Marina Malguzzi is the expert Floral Designer, for her the world of flowers has no mystery and her style for setting up events is unique and always very elegant
- Who is a Floral Designer and what does she do?
To understand who a Floral Designer is, it is perhaps useful to understand what differentiates him from a classic florist.
It could be said that this figure that has developed only in recent years and carries out the work of the classic florist but with greater attention to the context in which the flowers will then be placed. In fact, a fundamental part of this new professional figure is the design, through which a study of colors, shapes and textures is carried out which will then be placed in a specific environment. In the work of the Floral Designer it is essential to be constantly updated on the trends from which new lines of materials are born to be used to complement the floral arrangement (vases, fabrics, structures, candles, etc.). A great knowledge of old and new flower processing techniques is indispensable.
- You live in Milan but you also work a lot on Lake Como, which villas are you used to collaborate with?
I am lucky enough to do my job in many of the most beautiful villas on Lake Como: Villa Regina Teodolinda, Villa del Grumello, Relais Villa Vittoria, Villa Pizzo, Villa Geno, Villa Balbiano, Villa Erba, Grand Hotel Tremezzo, Villa Serbelloni.
What are the events where they usually require your presence?
Usually I am asked to work on projects where customers are attentive to details (which then make the difference in a final result). The design is a very important part in my work, the proposal of a color palette and the consequent obsessive search for materials and flowers in harmony with the palette and the moodboard. If customers are not “sensitive” to these details, much of my work is useless.
- Which is your favorite flower and why?
I don’t have a favorite flower, when I studied for the florist diploma I had a sort of “racism” towards certain flowers, I refused to work them, but over the years I learned that I must never judge one flower rather than another because it is the context of use that counts: how I use it, where I use it and what other flowers it is. It often happens that an element taken individually does not excite me, but then it is placed side by side and may be able to make the most of another protagonist flower. In addition, I am constantly looking for new types of flowers, I fall in love with a new rose, a new complement or a new leaf. This is what fuels the passion for my job.
