Interviews
Jane Harries On Methods To Ensure Garden Designs Are 'Both Practical And Attractive'
Jane Harries stands out not just for her creativity but also for her unique journey. Originally from a marketing and business background, Jane’s career shift to garden design was spurred by personal challenges, including illness, that led her to train at the Open College of the Arts. This change, however, has only deepened her commitment to creating gardens that are both beautiful and functional. Her designs are known for their thoughtful integration of space, movement, and practicality – ensuring that each garden she creates is a true reflection of its owner’s needs and the nature of the site. Please note that the imagery used in this article has been provided with permission by Jane Harries. Can you tell us about your journey with the Open College of the Arts (OCA) and what led you to pursue garden design? “I decided to retrain after a career in marketing, when I became ill with ME,” Jane starts. “I thought distance learning would give me a focus, and had done a painting course with the Open College of the Arts. “I did one Garden Design course, liked it and took a second stage one (they give university credits) and did well despite the challenges of things like making cardboard models when I was ill.” What inspired you to set up your own garden design studio? “I saw a business on TV that provided garden designs remotely and realised I could do that even if I wasn’t fit enough to visit clients or do surveys,” she says. “So, I asked prospective clients to carry out their own surveys, providing a guide for them on how to do so.” You’ve been gardening for 15 years in your Northamptonshire cottage garden. How has your garden evolved over the years? “Because I don’t do a lot of gardening myself, my garden is pretty untidy! I have, however, developed raised vegetable beds, a pond and a meadow, as well as a patch of grass that is long in the spring in keeping with No Mow May. “It’s a place where I can try out different plants and habitats, and I enjoy growing things from seed – I have a greenhouse. I want to add some sculptures to the garden next.” How do you ensure that your gardens are both practical and attractive, especially considering the diverse needs of your clients? “The process of producing a design involves looking at both aspects as well as making the garden sustainable and attractive to wildlife,” she shares. “I wouldn’t take on a ‘plastic garden’ with no beds for plants or proper grass. I spend a lot of time on practical considerations. I like to make sure the garden works for my clients and I think it’s the mark of a good designer. “I use a briefing questionnaire and I try out different options using 3D software to show to my clients to help them decide what they want.” What has been the most challenging garden design project you’ve undertaken, and how did you overcome the challenges? “The most challenging project I have done was stopped when we were nearly finished by my client,” explains Jane. “It involved a Gaudi-like pair of curvy walls and a very big pergola. I’d love to have seen how it turned out. I think, however, it would have gone on forever as kept adding things.” With the increasing emphasis on biodiversity and conservation, how do you ensure your gardens are environmentally friendly? “Adding trees, planting as much as possible, recycling existing materials and considering the needs of the wildlife that will be using it, as well as the human clients, are some great ways to keep a garden environmentally friendly. “One thing I want to try next is a carbon calculator, to show what aspects make a garden carbon neutral and in how many years.” Are there any courses, workshops, or books that you would recommend to budding garden designers? “I’ve been impressed by Nigel Dunnett and his colleagues at the University of Sheffield,” shares Jane. “Their approach to planting design in public spaces is very interesting. I took courses with the Open College of the Arts, a sister organisation to the Open University, and I think they are doing Garden Design again. “You have the same tutor mark your assignments over the course, and can gain credits for a Degree in the Arts. I think that you should keep learning, as there is so much to learn and things change. “I recommend joining the Society of Garden Designers, as you have access to continued learning, a great magazine and you can make contact with other designers locally through the organisation.” What impact do you hope your gardens have on the people who experience them? “I hope they get out into them to relax and destress, and enjoy being in nature doing whatever they like doing, whether that be partying, growing veg or climbing trees!” she jokes. “I do hope people develop a love for gardening, but I know that’s not always possible.” Where do you see Jane Harries Garden Designs in the next 5 years? “I would love to do more work from the beginning to the end of a project rather than handing over a design. I have become involved in this way and have enjoyed it. “I might also do another design for a show. They are always challenging but rewarding.”
