The Intersection of Ikebana and Perfumery: An Artistic Journey with Luca Ramacciotti

Luca Ramacciotti has been involved in theater as a director and stage manager for over 25 years, and he has been studying and teaching ikebana for 18 years.

In 2016, he won the First Prize in an international competition organized by his school, Sogetsu.

He co-authored the first e-book dedicated to ikebana, describing the four main schools, and he teaches performing arts. He has also written the first Italian book on directing for magicians.

Luca Ramacciotti hosts podcasts on theater and ikebana and is active on various social media platforms.

-What initially sparked your fascination with the intricate art of ikebana and the captivating world of perfumes?

-My fascination with perfumes began when I discovered the scented soaps that my paternal grandmother kept in her drawers. As for ikebana, it started with a workshop I attended at the Japanese Cultural Institute in Rome. While I wasn't initially enthusiastic, my interest was piqued when the instructor mentioned the director of the Sogetsu school and his bamboo set design for Turandot in Geneva.

-As a master in the Sogetsu school of ikebana, what elements or principles do you find most essential in creating stunning floral arrangements?

-I believe that humility is the most essential principle in ikebana. Just like any art form, ikebana should be studied to nurture the spirit rather than our ego. We should always approach the art form with humility, considering that flowers and branches represent the perfection of nature, encompassing colors, shapes, and fragrances.

-How do you strike a balance between tradition and innovation in your ikebana creations, pushing the boundaries while still honoring the art’s rich heritage?

-There are numerous schools of ikebana, with the most famous being Ikenobo, Ohara, and Sogetsu. The Sogetsu school, founded by Sofu Teshigahara in 1927, maintains a unique perspective by incorporating themes and techniques alongside the traditional concepts of ikebana. By following the precepts of the school without straying too far, I can create modern ikebana arrangements that still retain their connection to classical traditions.

-What unique insights or techniques do you bring to the realm of ikebana that distinguish your work from others in the field?

-Interestingly, it seems that ikebana has influenced my theatrical eye more than the other way around. I tend to create arrangements with fewer elements, embracing an asymmetric vision and incorporating the concept of "Ma" or "emptiness." This concept is significant in various Japanese arts. Ikebana has impacted my theater work, and I believe it is the art of ikebana that has invaded my theater rather than the other way around.

-Describe the most challenging or complex ikebana arrangement you’ve ever created and how you overcame the obstacles to achieve your artistic vision.

-The more I study, the higher the bar of difficulty becomes, and I start to view my previous works as less interesting, always striving to do better. The key is to learn the anchoring techniques for plant materials to the vase, which are studied during the initial two years. Once these techniques are mastered, one can achieve any desired arrangement. There were two moments that were particularly nerve-wracking, not due to the complexity of the arrangement, but rather because of the venues. I vividly remember the first time I stepped onto the prestigious stage at the Japanese Cultural Institute in Rome, and another occasion when I held a demonstration at the Uffizi Gallery with Eike Schmidt by my side.

-As a devoted perfume lover, can you share some lesser-known fragrance brands or hidden gems that you believe deserve more recognition?

-While I'm not an expert, I've come across some wonderful fragrance brands through Marika Vecchiattini's blog, Caterina Roncati's online course, and discussions with Ermano Picco. Campomarzio70 has introduced me to their exceptional perfumes, and I've also discovered the ADJIUMI group on Facebook. During a recent trip to Turkey, I was delighted by the perfumes from Atelier Rebul, and I've developed an affinity for Antonio Alessandria, Filippo Sorcinelli, Meo Fusciuni, Perris Monte Carlo, Maison Tahite, and Angela Ciampagna.

-How do you approach the art of selecting and layering perfumes? Do you have any specific techniques or preferences when it comes to creating a personal fragrance combination?

-My approach to selecting and layering perfumes is intuitive and based on personal preferences. I go through phases where I'm drawn to specific scent families, like lavender or incense-based perfumes. I usually prefer not to mix perfumes together but make individual choices based on my instincts and how they resonate with me.

-Could you share with us two fragrances that have had a significant impact on you and describe how they make you feel?

-Two fragrances that have captivated me are Rudis by Nobile 1942 and Bal d'Orient by Atelier Rebul. Rudis uplifts my mood and makes me feel charming and beautiful. Bal d'Orient, on the other hand, adds a touch of sensual indulgence to my senses. These fragrances have left a lasting impression on me, and their scents evoke certain emotions and experiences.

-How do you incorporate sustainability into your artistic practices?

-Sustainability is a core aspect of my artistic practices. In ikebana, I strive to use locally sourced, seasonal flowers and materials, minimizing waste and considering the environmental impact. When it comes to perfumery, I explore sustainable sourcing of ingredients, use eco-friendly packaging materials, and promote conscious consumption. I believe in creating art that respects and preserves the natural world.

-What advice would you give to someone interested in learning ikebana and perfumery?

-My advice would be to embrace a spirit of curiosity and exploration. For ikebana, find a qualified instructor or school to learn the traditional techniques, but also allow yourself to experiment and develop your own style. For perfumery, study the fundamentals of fragrance composition, learn about different ingredients, and practice blending scents. Ultimately, let your passion guide you and don't be afraid to take risks and express your unique artistic voice.

-Can you share a memorable experience related to your art?

-One memorable experience was participating in a collaborative exhibition where I showcased an ikebana arrangement alongside a corresponding perfume. It was a sensory journey for visitors, as they could appreciate the visual beauty of the flowers while also experiencing the fragrance that complemented it. The interplay between sight and smell created a multisensory experience that resonated deeply with the audience.

-How do you balance tradition and innovation in your artistic practice?

-Balancing tradition and innovation is a delicate process. I deeply respect the traditions and principles of ikebana and perfumery, while also allowing room for personal expression and experimentation. I strive to understand the essence of tradition and find ways to reinterpret it through innovative approaches. It's a continuous dialogue between the past and the present, honoring the heritage while pushing the boundaries of creative possibilities.

-How do you find inspiration for your artistic work?

-Inspiration comes from various sources. For ikebana, I find inspiration in nature, observing the shapes, colors, and textures of flowers and plants. I also draw inspiration from Japanese aesthetics and the seasons. When it comes to perfumery, inspiration can come from personal experiences, emotions, or even specific scents that evoke memories. Traveling, exploring different cultures, and engaging with other art forms also fuel my creativity.

-What challenges have you encountered in your artistic journey?

-Like any artistic journey, there have been challenges along the way. One challenge is striking a balance between artistic expression and commercial viability. It's important to find ways to stay true to my artistic vision while also meeting the expectations and demands of the market. Additionally, sourcing sustainable and high-quality materials for both ikebana and perfumery can be challenging. However, these challenges have also pushed me to grow and find creative solutions.

-What impact do you hope to have on your audience through your art?

-Through my art, I hope to evoke emotions, inspire contemplation, and create a connection between people and nature. In ikebana, I want to convey a sense of harmony, simplicity, and appreciation for the beauty of impermanence. With perfumery, I aim to transport people through scent, triggering memories, and creating immersive experiences. Ultimately, I hope my art encourages a deeper connection with oneself, others, and the natural world.