Designing Beyond Nature

Galina Kofod
2 days ago
2 min read

Flowers have always played a special role in millinery. They’re not just decoration. They bring character to a piece. They give it breath and mood.

When I first started, I was inspired by Japanese flower-making schools. Their attention to detail and structured approach taught me to see flowers as more than extra ornaments—they could be highlights.

But over time, I realized I couldn’t just follow this approach. Copying nature wasn’t enough for me. I didn’t want to just replicate flowers—I wanted to interpret them. To rethink them.

I started playing with proportions. Sometimes the inner petals grew larger than the outer ones. Sometimes I reduced how many petals there were—and suddenly the flower felt more alive.

That’s how my own stile started to form and grow.

I have made a lot of different leather orchids for my clients, trying to replicate nature, but I was never really pleased with the result. And I had a thought, it was of the beauty of orchid, its uniqueness, unpredictable appearance, and fragility. So I needed to create the design of an orchid which captured these wonderful features.

This was how my project Night Beauty Orchid was born. It doesn’t exist in nature, but it holds its elegance and mystery.

However, freedom doesn’t mean abstraction. I still want my flowers to be recognizable.

If it’s a peony, I want someone to see a peony—not a simplified outline , but something that feels alive.

When I worked on my hibiscus, I dissected a flower to understand it. I studied its structure and built my own pattern. Real freedom comes from understanding, not just copying.

Over time, all these explorations became a method. A way of working where structure supports beauty rather than limiting it.

Writing my book was naturally the next step. It wasn’t just about collecting designs—it was about explaining how I see the art of flower making. For me, teaching isn’t about handing over a template. It’s about helping others see form, understand balance, and discover their own creative direction.

Today, whether I’m designing new flowers or teaching around the world, my goal remains the same: to help other makers gain confidence, understand structure, and create with freedom.Because a flower is never just an accessory. It is the designer’s voice.