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Dr. Toby Musgrave: 'History Can Be Inspirational, It's About Mixing The Old With The New'
Dr. Toby Musgrave has a passion for gardens and their history that sprouted in his early years and has flourished ever since. An independent scholar since 1994, he has steadily become an international authority, sharing his extensive knowledge through books, lectures and media appearances. In this exclusive interview, we delve into Toby’s career, exploring his journey, his works, and his thoughts on the current garden design landscape. You can watch / listen to my full interview with Toby on YouTube: Please note that the imagery used in this article has been provided with permission by Toby Musgrave and Alison Ryancarz. Can you tell us a bit about yourself and how you developed an interest in horticulture and garden history? “I think it was actually in the blood,” starts Toby. “My maternal family have always been very keen and fantastic gardeners and some of my earliest memories were of growing seeds in my grandfather’s shed. On my paternal side, my father worked a lot as an Anthropologist in Greece. Image credits: Toby Musgrave “When I went into higher education, I did a degree in horticulture for two years which was very, very scientific, and then for the final year, I got a chance to specialise so I went down the garden design route. “As part of that, I did a module on garden history and found that my two loves collided. Then, I started teaching and got involved with the Warwickshire Gardens Trust. “From there, I decided that garden history was really where I wanted to go, so I went back and did a PhD in garden history and then fell into freelance work after that.” Over the years, you’ve written numerous books and articles on garden history. Which of your works are you most proud of and why? “I don’t think there’s any, any sort of particular favourites, per se,” he shares. Image credits: Toby Musgrave “Some of the ones I really enjoyed writing are also the ones which have people involved. One of the books I really enjoyed writing was actually about the Head Gardeners, because one of the things that struck me down the years – particularly with historic gardens – is that the people who did the work got overlooked, particularly in the 19th and early 20th century. “That was a very interesting project to research. Uncovering the history of gardens can be very inspirational. You don’t have to just copy and paste from the past, but you can take old ideas and give them a very contemporary spin. “It’s all about mixing the old with the new.” In your opinion, how has garden design evolved over the centuries? “One of the very positive things about garden design and garden making is that it’s very much for the individual now. There are no fashions you have to follow, which is very exciting. Image credits: Toby Musgrave “We’ve never been in a position where we’ve had this huge diversity of materials and plants from which to choose from. It doesn’t matter what age you are, what gender you are, what religion you are or where you come from. A garden is just a garden and it’s about you and other people. “From that point of view, I think gardens are very inspirational. We can look at garden styles that have changed around the world and between different cultures and all of that, but from a general perspective, I think the fact that gardening is for people these days makes it a much more homogeneous and inclusive pastime.” What future developments in the field of horticulture and garden design are you most excited about at the moment? “One of the things I’ve been interested in reading about recently is this idea that we need to feed more people around the world, especially with the constant issue of climate change and particularly with places becoming hotter and drier,” he shares. “There’s an idea of going back and looking at some of the very early agricultural crops and then taking some of those and looking at the genetics of why those plants were so successful and maybe breeding those. Image credits: Toby Musgrave “I think in terms of garden design itself, one of the things I like to see is that idea of mixing a lot of new materials, such as hard landscaping, with planting. There’s just this ever-increasing range of funky materials. “I think that the new ideas and technologies are something that could be applied to gardens.” For someone looking to learn more about garden history and design, what resources or books would you recommend? “There’s quite a good range of inspirational books that I’ve written with Phaidon,” shares Toby. “Some examples include The Gardener’s Garden, The English Gardener’s Garden and Garden Elements and Styles. There’s a good mixture of history and inspiration in terms of the illustrations in those. Image credits: Alison Ryancarz “When it comes to garden design, there various books out there that provide a good introduction to the subject. In terms of websites, there’s one called gardenvisit.com, which is a great resource. “There’s also lots of online courses. MyGardenSchool does a lot of very good courses if you’re looking to learn a little bit about garden history and gardening.”
