A Belgian floral architect building suspended canopies and glasshouse installations for weddings from Venice to Lahore.
By The LWD Edit · 7 September 2026 · 5 min
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Tomas De Bruyne works from Ruddervoorde, a small town near Bruges, under a name that states its own ambition plainly: Bespoke Unique Floral Experiences Worldwide. The studio designs by structure rather than by arrangement, canopies suspended over glasshouse dinners, ceremony pavilions engineered to hold their own against a lagoon or a palace facade, Mughal-inspired archways built for a five-day wedding in Lahore. Across Venice, Budapest, Delhi and Atlanta, the same architectural instinct travels with him, resolved differently in every venue and every culture he is asked to work in.
A painted Venetian canal backdrop bearing the couple's monogram, Misericordia, Venice
The Misericordia wedding in Venice is the studio's own reference point for what it calls conceptual design. A custom backdrop painted with a Venetian canal scene carried the couple's monogram across it, built in collaboration with the Istanbul-based event company KM Events for, in Tomas's own words, a couple who had fallen in love with the city rather than any single venue inside it. The project became the formative case study behind The Art of Design, a new book publishing in 2026 that traces the studio's process from a first sketch to a finished installation.
A grand staircase flanked by rose garlands, an urn at its head, Misericordia, Venice
The reception hall dressed in blush and gold, Misericordia, Venice
Misericordia gave the studio a stone stairway to work with, and it used the whole of it: rose garlands run the full length of the balustrade, rising to a single floral urn at the head of the stairs, the kind of gesture that only makes sense at the scale of an entire historic building rather than a single room. Inside, the reception hall was dressed in blush and gold beneath the venue's own frescoed walls, floral chandeliers doing the work that a single centrepiece never could across a room of that size.
A second Venice wedding, staged at the JW Marriott Hotel, took the opposite instinct to its logical extreme: a single colour, used everywhere. The client asked for a party built around red roses, and Tomas answered with a glasshouse dressed floor to ceiling in cascading red bloom, and a ceremony pavilion raised beside the lagoon in the same unbroken colour. It is a register the studio returns to often, one flower, one colour, deployed at a scale that turns a room into a complete environment rather than a table with flowers on it.
A red ceremony pavilion beside the Venice lagoon, JW Marriott Hotel
A red rose centrepiece on a woven gold table, JW Marriott Hotel, Venice
The glasshouse reception after dark, JW Marriott Hotel, Venice
None of this is achieved by simply ordering more flowers. A canopy suspended over a dinner table, or a pavilion built to stand for an entire evening beside open water, is rigging and structural engineering as much as it is stem and bloom, resolved as a concept and a set of drawings before a single flower is sourced. It is why Tomas describes his own approach as architecturally inspired rather than simply floral, the design resolved as a structure first, decorated with bloom second.
"Tomas is a blessing to the ever-evolving business of floral art and craft in the domain of events. His understanding of the subject is perfect, and the sense of design he effortlessly transforms from ideas to reality is on par with the best in the world."
, On Tomas De Bruyne
That kind of endorsement comes from Samit Garg, founder and CEO of E-Factor, the event company Tomas has now collaborated with on two separate real weddings for the same family. The first began years earlier in Rajasthan; the second carried the same family's next generation to Budapest, where a domed pavilion wrapped entirely in blush floral garland stood near Vajdahunyad Castle, built by hand ahead of the ceremony by Tomas's own team.
The blush pavilion set against Budapest's skyline
A blush and white centrepiece on the reception table, Budapest wedding
The Budapest wedding shows the studio working at two very different scales inside the same celebration. The pavilion itself is a full architectural build, tall enough to gather an entire ceremony beneath it, wrapped in garland from base to dome. At the reception table, the same palette is worked down to a single blush and white centrepiece, proof that the studio's structural instinct scales as comfortably to a single table setting as it does to a building-sized canopy.
The ceremony itself carried its own quiet detail: a groom placing a floral garland on his bride beneath the lit canopy after dark, a moment of exchange that the whole structure above them existed to frame rather than upstage. It is a reminder that, for all the engineering behind an installation of this scale, the point of building it is still to hold a single, specific moment of a couple's own wedding, not to be admired as a freestanding piece of design.
The couple on the palace terrace at night, Budapest wedding
Weddings of this scale rarely end quietly, and the Budapest celebration was no exception. The groom's own party arrived in a flower-draped car, garlands strung across its bonnet, the kind of joyful procession that turns a wedding's arrival into its own small spectacle before the ceremony has even begun. By dusk, a floral archway stood framed against the spires of Vajdahunyad Castle itself, the studio's structure holding its own against one of Budapest's own architectural landmarks.
