‘Nature is the best teacher’

Widely recognized for his fusion of natural inspiration and refined artistic technique, Ni Zhi Xiang has developed a distinctive floral design language that bridges Eastern aesthetics with contemporary composition. Representing China for the third time at the World Cup, he brings decades of creative evolution to the stage.‘

‘In 1998, I was young and working in a wholesale flower market in Nanjing. While assembling a simple flower basket, a few florists passed by. At a glance they sneered, ‘This is supposed to be floral design? It’s awful.’ Flushing with embarrassment, I kept quiet. Deep inside, I made a silent promise: one day, I would master floral art – and go beyond the judgments of others.’

‘I began searching every bookstore in the city. Eventually, I found a single title: Basic Floral Arrangement. I treated it like gold. After that, I bought everything I could find on design, structure, botany, colour theory of floral design. During the day I worked in a flower shop; at night I studied under a lamp until early morning.’

‘The following year, I entered my first competition – the Nanjing City Floral Design Contest – and won. That gave me the courage to continue. I joined competitions all over China, took courses from World Cup champions like David Denyer and Per Benjamin, and studied space design and three-dimensional composition at Nanjing University of the Arts. That education fundamentally shaped how I see and use form.’

‘Since then, I’ve won the China selection rounds of the World Cup three times and have already stood twice on the world stage. But for me, it was never just about competing. I wanted to build a design language that expresses Eastern aesthetics – deeply rooted in nature, quietly powerful.’

‘In 2011, after coming across the European ‘natural style’, I began to think seriously about how to create something uniquely ours. I travelled through reed marshes, countryside fields, and tropical rainforests, simply watching how plants grow freely. The more I observed, the more I understood nature is the best teacher – it became my philosophy of life.’

‘That insight became the foundation for what I now call the Oriental Natural Style. It consists of five main series – Water, Pastoral, Forest, Rainforest, and Structural – each drawing from different elements of the natural world and the spatial logic. Since its launch in 2013, the system has taught over 30.000 students and reached more than a million followers online.’

‘This year, as I return to the World Cup for the third time, my goal remains simple: if someone, somewhere in the world, remembers my design after seeing it – then that, for me, is the true victory.’

‘It’s always about finding balance’

With a refined sense of structure and a poetic approach to botanical materials, Belgian designer Chantal Post brings a unique voice to contemporary floral art. Her compositions stand out through their architectural clarity, profound respect for nature, and technical excel
lence. With a constant focus on sustainability, she creates evocative works that balance strength with subtlety – each design telling an understated yet powerful story.

‘My designs clearly have an architectural character. I create structures from botanical materials, shaping them into living sculptures, whether temporary or lasting. It’s always about finding balance – between nature’s spontaneity and the precision of lines, between organic freedom and deliberate form. I enjoy crafting pieces that show meticulous attention to detail and demonstrate strong technical expertise. Each composition is unique, harmoniously blending aesthetics with craftsmanship.’

‘I guide the botanical elements without forcing them, exploring their expressive potential while remaining true to their nature. My goal is to reveal both strength and fragility. Essentially with my com
positions I aim to capture the moment, inviting viewers to pause, observe, and quietly contemplate.’

‘My creative approach is both structured and intuitive. Often, a single spark – a texture, image, or plant – triggers inspi
ration. From there, I develop ideas through mental sketches and hands-on experimentation. Materials themselves often guide the direction; even a piece of aged wood or cluster of twigs can spark an entire creation. Precision and finesse remain central throughout this process. My intention is to create unique works where aesthetics meet technique, where plants become a language, and where each structure tells a silent, vibrant story.’

‘I naturally prefer working with raw, organic materials such as branches, bark, and dried foliage, which provide an authentic foundation for my structures. Occasionally, I integrate artificial elements – not to imitate nature, but to add bold contrasts or graphic accents. Sustainability plays a significant role in my approach. Given the investment required, I design pieces that are solid, modular, and reusable, often renting them out multiple times before selling. This practice balances artistry, ethics, and economics, adding lasting value to each creation.’

‘While proud of many past projects, I don’t dwell on them, driven forward by fresh ideas and ambitions. My pride comes from seeing the ongoing evolution of my passion for floral art, each project building on the experience of the last.’