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Interviewing BBC TV Presenter Nick Bailey: 'I’ve Yet To Meet An Unpleasant Gardener'
Having spent over 30 years working in Horticulture, Nick Bailey has cultivated a rich career in Garden Design, Management, Writing and Broadcasting. An honours graduate in Landscape Design from Greenwich University, he has managed gardens globally, authored best-selling books and presented on notable shows like BBC Gardeners’ World. As the former Head Gardener at Chelsea Physic Garden, Nick reshaped and modernised its collections, which is still one of his favourite experiences. Nick shares his time at the Physic Gardens and other career highlights in more detail during our interview. Can You Tell Us About Your Journey Into Horticulture? What Inspired You To Study This Field? “I suppose it’s the cliché really; my parents had a reasonably sized garden and then they bought a big chunk of the land at the back of it,” shares Nick. “Both sets of my grandparents had big gardens, so I was always immersed in it. It was just so intrinsic to me and it was wonderful to be in that world. “All of the resources were there for me and I had a regular discount at the local garden centre by the time I was 7 because I used to spend all of my pocket money there! “At the weekends, I’d be out in the garden pretending to be a presenter on Gardeners’ World, which is lovely to think about as I am doing that for real now. “I didn’t know anything different – gardening was just always part of my world.” What Led You To A Career In Horticulture? “I started working at the local garden centre when I was about 12,” he explains. “I left school with very few qualifications and wasn’t sure what I wanted to do, so I spoke to my boss and asked if he would be able to take me on. Although he couldn’t afford to employ me conventionally, I started as a trainee and was on 29p an hour, which sounds horrific now! “However, it gave me a year of employed, hands-on experience. I found a course in Kent that I wanted to do and it was essential that I had that experience, so I spent a year at the nursery doing a lot of the on-site production. “I woke up one winter doing the potting-up motion because I spent that long doing it! Once the year was done, I started college and did a Diploma in Horticulture, which was where it all began.” You Became A Regular Presenter On BBC Gardeners’ World In March 2016. How Did You Transition Into Broadcasting? “I’d been doing TV for some time as I had worked in South Africa in the mid-90s and presented on their equivalent of Gardeners’ World over there, so I knew I enjoyed that type of work. “In around 2010, I was contacted by the BBC to audition for Gardeners’ World and I did a screen test up in Birmingham. I had one of the most embarrassing moments of my life as I was getting my breakfast in the hotel they had put us up in and walked straight into a glass mirror because I thought the buffet went on further than it actually did! “I was covered in my food and had to be costumed up for the screen test, which was not ideal. I didn’t get it, so I refocused on the rest of my career. I later got recommended for the project again a few years later and was invited back to do a screen test again and I was so nervous! “A month went by and I didn’t hear anything so assumed the worst, but one day, I got a phone call from an unknown number whilst I was in the middle of another project. “Someone asked if I was still okay to film the following week. I was so confused, but happily took on the project and that’s how it all began.” What Does A Typical Working Day In The Life Look Like For You? “There is no such thing as a typical day, as I do so many different things,” Nick says. “I write for magazines and newspapers, work for high net-worth clients all around the country and do a lot of public speaking. I’m also working on my own garden and writing a new book, so it really is incredibly varied! “When I’m doing a TV day, I’m absolutely knackered at the end of the day, more so than after doing any of the physical work on another day.” You’ve Received Numerous Awards And Recognitions. Which One Holds A Special Place For You And Why? “Being asked by HRH Prince Charles to speak at High Grove was a very lovely thing. “Another real highlight was hosting at the Savoy for the Garden Media Guild, as it felt like quite a huge moment because I was entertaining my past, present and future employers across the industry. “A magic moment for me was at the RHS Chelsea Flower Show one year, when I was called to the front of the garden at a press call. There was a swarm of photographers and I felt like a proper superstar! “After, I walked down to the garden and began to sweep some stones from the path and another photographer screamed at me to get out of his shot, referring to me as the ‘bloke with the broom’. That quickly brought me back down to earth! “Another high point was early on at the Physic Garden where the chair of trustees invited me to come up with a plan for the gardens to last the next decade or so. “I thought it would be a process that would take months to go through, but the trustees were so happy with my plan that it was signed off in the first meeting I presented it. I’ve been lucky to have lots of those lovely moments.” What’s Next For You? Do You Have Any Upcoming Projects That You’d Like To Share With Our Readers? “I’m working on a book called ‘The Nature of Gardening'” Nick reveals. “It’s about the literal essence of nature and gardening, but also about everything we can learn from nature through gardening and the landscape, whether that’s through the aesthetics or propagating.” What’s The Biggest Lesson That Horticulture Has Taught You? “I would say that it takes a very particular type of person to be a gardener,” he says. “It needs a particular mindset and being. I’ve yet to meet an unpleasant gardener. Gardeners are a great bunch of people who combine our craft and science, which requires a particular skill set that I’m still trying to hone in on.”