The groom's party celebrates in a flower-draped car, Budapest wedding
A floral archway at Vajdahunyad Castle at dusk, Budapest wedding
In Lahore, the studio was asked to sustain that same level of ambition across five full days rather than one afternoon: a Sangeet, a Mehndi, and the wedding itself, each with its own installation, built in collaboration with the Lahore-based event company JS Events. The Mehndi stood out as the most demanding brief, a bold palette of pink set against unexpected accents of mint green, and a suspended domed canopy raised over the stage at a scale that filled the entire tent above the guests.
The Mehndi's stage arches were drawn directly from Mughal architecture rather than from any generic idea of an Indian wedding backdrop, a piece of research that shows in the finished structure's proportions as much as in its colour. It is the kind of detail that has followed the studio into a genuinely international run of press and recognition: features in The Telegraph, Wedluxe, The Economic Times and The Times of India, and industry awards including the RSVP Symposium's Favourite Floral Design title for Europe and Asia.
A palace lit for a night wedding, floral rangoli patterned across the lawn
By the studio's own account, that recognition extends further still, to a wedding for the Ambani family in India, private events for the Swarovski family, and an artistic commission for the Beijing Summer Olympic Games, claims presented here as Tomas's own record of his career rather than independently verified against a named third-party source. What is independently checkable is the studio's next project: As Above So Below, a twenty-five-metre floral installation opening in Shanghai in 2026, described as one living floral centre designed to look different from every point around it, the same architectural ambition applied to public art rather than to a private wedding.
India recurs across the portfolio more than any other single country, and one client returns twice within it. Tanuj Bhatia first booked the studio for a wedding in Delhi, then again for a second celebration in Ludhiana, the kind of repeat commission that says more about a florist's reliability than any single spectacular installation can. Writing about designing for Indian weddings on his own site, Tomas describes multi-day celebrations, intricate floral mandaps and grand venues transformed into what he calls otherworldly realms, in collaboration with Scenography Sumant, a design partner he has now worked alongside across both weddings.
Two guests in traditional dress before a candlelit mandap
The reception, once the ceremony itself is done, gets its own distinct treatment rather than a scaled-down repeat of the aisle. A cascade of pink and white bloom trained down the length of a white piano turns a functioning instrument into the room's centrepiece without silencing it, while a separate hanging installation lowered directly over a bank of round tables gives a seated dinner its own suspended canopy, on a smaller and more intimate scale than the ceremony pavilions built for arrival. Both solve the same problem, how to keep a guest looking up as well as across the table, in entirely different ways.
A hanging floral installation over the reception tables
A cascade of pink and white bloom over a white piano
Meet Tomas De Bruyne
Tomas De Bruyne calls his own approach architecturally inspired and conceptual, a description that holds up against a portfolio built from canopies, pavilions and full venue transformations rather than bouquets and centrepieces alone. He collaborates with a different event company in almost every market he works in, E-Factor in Hungary, JS Events in Pakistan, KM Events in Turkey and Italy, Scenography Sumant in India, rather than exporting a single studio team and a single house style to every country on his list. The consistency lives in the thinking behind each build, not in a repeated look.
Tomas De Bruyne, floral event designer
A wedding lasts an evening; the structures Tomas De Bruyne builds for one are engineered to survive it, however large the scale or however far from Ruddervoorde the venue happens to be. For a couple planning a multi-day celebration, a historic venue, or simply a wedding that should not look like anyone else's, that combination of architectural discipline and worldwide reach is a rare one to find in a single florist. Explore Tomas De Bruyne on the Luxury Wedding Directory to see the full profile and enquire about your event.
Floral chandeliers suspended over the dinner tables, Misericordia, Venice
A long dinner table beneath floral chandeliers, Misericordia, Venice
A circular floral wall sculpture, Misericordia, Venice
The glasshouse dressed floor to ceiling in red rose, JW Marriott Hotel, Venice
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A guest in red and gold takes to the dance floor, Budapest wedding
A tall pink floral centrepiece on the reception table, Budapest wedding
Frequently Asked Questions
Where is Tomas De Bruyne based?+
Ruddervoorde, near Bruges in Belgium. He works on weddings and events worldwide, from Venice and Budapest to Lahore and Atlanta.
Is there a minimum spend?+
No fixed minimum is published. Every commission is scoped individually after a first consultation on the vision, the venue and the scale.
What is Tomas De Bruyne's design style?+
Architecturally inspired and conceptual: large-scale suspended canopies, glasshouse transformations and ceremony pavilions rather than fixed arrangements.
Does he design for multi-day, cross-cultural weddings?+
Yes. His portfolio includes Sangeet, Mehndi and wedding celebrations across multiple days in India and Pakistan, alongside Western ceremonies.
Is there a book by Tomas De Bruyne?+
Yes. The Art of Design, tracing his creative process from first sketch to finished installation, is publishing in 2026.
Credits
Florist
Tomas De Bruyne
Founder
Tomas De Bruyne
Based
Ruddervoorde, Belgium
Instagram
@tomasdebruyne
Written by
The LWD Edit
The editorial team at Luxury Wedding Directory, profiling the world's finest wedding venues and creatives.
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