Q & A: Gregor Lersch
An exclusive interview with master florist and international icon Gregor Lersch.
Back to storiesA memorable meeting
In November, we had the pleasure of meeting Gregor Lersch during the first module of the International Master Florist Education at the Boerma Instituut. When we arrived, students were hard at work crafting intricate frame elements for upcoming assignments. The impressive works-in-progress piqued our curiosity about their final designs! Behind the scenes, we spotted Marginpar flowers, ready to be incorporated into the lessons ahead. Settling into the cozy Café de Mijnen, located within the Boerma Instituut, we sat down for an inspiring conversation with the internationally acclaimed master florist, Gregor Lersch.
”I don't want to be just the modern Gregor, the teacher, I also want to highlight traditions and the sweeter, more romantic eras.
Gregor Lersch
Gregor Lersch is a celebrated master florist, educator, and author. Growing up among flowers at his parents’ nursery, he later honed his craft at the Bonn Master’s School. After winning the Europa Cup in 1978 in Rome, Gregor began sharing his expertise as a teacher, quickly gaining international recognition. Today, he travels the globe, conducting training sessions and demonstrations. Among his published works are 'Principles of Floral Design' and several volumes of 'Floral Craftsmanship'.
10 questions for Gregor Lersch
What makes the International Master Florist (IMF) Program unique?
The program is condensed into a shorter time frame, but that doesn’t mean it’s any less intensive. I like to show practical examples and demonstrate them to create a balance between practice and theory, which I find very important. The participants come from all over the world. We cannot simply present our European rules and say, "this is it." We also need to understand what is happening beyond our borders. I feel that this international perspective is very much present here, which is extraordinary! Where else in the world is it as international as in Aalsmeer? It’s also ideal to work with all of the beautiful products available here in Aalsmeer. I just came from Brazil; the flowers there are beautiful, but they don’t have the delicate varieties found here. This international character makes it particularly interesting. People also learn from each other. Tolerance is essential—it’s not about "how we do it at home is the best"; it’s very diverse here.
What are the requirements for participants to join?
The process is very careful and precise. Participants need to have completed a formal education, a follow-up vocational training, and another advanced programme after that. They (The Boerma Instituut) receive many applications from people who think they can simply "pick up a master’s certificate," but it’s really not that simple. It must be thoroughly tested and proven whether they are ready for this programme. This includes botanical knowledge and craftsmanship. The master’s programme is the final and highest level of training. There isn’t a “doctoral program” for florists, and there shouldn’t be, but it’s certainly not something you can achieve easily. I'm convinced of that.
What changes do students undergo during the program?
It varies greatly. Sometimes you have people with a strong reputation who come here to affirm their skills. Or you have people starting at such a challenging level that you wonder if they’ll make it. But when they return for the second module, they’ve learned and achieved so much between the first and second blocks that they experience tremendous growth. I don’t say, "we do such a great job that they improve because of us"; no, these people develop themselves. They find their own motivation.
Which three components are always part of your lessons?
Simply put: that you're able to develop emotions through floral art and are able to sell it. The most important thing is that your craftsmanship is well-developed, that you can work skillfully with your hands. And thirdly, you need a solid theoretical background, much like an architect who studies both mathematics and design. So: Methodology, Craftsmanship, and Emotion (& Culture).
How would you describe your personal style?
Looking ahead, serving the present and future. But I also enjoy looking back. I value a connection to nature, tradition, occasions, and romantic eras. I don’t want to be just the modern Gregor, the teacher, but also someone who highlights traditions and sweeter, more romantic times. I come from a period when things were truly fashionable—trends. Now, it’s an eclectic time; many styles coexist. As long as it’s plant-based, I’m in. What I see happening now in the Netherlands, and it’s growing, is the use of artificial flowers. I absolutely refuse to embrace that. If this trend becomes even stronger, I’ll stop. I cannot work with it.
Why not?
We worry about so many things these days, about issues that harm our planet. And yet we’re so tolerant of this. There are thousands of artificial flowers on the market, at auctions. Are we to believe they have no environmental impact? I find that hard to imagine. One day, those artificial flowers will end up in the rubbish; they’ll degrade, and all those tiny plastic particles will enter our bodies. No, I’m convinced that’s not the right path to take.
”One day, those artificial flowers will end up in the rubbish; they’ll degrade, and all those tiny plastic particles will enter our bodies. No, I’m convinced that’s not the right path to take.
Which current developments excite you?
That people of all ages are eager to enter the profession. Wonderful. I walk in and see people with flushed faces and sparkling eyes saying, “Now I can learn something; I’m in the right place now.”
What inspires you?
Architecture has always been a strong source of inspiration for me. Our son is an architect and can do what I’ve dreamed of for years. I’ve written various books about inspiration. I’m inspired by so many things: craftsmanship, design, plant-based materials, and everything that comes from cultures—countries, religions, occupational culture. I enjoy being in the kitchen of a friend of mine, one of Germany’s best chefs. His plates inspire me. I could become a welder or a sculptor. All forms of design inspire me. I’ve always sought to do things differently from what already exists. That brings you to new places and gives you influence. If you’re content to stick with what’s already there, you’ll stay there too. I found it important to become a true individualist and step out of my comfort zone. Inspiration is everywhere.
”I’m inspired by so many things: craftsmanship, design, plant-based materials, and everything that comes from cultures—countries, religions, occupational culture.
Which profession would you choose if you weren’t a master florist?
Woodwork, metalwork. As a young boy, I acted in theatre at school. I love communication—giving a performance. I enjoy telling a story and conveying a feeling to others. As long as I don’t have to do the same thing every day, I’m happy.
Are there still things that surprise you?
No, I observe what’s happening in society and politics. I’m genuinely interested, also in what’s happening in other countries. Thanks to the internet, you can access everything instantly. It’s much more accessible than it used to be. In Germany, young people talk about work/life balance; in the Netherlands, that conversation started five years earlier. I also see changes in how people consume flowers, it’s happening in a different way. Floral art is becoming more personal. It comes from individuals; they do it in small groups. And I notice a strong trend towards selling flowers and plants in concept stores. Thankfully, there are still many people who want to learn this craft for themselves. My generation learned everything: garden design, funeral work, flower arrangements. Now, it’s much more specialised. Many businesses that “do a bit of everything” don’t have enough work. They should specialise more.
What do you think of Marginpar?
At the moment, you’re absolutely on the right track. Everything sensitive and graceful in flowers, you have that; everything that touches the softness of life. But what about ten years from now? When a new trend emerges? It’s not just about what we do today; there are people here who still have an entire floral career ahead of them. That’s why I must think about the future too.
Discover the International Master Florist Education (IMF)
IMF Education
The IMF Education is taught by master florist Gregor Lersch and is offered by the Boerma Instituut. This intensive 24-day course is designed for experienced florists who wish to elevate their skills to the highest level. The IMF Education consists of two 10-day modules. The training concludes with an exhibition of examination works and demonstrations. Upon successful completion of the exam, participants receive the prestigious IMF diploma.
Boerma Instituut
The Boerma Instituut is a family business with over 120 years of experience in the floriculture sector, spanning five generations of the Boerma family. The Boerma Instituut offers comprehensive professional training for florists at all levels, whether they are just beginning their careers or seeking to further develop their skills and creativity. Students from around the world come to the Boerma Instituut for professional education in floral design.