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Why Gardener Jo Thompson Prefers 'A Gentle Intervention, Rather Than A Heavy Stamp'
Garden Designer, Writer and Speaker Jo Thompson is the recipient of multiple accolades including four Gold Medals at the RHS Chelsea Flower Show. Her design philosophy is deeply influenced by her experiences in Italy, where she spent much of her childhood and student years. Leading a team of skilled professionals, she creates gardens that are not only visually stunning but also environmentally conscious. Jo is also the leading voice behind The Gardening Mind – a friendly community of garden enthusiasts sharing tips for growing and inspirational gardens. In this interview, I discover her inspirations and approach to garden design. Please note that the imagery used in this interview has been provided with permission by Jo Thompson. What are your earliest memories of gardening? “My late father was Italian, so we spent a lot of time investigating the secrets of Rome,” begins Jo. “One of my earliest memories is walking around the gardens at Villa d’Este outside Rome, marvelling at how this garden of hundreds of fountains could have been made so long ago.” What led you to a career in garden design? “I’d always been interested in art and architecture, but it was the transformation of my own rooftop space, which I knew had potential but had no idea where to start, into an actual roof terrace by the team at Clifton Nurseries that was the lightbulb moment for me. “Watching them create a space out of absolutely nothing was truly inspirational and I wanted to explore how this could happen and how to be able to do this myself.” What does your process for designing gardens look like? What are you inspired by? “I have to get under the skin of a place,” she explains. “I have to get to know the garden, the client, the house and the location really well. I’m inspired by what’s around and what might have gone before, and I don’t want it to look as if I’ve been there. “From the very beginning, over 25 years ago now, I have insisted on a gentle intervention rather than a heavy stamp of design.” Do you have a particular favourite memory of a garden you have designed? “Too many!” Jo jokes. “I love every garden space that I’ve helped to create, from tiny courtyards through to larger scale gardens. I honestly couldn’t choose – maybe my favourite garden is the next one!” What does a typical working day in the life look like for you? “I’m an early riser and get up at around 5.30am. As soon as it’s light, I’ll have a look out of the window to see what’s happening in the garden and if it isn’t raining, I’ll get out there for a potter with a cup of tea. “After that, every day is different. I might be in the studio with my team, on a site visit, writing my latest book or writing my Gardening Mind newsletter, which has grown exponentially into a worldwide community.” What’s next for you? Do you have any upcoming projects that you’d like to share with our readers? “My new book is being published in 2024 and The Gardening Mind has lots of new courses on it,” shares Jo. “I’ve got some exciting projects dotted around the UK that are starting to be built, having spent months in the planning stages, as well as several projects with architects, which is exciting. “There’s also rather a special roof terrace in Rome, so things have kind of come full circle for me.” Can you summarise what gardening means to you in just 3 words? “Calm, uplifting, care.”
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Georgia Linsday: Forwarding The Trend Towards Sustainable, Naturalistic Gardens
Georgia Lindsay is a Landscape Designer known for creating imaginative outdoor spaces that seamlessly extend from the home into the garden. Her team offers a range of services with fully tailored gardens that include thoughtful planting and every element thoroughly considered from lighting to accessories. Georgia’s design studio has won a host of awards from their geometric ‘Mondrian Garden’ to the ‘Pollinator Garden’ inspired by the surrounding London Olympic Park. Her Grand Designs ‘Family Garden’ was labelled ‘Innovative yet practical’ by Kevin McCloud. I spoke to Georgia about her background in Theatre Design and how it has influenced her design practice, the common challenges that face designers and her plans for the future. Please note that all imagery in this interview is provided with permission by Georgia Lindsay. What Led You To A Career In Garden And Landscape Design? “When I read other designers’ paths into garden design, I don’t necessarily relate to it,” says Georgia. “I didn’t have those early gardening experiences with my grandparents or parents like a lot of designers have. “I grew up in South Africa, where we were constantly outside, immersed in the subtropical flora. I realise now that this environment had a powerful subliminal impact on me and gave me a deep appreciation for plants. “I can’t say that early on I ever thought that I wanted to be a Garden Designer. I was artistic and loved designing spaces so initially I trained in theatre design which was a great love of mine. “Horticulture was not on my radar, which is one of my greatest regrets as I would have loved to have started earlier on. That world only opened up to me in the past 20 years, which might be why I’m so passionate about it now.” Can