‘Representing Belgium at the World Cup is an extraordinary milestone – particularly since it has been 23 years since our country last participated, and I’m the first woman selected. It’s a long-held dream now becoming reality. I approach the competition meticulously prepared, focusing on technical precision combined with personal artistic sensitivity. By creating pieces that have a soul, I hope my work speaks authentically and powerfully for itself.’

‘Always a dialogue between the concept and the material’

Armenian floral designer Arman Voskanyan brings together floristry, architecture, and philosophy in a conceptual approach to floral art. Known for his dramatic style and sculptural compositions, he works at the intersection of design and contemporary art, using colour and form deliberately and expressively. Through his studio FlowerStory, he crafts floral narratives that speak with artis
tic depth, all while keeping sustainability and authenticity at the core of his creative process.

‘A floral piece should not simply decorate a space – it must become its focal point, a visual metaphor of an emotion, a theme, or an inner state. My work is best described as a synthesis of floristry, architecture, philosophy, and an intuitive sense of form. I move along the edge of design and art, creating expressive spatial compositions that aim to evoke a mood, provoke thought, and resonate deeply. People often describe my style as dramatic, cinematic, and meaningful – and I embrace that.’

‘My inspiration is a dialogue with the world: nature, architecture, light, sound, movement. A piece of music, a moment in memory, or a specific material can all spark a concept. I’m especially sensitive to colour – it is often the first impulse that drives a design. Usually, I see the final image in my mind before even touching a flower. From there, it becomes a process of translating an internal feeling into form, structure, rhythm, colour, tension, and silence. Always a dialogue between the concept and the material.’

‘Now, I’m drawn to bold, vibrating colours that carry emotional charge and shape the atmosphere of the composition. I love sculptural, architectural lines and often build custom frameworks that aren’t hidden but instead serve as visible, expressive components. These forms guide the structure of the work. Sustainability is part of this thinking. It’s not about refusing tools, but about working smart – reusing materials, employing eco-friendly methods, and showing respect for resources. Sustainability, to me, is a mindset.’

‘I take pride in having represented Armenia at the Europa Cup and in South Korea, not only for the challenge but for the chance to speak through my work to a global audience. Being published internationally is meaningful – it tells me that the themes I explore are understood across borders. My studio, FlowerStory, remains the most important part of my career. It’s where we turn personal stories into floral narratives – where floristry, design, and contemporary art meet.’

‘The World Cup is not just a competition – it’s a dialogue of aesthetics, philosophies, and cultures. To be part of this is an honour, a challenge, and a personal milestone. I think conceptually, use colour with purpose, and work through atmos
phere, structure, and story. Minimalism, silence, the unexpected – these are tools, not risks. They are where individuality lives. That is my voice, my pathway.’

Balanced

This large, sustainable arrangement spans nearly a metre in width and is built on a striking base made from the roots of the Davallia fern. These roots dry beautifully, allowing the bowl-shaped structure to be reused time and again. The frame beneath – made from thick aluminium wire – is completely hidden, serving purely as a strong technical support. Long strands of fern root have been woven and layered into an intricate, textured network, adding depth and natural movement. Around 200 water tubes are discreetly embedded throughout the design, making it easy to refresh and reuse each one. Though robust in construction, the overall effect is organic and artistic – a perfect balance of structure and softness.

Floral Pillar

This striking vertical arrangement stands at an impressive 1.8 metres tall and is built upon a modern tulip vase from Ecri Living – a contemporary nod to a classic Dutch form. Inside the vase, a subtle internal structure of three sturdy aluminium wires supports the flowers, which are placed in tubes for hydration and flexibility. The design rises elegantly in a cylindrical shape, with colour accents in the flowers reflecting the tones of the vase itself. Thanks to its modular and reusable construction, this piece is both visually impactful and sustainably designed.

Wrapped

In this design, numerous glass test tubes in varying sizes have been individually wrapped in ultra-thin wood veneer, then joined together to mirror the shape of the gold-toned bowl by Ecri Living. Flowers are inserted directly into water-filled tubes, ensuring hydration without floral foam. The result is a decorative base made entirely from botanical and reusable materials – perfect for sustainable design and versatile for future use across different styles and settings.