An Exclusive Interview with Nadia Duran: From Engineering to the Global Stage of Floral Design

Every great designer has a pivotal 'starting point.' Could you share the story of your journey from the world of engineering and architecture into the luxury event space? What was the specific moment or project that made you realize your technical skills were the perfect match for high-end floral design?

It surprises people when they hear I started as an engineer.

For quite a few years, I was actually doing both - working in engineering during the day and building my events business at night and on weekends. It was intense. I don’t think I slept much back then. But I genuinely loved creating things.

I think engineering gave me a way of thinking - structured, analytical, detail-focused. I was trained to look at how things hold together, how space works, how materials behave. When I started designing larger event installations, I realised that background wasn’t random at all. It was incredibly useful.

There wasn’t one dramatic moment where I "quit and followed my passion." It was more gradual. I kept finding myself more alive when I was building event spaces than when I was sitting in meetings.

Eventually I understood that what I loved wasn’t just decoration - it was creating environments. And in many ways, that’s still engineering. Just with flowers.

Having produced spectacular events in destinations ranging from Australia to Italy, Mexico, and the Middle East, how do you manage to balance your distinct design aesthetic with the local culture and landscapes of the diverse countries you work in?

I think the biggest mistake in destination design is trying to impose your style onto a place straight away.

Whenever I arrive somewhere new, I take time to understand the location properly, the culture, the traditions, the way celebrations are experienced there. I look at the natural colours in the landscape, the architecture, the seasonal flowers, even local elements like fruit, spices, textures or traditional patterns and architecture. All of that tells a story.

Italy feels very different to the Middle East. Mexico feels different to Australia. Each country carries its own atmosphere, and that atmosphere should be acknowledged. If you ignore it, the design can feel disconnected - beautiful, perhaps, but not truly grounded.

I don’t try to make every project look identical or purely "like me." Of course, I bring my aesthetic and my design discipline - that’s part of why clients choose to work with me. But the inspiration often comes from the country itself. The colours, the light, the materials, even culinary influences can subtly weave their way into the design.

For me, it’s about balance. My perspective shapes the structure, but the soul of the design should belong to the location.

That’s respect. And respect always creates stronger, more authentic work.

Very few designers in the world have a flower named after them. Can you tell us the story behind the "Nadia Duran" spray rose grown exclusively by Voorn Spray Roses? What does this beautiful peach-toned bloom represent to you personally and professionally?

When I first heard there was going to be a rose named after me, I honestly didn’t believe it.

The Netherlands is the centre of the flower world. To be recognised there - by growers who dedicate their lives to breeding and cultivating flowers - felt incredibly meaningful. It’s not just a market, it’s a legacy industry. So to be part of that in some small way was very special.

The rose itself carries rich tones of lavender, with lush, slightly ruffled petals. It’s romantic, but it has presence. It’s soft, but it stands out. I feel very connected to that balance - strength and elegance existing together.

For me, this rose represents more than achievement. It represents perseverance.

I have always believed that even when there are ups and downs - and there always are - you keep going. You keep building. You keep fighting for what truly matters to you. Receiving a rose named in my honor feels like a reflection of that journey. It’s one of those once-in-a-lifetime experiences you never really expect, but deeply treasure when it happens.

And what makes it even more meaningful is seeing how many people choose this rose - how it appears in bouquets, in installations, in celebrations around the world. Knowing that it becomes part of other people’s special moments makes it feel alive in a very different way.

It’s not just a flower with my name on it. It’s something that continues to grow beyond me. 

Beyond the artistry, you are known for your business acumen and mentorship. In today's rapidly changing market, what is the most important piece of advice you give to planners who want to elevate their brand from "local" to "global luxury"?

I think the shift starts internally.

When planners say they want to go "global," I always ask why. If it’s just for status, it won’t sustain you. If it’s because you genuinely want to grow, expand your perspective and challenge yourself - that’s different.

Global luxury work requires calm leadership. It requires strong systems. Cultural sensitivity. Financial discipline. And humility - because every new country teaches you something you didn’t know before.

But beyond that, I always encourage planners to invest in exposure.

Travel to conferences. Learn from people who are ahead of you. Sit in rooms where you feel slightly uncomfortable - that’s where growth happens. Study how other markets operate. Observe how international teams communicate and problem-solve.

And most importantly, build relationships.

Your first international projects are rarely done alone. They’re often collaborations with local planners, producers, florists or venue teams. And that’s not a weakness - it’s smart strategy. Working alongside local experts allows you to respect the culture, avoid mistakes and deliver at a higher level from the beginning. 

Refine your foundation. Expand your network. Stay curious.

Luxury isn’t about being louder. It’s about being steady, prepared and globally aware.

You often describe your work as "storytelling through flowers." When you sit down with a blank canvas for a new project, where do you look for inspiration to ensure that every event tells a unique story rather than following a standard trend?

I don’t sit down thinking, "What flowers should I use?"

I usually begin by asking how it should feel.

Sometimes a client shares something small - a childhood memory, a favorite place, a particular season that holds meaning. That’s often where the design begins. Other times, it’s the architecture or the landscape guiding the direction.

And as we spoke earlier about different countries - location can absolutely influence floral choices as well. If we want to bring a subtle cultural layer into the design, the country itself may suggest certain colors, textures or botanical elements. That adds depth rather than decoration.

As someone who deeply respects the work of flower growers, I also love working with local and seasonal flowers whenever possible. For example, last Christmas tree at in the city of Sydney, I designed a tree using native, locally sourced plants. For me, that felt completely natural - it reflected both place and season.

I approach floral selection in the same way for events. The couple’s preferences absolutely matter, of course. But especially in the early stages, part of my role as a planner is to guide and educate. To explain which flowers are seasonal, which travel well, which may not be suitable for climate or structure. To present options, not just opinions.

It may seem like many small considerations. But it’s exactly those details - seasonality, culture, education, context - that shape something meaningful.

People don’t just remember how something looked. They remember how authentic it felt.

And that authenticity is built from those small decisions.

You have recently partnered with Arabia Weddings to launch Flora and Story, a bucket-list experience for floral enthusiasts. What kind of transformative "story" can participants expect to experience during this journey?

Flora & Story was born from a very honest feeling.

Over the years, I have often been asked to run masterclasses in different countries. And while I’m grateful for that interest, I never felt excited about doing "just another workshop." Teaching technique alone didn’t feel like enough.

I didn’t want to simply show people how to build an installation. I wanted to help them truly understand flowers - how they grow, their seasonality, their behavior, their strengths and limitations. How to use them intelligently, not just beautifully. Because that’s what creates real impact.

And when I asked myself, "Where can you tell that story properly?" the answer was obvious. The Netherlands.

If you want to understand flowers, you go to where they are born.

But even that wasn’t enough for me. I didn’t want Flora & Story to feel like a study tour. I wanted it to become something people would genuinely place on their life list - one of those experiences you talk about for years.

That’s where the idea became a little bit bold.

Why not combine education with immersion? Why not experience King’s Day from a private boat covered in flowers, while the entire city of Amsterdam turns orange? Why not walk and have lunch among tulip fields instead of just seeing them from a distance? Why not hold workshops and a gala dinner inside the working greenhouses of my beloved Voorn growers?

To my knowledge, nothing like this has been done before in this way.

Flora & Story isn’t just about learning. It’s about perspective. About stepping into the ecosystem behind the beauty.

And I truly hope that when participants return home, they won’t just remember what they created - they’ll remember how it felt to be inside the world of flowers.

That kind of memory stays with you.