You Elaborate On How Your Background In Theatre Design Influences Your Approach To Garden And Landscape Design? “My initial degree was called ‘Technical Arts Design’ for site-specific projects including Theatre, TV, film and performance art,” she says. “This broad spectrum of spatial planning laid a solid foundation in working out the best design in many different scenarios. It feeds massively into the work I do now. Being able to visualise how people move about their garden is very similar to facilitating design for stage and TV. “It’s all about the inhabitants of that space, whether it be performer or client and making it fulfil the purpose, in accommodating the people who occupy it. “I often use theatrical principles such as illusion and perspective to enhance a space. It’s probably unconscious but that early training influences my work. I’m always thinking about the space as fully cohesive with personality. “The thing that drove me away was the impermanence. I didn’t like how we poured our heart and soul into creating a world to see it stripped down and end up in a skip eventually, theatre can be very transient. So I moved to interior design after this as I knew it would be appreciated for many years to come. “Gardens are one step on for that for me, they are the ultimate design. You can see your work bloom and grow, they are ever-evolving and improve over time.” What Are Some Of The Most Common Challenges You Encounter In Your Design Projects, And How Do You Overcome Them? “It’s so important to get the foundations right. The initial consultation is key to everything, it builds trust and knowledge and everything else will follow from there. “I relish the challenges that come with very specific requests and making them work in the garden. I’ve got a garden coming up where the client is a bonsai tree collector and has the most amazing collection. “It’s not an area of horticulture that I’ve had experience in until now, but I’ve been given the challenge of displaying these trees within the design. I will probably never be asked to do a project like this again and I relish this unique challenge. It’s like reading a script and allowing the individual characters to emerge and shine. Are There Any Particular Plants Or Plant Combinations You Find Yourself Drawn To Repeatedly? “I often find myself subliminally specifying South African plants,” shares Georgia. “Only when I research the plant’s origin do I realise it’s from the southern continent – it’s funny how often it happens. “I wouldn’t say I had a particular planting style. Because my gardens are so individually tailored, I will go from a dry gravel garden to a lush jungle garden, each planting plan is completely determined by each project.” Are There Any Exciting Developments Or Trends In Gardening That You Are Looking Forward To? “I’m really pleased to see that clients are coming to me looking for more naturalistic gardens,” she explains. “I’m happy to see that many garden designers have now moved away from sterile, ‘modern’ style gardens. The outdoor room has been overused but now I think clients are appreciating the wildness that nature has to offer. “My job is about opening up people’s minds to the huge array of natural materials and helping my clients to think about sustainability as well as aesthetics. I’m pleasantly surprised that so many clients are asking for natural stone and drought-tolerant planting. “Previously my clients would ask for low-maintenance gardens. There is a danger that modern low-maintenance gardens become a place that is too clinical, which is not the way that nature works. You want to be able to appreciate the change in the seasons.” How Do You Envision The Future Of Landscape And Garden Design? “I feel a huge responsibility as a designer to open up my client’s eyes to drought-tolerant planting and a healthy balance of hard landscaping versus planting,” Georgia states. “Far too many gardens have too large a proportion of paving. If you pave over huge areas, you end up not allowing water to permeate into the landscape as it would naturally, so I feel a responsibility to my clients in those initial design meetings to try and encourage limiting the proportion of hard landscaping and opt for permeable surfaces such as gravel instead. “I think people are so much more aware of sustainability and open to reusing and recycling existing products and materials, which is great. We’ve recently put a bench into a garden that is a piece of reclaimed tropical timber from the shipping industry. It’s so full of character and history and a wonderful talking point. “It’s lovely having clients that are open to using materials like this. It’s all about educating people and making sure we convey the importance of sustainability to our clients and getting them on board.” What’s Next For You? “I’m currently working on a project in New Jersey which is a great challenge. It was something I was slightly hesitant about at first due to the distance but I have been pleasantly surprised working remotely, the communication between myself and the client is great. “It’s been exciting working on a much larger project in this way. It’s wonderful getting the opportunity to do something different and explore new plants in a different climate. “That’s what I love about garden design – there is always something to learn and every day is a school day.”
