Elisa Benchetrit, founder of Blumen, has created a unique space in Paris where floral design meets ceramic art. Drawing inspiration from the city’s culture and her commitment to sustainability, Elisa crafts pieces that are both innovative and deeply connected to their surroundings. In this interview, she shares the journey of Blumen, her creative process and what the future holds for her multidisciplinary studio.
hube: Blumen is a multidisciplinary studio combining floral design and ceramic creations. What inspired you to blend these two artistic mediums, and how has this combination evolved since you founded the studio in 2019?
Elisa Benchetrit: When I founded Blumen, I aimed to integrate my various artistic practices, envisioning Blumen as a multidisciplinary studio, with a stronger emphasis on the floral aspect. Initially, I focused on creating ceramic pieces that complemented the floral arrangements, starting mainly with vases. Gradually, I expanded my creations to include a variety of objects such as teapots, plates, candleholders, and anything else that sparked my inspiration. I experimented with shapes and glazing techniques, realising that I cherished the uniqueness of each piece, whether in floral arrangements or ceramics.
After several years of experimentation, I believe I have truly found my style and universe, allowing me to seamlessly link the two practices. For instance, I now have a catalogue of vases that I offer to clients alongside their floral arrangements and installations. I also incorporate ceramics into some of the scenography I create for events or photo shoots, such as a recent window display at Galeries Lafayette in Paris, where I crafted ceramic sculptures as part of a floral installation.
h: Your work often reflects a deep connection to Paris and its culture. How do your surroundings in Paris influence your designs, and are there specific aspects of Parisian culture that you aim to capture in your creations?
EB: I draw a great deal of inspiration from my surroundings. I take many film photographs, particularly of buildings and architecture, and although it’s difficult to articulate, these elements have always inspired me. While I may not deliberately seek to capture specific aspects of Paris in my creations, I am undoubtedly influenced by my environment, the people I encounter, fashion, and cinema – all of which serve as significant sources of inspiration for me. I also have a special connection with food and gastronomy, which has increasingly influenced my artistic research, particularly in the ceramics aspect of the studio. I’m currently working on a major project involving plates and food, but it’s a secret for now, so I can’t reveal much more.
h: Blumen emphasises using local and seasonal flowers. What is your approach to sustainability in both your floral designs and ceramic creations? How do you source your materials, and what challenges do you face in maintaining sustainable practices?
EB: When I became a florist, I was struck by how polluting the industry can be, particularly in terms of packaging (mainly plastic), carbon footprint (with some flowers travelling across the globe before reaching the flower market in France), and the extensive use of pesticides.
Sustainability is a crucial aspect of my work as a floral designer, and I strive to use local and seasonal flowers whenever possible. On average, 70% of my floral arrangements are composed of local and seasonal flowers. During winter, it becomes more challenging due to the limited availability of flowers in the Paris region, so I source flowers from southern France or Italy. The most important thing for me is to work in a reasoned way, avoiding greenwashing, and making false claims about exclusively using local flowers. Whenever feasible, I do use local flowers and try to explain to my clients that it’s possible to substitute out-of-season flowers with alternatives.
However, this can be difficult when a client requests a specific flower for a winter campaign in the middle of summer, for example. I am fortunate to have access to a flower field next to the studio, known as Le Paysan Urbain, where I can cut my own flowers. It’s one of my favourite places in Paris.
As for ceramics, the process is somewhat different. Clay that has dried too much can be recycled as long as it hasn’t been fired, resulting in far less waste compared to flowers. However, care must be taken with glazes, some of which are harmful to both health and the environment. For this reason, we avoid pouring glazes directly down the sink and instead use recycling buckets.
h: Your background spans art, music, fashion, and advertising. How have these diverse experiences influenced your approach to floral and ceramic design? Are there specific skills or insights from these fields that you find particularly valuable?
EB: I have always been sensitive to different forms of art and creation, which has undoubtedly influenced me. I’ve always known that I wanted to create in some way. Every professional experience I’ve had has contributed to what I’ve become today. For example, when I worked as a visual merchandiser, I was responsible for finding various suppliers for events and product launches. It was in Berlin that I first approached floral designers, and these encounters planted the seed of the idea in my mind.
In the music industry, I observed people constructing sets and artists creating entire universes, which fascinated me. It made me realise that I wanted to create sets too. I believe every professional experience I’ve had has been valuable for Blumen, and although my background may be somewhat unconventional, I’m proud of it because I draw heavily from all these different experiences.
h: Your ceramic pieces are often designed to complement your floral arrangements. How do you approach the design process for these unique objects, and what innovations are you currently exploring in your ceramic work?
EB: My design process is quite instinctive. Sometimes, I’m inspired by the shape of a flower, a plant, or even a garment, which then leads me to experiment with clay and glazes. Currently, I’m learning to create my own colours (i.e. my own glazes) and am working on my first solo exhibition, which is expected to take place at the end of the year. It’s a fascinating journey, and I’ve come to realise that learning ceramics is an endless process—there’s always something new to discover, and you can never be completely in control of the creative process.
h: What are your daily sources of inspiration for your designs? Are there particular routines or practices you follow to keep your creativity flowing?
EB: My inspirations are numerous and varied, including cinema, theatre, people I meet, and certain fashion houses, such as Loewe, recently. Conversations, music, and the people around me also play a significant role in sparking my creativity.
Music is a particularly important part of my routine. When I arrive at the studio, the first thing I do is turn on my speaker and listen to either the radio (NTS is my favourite), my random playlist (which includes plenty of embarrassing music and, of course, R&B), or podcasts on various topics. Music has always been a companion to my imagination and creativity. I rarely find myself not listening to music. For certain ceramic pieces, I can even recall the specific album or podcast I was listening to while creating them. Recently, I’ve been inspired by André 3000’s new album, which I’ve been listening to a lot in the studio while working on different plates. Exercise also plays a crucial role in keeping my creativity flowing. I suppose that’s just one of the realities of being in your thirties.
h: Looking ahead, what are your long-term goals for Blumen? Are there any new mediums or markets you are interested in exploring, and how do you envision the future of your studio?EB: I would like to integrate ceramics and floral design further in my practice, with an increased focus on the artistic dimension. I’m interested in working on larger set design projects that incorporate both mediums. Ideally, I’d like to work in cinema or on large-scale video clip sets and expand my work internationally. Additionally, I’m keen to collaborate with a variety of talents and artists on different exhibition projects.
Photography courtesy of ELISA BENCHETRIT
