Now in its eighth edition, Festival Flora continues to surprise. The format remains the same each year, but the exhibitors and their works change, as does the parallel program, which, always within the botanical universe, brings together different disciplines.
The festival takes place every October in Córdoba, Spain, a city that breathes floral tradition through its balconies and courtyards, creating the perfect setting for this encounter dedicated to contemporary floral art.
Organized by Zizai Cultura with the support of the Córdoba City Council (among others), the festival provides the resources necessary for a large-scale event. Thanks to this support, floral artists can develop large installations with generous budgets and creative freedom. It’s not very common for florists to work outside commercial commissions, except when we seek to develop personal projects. And Flora offers that exceptional space where working with flowers becomes an artistic expression open to the public, in direct dialogue with the surroundings and with emotion.
It is clear that the city, through the festival, aims to activate tourism and position itself as an international reference—a goal achieved with the presence of visitors and audiences mostly from Spain, I would say, but also drawing interest from different parts of the world, especially considering the event’s online reach.
You can find more knowledge here: Come to The Faery Tale Castle at the Strawberry Hill House Flower Festival 2025
A Different Kind of Festival
Why does Flora stand out among other fairs and exhibitions, consolidating itself as a true showcase of contemporary floral art?
First, because it’s not focused on commercial exchange (in fact, admission is free), but on artistic creation. And mainly because the organization carefully selects its exhibitors: renowned florists who develop a site-specific work in an assigned patio.
Previous editions have featured names such as Mary Lennox (Australia), Tadao Cern (Lithuania), This Humid House (Singapore), Cordero Atelier (Spain), and Tableau (Denmark), among others.
The level of the works is consistently high, both for the scale of the installations and the uniqueness and craftsmanship of each artist. These interact with the space, vary in dimensions, and, as a reference, often exceed seven meters in height or width, using large amounts of both mechanical and botanical material.
The structures may include scaffolding, metal mesh, or various types of panels, sometimes intentionally left visible as an integral part of the artwork.
The festival also includes an open call called Patio Talento, which offers collectives and emerging creators the opportunity to present their work under the same conditions—a valuable space for diversity and visibility.
In parallel, Flora functions as a competition: the five installations compete for first and second place, attractive both in recognition and as an economic incentive. Although I’m personally not entirely enthusiastic about putting colleagues in competition—while I do value the collaborative spirit among peers—I understand that it can be an important motivation, even for the most experienced (and we know that being a florist is not always easy or glamorous).
Ultimately, visiting Festival Flora means stepping into a world where art, community, and nature bloom together—an experience that inspires and reminds us why we love working with flowers.
My Personal Experience – Beyond the Flower
While the installations and side events can be admired through social media, experiencing it in person is completely different—and much more intimate than it seems. Walking through the patios, breathing in the scents, observing the scale and the details as the doors open to the public after the setup days, and—as in my case—being able to speak directly with the creative teams and the organizers, is deeply enriching.
I’m Chilean, and this year I crossed hemispheres and seasons to discover, first of all, Córdoba’s captivating traditions: its Andalusian cuisine, its streets full of history, its cultural blend.
Córdoba is known for its deep-rooted floral and botanical identity, visible in its UNESCO-listed patios and in festivals such as Los Patios or Fiesta de las Cruces, which for centuries have intertwined nature, art, and everyday life. Hence, its nickname is “city-garden,” where the famous patios of Córdoba refresh the air and fill daily life with vitality.
All of this speaks of tradition, but when it intertwines with contemporary proposals, it creates a renewed and distinctive experience of tourism and public art—a different way of appreciating flowers as art. For a traveler coming from afar, and considering the point I’m at in my career—closely linked to installation-based floral art—it was an essential destination.
What moved me the most, however, was getting closer to the working teams. Each invited artist can bring up to two team members, and they are joined by three Spanish assistants previously selected. That’s where the magic happens: a cultural exchange among people united by the same passion. Over four intense days, everyone collaborates to build monumental installations, facing physical, technical, and emotional challenges.
Some teams faced unforeseen difficulties; others, with simpler structures, managed to finish ahead of schedule; others worked calmly, trusting their process. Meeting those who were literally “hands-on” made me reflect on how much florists share, no matter where we come from. The challenges, exhaustion, and pressure to meet high standards are universal—but so are empathy, teamwork, and humility, qualities that could be felt in every conversation. I received greetings, smiles, and warm gestures that I still treasure.
On Current Trends and the Future
This edition stood out for its use of fewer flowers and a greater presence of organic materials. I assume this stems partly from practical considerations—keeping the installations in good condition throughout the exhibition—but also from a broader creative decision.
Dried, organic, and botanical materials have gained strength in recent years, not only for their structural capacity but also for the tactile and emotional language they bring, shaping forms and volumes in a unique way—and perhaps as a way to reconnect with our senses in an era dominated by the digital.
It is also true that materials such as esparto grass, seeds, corn husk fibers, wheat spikes, coligües, collected branches, or ornamental grasses (some used by the artists) are linked to the sustainable movement, a concept that has been gaining ground in floral practice. It’s about reusing, making the most of resources, and respecting the nature that gives us so much, without harming it excessively.
Even so, sustainable or dried-looking materials were prioritized over color, and I found myself missing more vibrant tones that could contrast with the patio´s architecture—something that past editions had explored beautifully.
The proposal that struck me most personally was Wagner Kreusch’s, which indeed turned out to be the winning installation. His work impressed me for its intelligent use of space, the expressive bamboo forms—very much in the artist’s ikebana style—and water as an interactive element that invited visitors to follow channels connecting the entire piece: the patio, the movement, and the spectator.
Other elements also caught my attention as creative “ingredients” within the works, such as Rosandich Design’s (formerly Putnam Flowers) hand-dyed natural fibers and Ikefrana’s biomaterials made from orange peels.
On the other hand, the conceptual theme “Future,” proposed by the festival as the central thread, didn’t feel entirely strong in its visual translation. Although each artist interpreted the theme in their own way, the result wasn’t always reflected in the installations: works like those of La Musa de las Flores and Paula Anta sometimes showed a certain distance between material and concept. The conceptual depth was there, but not always legible to the viewer.
In that sense, the thematic statement seemed to fall short of opening a broader debate on how the plant kingdom could serve as a new refuge or a possible solution to the future we face.
In the end, beyond the creative proposals, the patios, or even the chosen theme, what I value most is the human dimension of the festival. Flowers are a universal language that connects us, opens sincere conversations, and awakens deep emotions. Those of us who work with them know they are symbols, metaphors, and feelings—and at Flora, all of that is magnified.
I look forward to the next edition with curiosity, and although I understand there are logistical and legal reasons, it would be wonderful if the inclusion of international assistants were resumed, as it would undoubtedly enrich the cultural and human exchange even more.
Practical Tips for Future Visitors
If you’re thinking of experiencing the festival next year, here are a few tips:
• Although it’s autumn in Spain, Córdoba can be quite hot: bring light and comfortable clothing. Sometimes it rains lightly, but nothing a small umbrella can’t handle.
• Plan at least two days to explore the festival—or better yet, four—to enjoy it calmly and take in the city’s cultural richness.
• Everything is within walking distance: the patios and main tourist attractions are close to one another.
• Book your accommodation and activities in advance, especially the workshops led by guest artists, which sell out quickly once announced.
By Daniela Fabres @danielafabres_