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William Scholey: Celebrating Seedheads And Grasses Instead Of Manicured Lawns
Raised in the lush countryside of Northamptonshire, William Scholey’s innate connection to nature and a deep fascination with birds propelled him towards a career in Horticulture. After establishing his own garden design business in 2019, he quickly made a name for himself – culminating in the RHS Young Designer of the Year award for his innovative work at the 2022 Tatton Flower Show. Now operating in London, William continues to create gardens that are both stunning and supportive of wildlife, showcasing his commitment to enriching both the environment and the lives of his clients. Note that all imagery in this interview is provided with permission by William Scholey. What are your earliest memories of gardening? “Growing up in rural Northamptonshire meant my connection to the outdoors was almost inevitable,” shares William. “I have always had a fascination with birds, to the extent of driving miles to try and spot and identify different species, and quickly discovered the importance of creating habitats for struggling species. “So, I started creating areas in my mum’s garden that would encourage wildlife and biodiversity.” What inspired the creation of Scholey Garden Design? “Whilst working for a local landscaper, I quickly realised that there was a more sustainable, forgiving and artistic way of doing things,” he explains. “I wanted to be less generous on hard landscaping and more generous on soft, so after picking up all of the necessary skills to build gardens, I decided to start my own company.” Can you tell us about a project that you are particularly proud of and why? “I recently finished a project in Nantwich. I am particularly proud of this one as the client shared my enthusiasm for creating a space not only for them but for wildlife. “I used mainly native trees, British materials and we incorporated a wildlife pond that has already brought so many visitors.” What are some of the most common challenges you face in garden design and how do you overcome them? “I think one of the most common problems I come across when working in London gardens has to be the logistics, from parking to access,” shares William. “Almost always the gardens can only be accessed through the house which makes bringing mature trees into the garden rather difficult. I think having a great team really helps and constant communication with the client. “I also tend to drop my tools off on-site and then cycle to work, which helps with the parking issue and is also better environmentally.” How do you ensure that your garden designs are sustainable and environmentally friendly? “I introduce permeable surfaces that prevent surface runoff,” he divulges. “I try to reuse existing materials that are on-site, choose British stone or reclaimed materials and plant mature native trees. “I also try to stick to a ratio of 20% hard landscaping and 80% soft landscaping.” What’s next for you? “I have a build coming up in a garden near my London home in Hackney,” says William. “The client has asked for a wildlife garden so I am excited to work with someone that shares the same passions and understanding of the importance of wildlife in a garden. “I will be using all reclaimed materials for this one, and it includes a wildlife pond!” How do you see the future of garden design, and how do You plan to adapt? “I think we have already seen a huge positive change in garden design. I’m really happy that people seem to be leaning towards more ‘wild’ gardens. “We’re finally getting out of the habit of insisting on manicured lawns and perfect topiary and are now celebrating seedheads and grasses. “As well as being better for wildlife, I find this style more engaging and immersive. I would also love to see a ban on plastic grass as soon as possible! “I like to think I have already started to adapt, but there is always more to be done. I would like to learn more about old sustainable building methods and continue to lessen my use of cement in gardens.”
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How An Early Interest In Gardening Led Marina Walker To Botanical Photography
Marina Walker is a renowned British photographer, specialising in botanical subjects primarily for the garden and floristry industries. She extends her expertise through one-on-one flower photography workshops, available both in-person and online, and shares her experiences and knowledge at various events. Marina also sells prints and a wide range of photographic greeting cards and her work was featured in a solo exhibition at Myddelton House Gardens in September 2021. Note that all imagery in this interview is provided courtesy of Marina Walker. Can you share more about your early interest in gardening and how it led you to your current career? “Growing up, my parents instilled a love for the outdoors in me, but it was my mother’s untimely passing when I was 23 that left me with the task of tending our medium-sized garden she had so lovingly grown,” shares Marina. “Despite limited plant knowledge and having only watched a handful of Gardeners’ World episodes over the years, I embraced the garden as my own, learning by hands-on experience. “I noticed the nuances of seasonal blooming, what conditions each plant liked, and even learnt their Latin names. I decided to document my journey by photographing the flowers and sharing them on Instagram, which was still emerging as a platform at the time. “As my audience and photographic skills grew, I took on the suggestion to sell prints of my work, leading to an expansion into greeting cards, client commissions and teaching. It was very much an unexpected career that I fell into, but one I absolutely adore.” Can you tell us more about your debut solo exhibition at Myddelton House Gardens in September 2021? What was the inspiration behind it? “Myddelton House Gardens was the perfect location for my flower photography exhibition, a place I visit frequently throughout the seasons,” she explains. “The inspiration was my plant portraits which I tend to specialise in, captured using a macro lens with a wide aperture for a sharp subject and a soft, out-of-focus background. “I aimed to showcase a diverse array of flowers, allowing viewers to find their personal favourites among my displayed pieces. “As a debut exhibition, my