is having the freedom to create with plant materials. I explore transparency, layering, and organic shapes. Sustainability is something I always try to integrate. I go for long-lasting, natural materials, and I use regional products where I can.'

'Whether it's a wedding, a funeral, or a large-scale commission, it's all about evoking something honest and emotional. I strive to truly touch people with my floral design. Winning the title of German Florist Champion was an important step. Since then, competitions have become an important part of my path, and the preparation for the World Cup has been one of the most intense and meaningful phases. It's pushed me creatively and personally.'

'This event is both an honor and a challenge. Standing among the world's best floral designers is a surreal and inspiring prospect. I don't think about 'winning' in the traditional sense - for me, success here means connecting with the audience and colleagues, sharing my vision, and presenting something truly personal on an international stage.'

'What sets me apart? Probably the emotional clarity in my work. I can fully concentrate in a competition environment - as if I were entering a tunnel where only the design exists. That concentration, love for detail and my curiosity to push boundaries determines my approach. I want to touch people - and if I succeed, then I've done something right.'

'Small imperfections often carry the deepest beauty'

Renowned for the diversity of his work, Frédéric Dupré brings a distinctive perspective shaped by a background in landscaping, horticulture, and decades of hands-on floral design. As a teacher, theorist, and master florist, he combines craftsmanship with a poetic appreciation for imperfection.

'It's always difficult for me to describe my own style precisely. What I aim for in a composition is first a sense of geometry or architectural structure. I focus on con trolling the construction - whether it's the base, the container, or the support - and then I allow more freedom and spontaneity in the floral part. It's a kind of marriage between two contrasting characters. I pay close attention to texture and detail, using them to surprise, to highlight the organic line of a flower or the expression of a plant. In the end, I want the work to show how beautiful nature really is. People often say I'm more of a theorist now, someone who teaches through proportion, balance, repetition - passing on a system as much as a style.'

'Inspiration comes from everywhere, really. I believe the mind is a muscle - like a sponge - that needs regular exercise. I observe, scan, record, and store. When I need an idea, it usually comes very quickly. Nature, of course, remains essential. I try to keep a sense of childlike wonder and to accept that small imperfections often carry the deepest beauty. Experimentation is important too. It challenges routine and stimulates the evolution of the craft.'

'I'm not limited by materials. I like almost everything - flowers, foliage, botanical elements - whatever suits the idea. My social media reflects how varied my choices are. That flexibility is also practical for my teaching work around the world. More and more, though, I'm drawn to natural and biodegradable materials - vines, grasses, dried leaves, even soil and stone. It's a kind of Wabi Sabi aesthetic, but always filtered through my personality. That's probably why people say my work is hard to define, and that's why the result is like a chimera.'

'I'm not proud of just one project. All the experiences along the way have shaped me, helped me understand myself and develop my point of view. I'm a florist, yes, but at heart, I'm still a gardener. My background in landscaping and growing continues to influence how I think.'
'Returning to the World Cup ten years after Berlin is about more than competition. I'm here to share what I've learned, to support a younger team, and to pass something on. I don't see rivals anymore - only colleagues with a shared mission: to show how rich, complex, and valuable our profession truly is.'