How Hamish Powell is conquering the design world with his floral…

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Hamish Powell has made the plant world his medium. The British artist draws inspiration from the transience of nature. Moments catches up with the florist and artist in an exclusive interview.

Technically speaking, Hamish Powell is a florist, although his interdisciplinary creations have also earned him recognition as a sculptor, artist, and designer. The charismatic Brit found his way into this particular field with the same serendipitous intuition that characterises each of his works. “It just happened; I never consciously decided to work in this space. For me, floristry, art, and design naturally overlap,” Powell reveals in a chat with moments. His deep understanding of plant biology, coupled with a sensitive, unmistakable signature style and a continuous presence on social media, have garnered international attention, also catching the eye of fashion houses such as Loewe, Burberry, and Hermès, who are only too happy to adorn themselves with Powell’s floral designs.

Deeply rooted

‘I grew up between three very different places, all of which gave me a different perspective on plants: wild improvisation from Tanzania, where everything grows as it pleases; a sense of discovery and scarcity from the south of France, where everything revolves around olives and wine; and practical thinking among England’s hedgerows and weeds.’

Beyond botany

For me, floristry, art, and design overlap. I don’t see flowers as accessories, but rather as materials that can be taken just as seriously as steel or clay. I also find inspiration outside the plant world – in the form of a rusty pipe, the rhythm of a coastline, or the light streaming through the blinds in the office.

The natural course of things

In the beginning, everything revolved around scale and volume for me – always bigger, heavier, louder. Now, intention and precision are far more important to me. In five years, I would like to expand into other areas such as architecture, and perhaps even fragrance or film. In ten years’ time, I want my work to feel less like a marketing accessory and more like a cultural moment.