primary goal was to introduce my style to those unfamiliar with my work and allow those who had followed my journey the opportunity to see my work printed and not through a phone screen!” How do you approach teaching your 1-1 flower photography workshops? “I begin by sending a questionnaire to prospective clients to understand their specific learning goals and areas for improvement. “This information serves as the foundation for crafting a customised lesson plan, tailored to the number of sessions they book and whether they want to learn from me in-person or online. “For one-off sessions, I cover composition basics, handling different lighting conditions, and utilising their existing lenses for different creative effects. In other cases, clients seek guidance through Zoom on editing or the business aspects of print or greeting cards. “I approach each individual uniquely to address their distinct needs, as a one-size-fits-all teaching method doesn’t always apply. My primary focus is on encouragement and building confidence, demonstrating that, with some adjustments, anyone can produce great floral photographs.” What’s the most common challenge your students face when photographing flowers, and how do you address it? “Problems with focusing come up quite frequently,” shares Marina. “This can be due to incorrect settings with shutter speed, ISO or aperture, or perhaps down to weather and light conditions, or not using a tripod where it might be beneficial to. “I run through with my students a checklist of things to notice about their surroundings, and how to then alter their camera settings or physical position accordingly. “Once they grasp the technical reason why it is happening, they are quickly able to implement corrections and see results.” How do you approach a new commission, especially when working with clients who might have a specific vision or theme in mind? “Attentively listening to the client and their desired theme is paramount,” she explains. “Clients often indicate from the start whether they seek my creative input or have a well-defined vision. Both scenarios are equally valid, so maintaining a delicate balance and ensuring continuous client involvement through regular check-ins is essential. “I particularly enjoy collaborative work with other creatives; it’s a refreshing change to brainstorm ideas when I’m so used to working independently.” How do you think photographers can play a role in promoting environmental awareness and conservation? “Photographing a variety of plant life – especially that which benefits pollinators – will help to educate the public about the importance of biodiversity in their own gardens. “Photographers can also document changes in plant life and landscapes, particularly those impacted by climate change or human activity. These images can serve as a visual record of environmental shifts and the need for conservation efforts. “Collaborating with particular environmental organisations to raise awareness about critical issues will similarly be important and I think artistic expression shouldn’t be underplayed either in its impact – photographs focusing on the beauty of plants can evoke emotional responses in viewers and be a powerful motivator for individuals to protect the world around us.” How can gardeners best capture their plants and gardens through photography? “I believe in capturing gardens in a way that reflects their unique character and the original intention of the gardener is best,” Marina shares. “In structured gardens with defined features like hedges and straight beds, photographers can emphasise leading lines or explore abstract perspectives. For more loosely planted gardens, the focus may shift to the texture, colours or patterns created by plant arrangements. “Across all garden photography, early morning light is ideal, as it casts a golden glow with moisture still hanging in the air, creating a magical ambience. Alternatively, experimenting with backlight techniques during sunset can yield equally captivating results.” What advice would you give to budding photographers looking to specialise in botanical or flower photography? “To truly capture the essence of a plant, it’s important to ‘work the subject’. Instead of settling for a single shot, invest time in studying the flower or plant, discovering its most flattering angles. “I often draw a parallel between flower and portrait photography, where each subject has its own ‘best side’. Some flowers look best when photographed front-on, while others benefit from a more angled approach. “By taking numerous shots and experimenting, you’ll gradually develop an intuitive understanding of how to best capture various flower types.” Do you have any upcoming projects that you’d like to share? “I’m currently developing an online flower photography course that will offer a go-at-your-own-pace learning experience,” she discloses. “The course will encompass a blend of written and video content, allowing participants to engage at their convenience without the constraints of strict schedules. “My goal is to design a course for individuals with a foundational knowledge of their cameras but who are eager to advance their skills in flower photography in particular.”
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Jake Hobson From Niwaki On The Artistry Of Japanese Gardens And Tree Care
In 1997, Jake Hobson travelled to Japan, initially drawn by the cherry blossom season. There, he discovered a profound appreciation for Japanese gardens and tree care – so after spending time learning traditional tree care techniques, Jake returned to England and introduced Japanese gardening tools to Western gardens through his business, Niwaki. Today, Niwaki offers a curated range of quality gardening tools inspired by Jake’s experiences in Japan, which he shares in this article. What initially drew you to Japan in 1997, and how did your interest in the cherry blossom season, ‘hanami’, evolve into a passion for gardens and trees? “I was an art student studying sculpture at the Slade and I was living with a bunch of friends, one of whom had a girlfriend from Japan,” shares Jake. “The way she talked about Japan made me curious, so I applied for a travel award from UCL to see the cherry blossom for social rather than botanical reasons. I discovered the gardens (which I knew nothing about) and their amazing trees. “That led to a year teaching English outside Tokyo and then to work at a tree nursery in Osaka.” What were the most valuable lessons you learned about tree training and pruning whilst there? “It took a while to really understand and most of what I was introduced to in Japan didn’t really make sense for several years until I’d got back home and started doing things myself,” he explains. “That was when I realised that the curious shapes of Niwaki in Japanese gardens didn’t happen naturally because of the type of tree, but were artificial. “I thought plants had to be named japonica to look like that, but the eureka moment was when I showed some photos of Dorset to the boss of the nursery and he pointed to the Scots pines in the background, and said, ‘matsu, onaji’ (‘pines – the same’). “I argued that they looked completely different to his nursery trees and he made a gesture of cutting scissors with his fingers. Only then did I realise that it’s not so much about the tree itself, it’s what you do to it.” What inspired you to start Niwaki, and how did you come to realise that Japanese gardening tools could be just as effective in Western gardens? “Back in the UK, I started pruning for clients and worked at Architectural Plants in Sussex. I was using tools I’d brought back with me, as well as two tripod ladders my brother-in-law had shipped from Japan. “These were most likely the very first aluminium tripod ladders in the UK, and people noticed. The ladders were particularly useful for hedge work and tall topiary, especially in borders. “I was doing a lot of box clipping at the time, so the shears and one-handed clippers soon attracted attention, as well as the secateurs I used.” What’s the most rewarding part of your journey with Niwaki so far? “I think I get the most pleasure from hearing from happy customers around the world who thank us for making the knowledge, techniques and tools available,” shares Jake. What advice would you give to someone looking to incorporate Japanese gardening techniques and tools into their own Western garden? “If you’re thinking of adding Japanese elements to your own garden, think about what attracts you to Japanese gardens and the impact it will have,” he advises. “Personally, I avoid Japanese ornaments such as lanterns, bridges, paths and fences, and prefer pruning, not to make my garden look deliberately Japanese, but as a way to create a sense of landscape and to bind the garden together.” Do you have any particular career highlights that you would like to share? “I’ve been lucky enough to be on television with Carol Klein on Life in a Cottage Garden and Monty Don on Gardeners’ World, and it’s great fun randomly catching a re-run on daytime TV! “I’ve also worked in some amazing private gardens and met some extraordinary people in the industry. “As the Niwaki business has grown, I’ve been very proud of how the team has developed, and I’m particularly proud of our shop in Chiltern Street, London, which just celebrated its two-year anniversary.” Do you have any upcoming projects or collaborations coming up that you are looking forward to? “As always there are lots of projects and collaborations coming up,” hints Jake.- “Most of which we can’t talk about just yet, but they include new products, collaborations with exciting partners and travel, all to come in 2024.”
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Ian McBain On The Specific Challenges That Arise When Designing Gardens
Ian McBain is a renowned garden designer and founder of Tythorne Garden Design, a company dedicated to creating beautiful and practical gardens in Grantham, Stamford, Newark and surrounding areas. With a background in design from the Royal College of Art and teaching experience at various UK universities, Ian’s reputation as a trusted professional in garden design is further established through his monthly column in Link Magazines and guest speaking engagements at Nottingham Trent University. Please note that all imagery in this guide is provided with permission by Ian McBain. Watch my full interview with Ian McBain in the video below: What are some of your earliest memories of gardening? “I wasn’t an early gardening convert,” Ian confesses. “I do have childhood memories of my parents looking after the garden. I was occasionally asked to mow the lawn, but I didn’t really get it. I didn’t really understand what the fuss was about. “That was until my wife and I bought our first house. We inherited a little garden from the previous people in the house, so we kind of felt duty-bound to look after it. “It was then that the penny dropped and I suddenly realised how much enjoyment a garden can provide and it slowly dawned on me that garden design could become a viable career option for me.” Can you share a bit about your journey from studying design at the Royal College of Art to establishing Tythorne Garden Design? “I’d already done a product design degree and knew that I absolutely loved designing and making things,” he says. “I also found I quite enjoyed learning about the theory and the history of design, which is a crucial part of the course. I was lucky because I was offered a place at the Royal College of Art to take a Masters degree in the history of design, which was a fantastic experience. “Although I loved that course, I realised that I missed the actual process of designing, so after a little detour, I enrolled on a garden design foundation degree at Nottingham Trent University. “That course helped me embed the horticultural and the practical knowledge that I needed. Alongside that, I went to work as a part-time landscaper with a local company so I could develop those practical and construction skills as well. “About 2 days after I finished the course, I set up my own landscaping and design business and nearly 20 years later, here I am, still doing it.” You’ve been designing gardens since 2004. How has the landscape of garden design changed over the years, and how have you adapted to these changes? “The thing that’s probably changed most is customers aspirations; people now want so much more from their gardens. They want them to do more than they generally did in the early 2000s. “When I first started doing this, it would be a case of looking through a few books or magazines, or maybe visiting a few gardens. Whereas now we’ve got Instagram and all the other platforms that give us so many opportunities to see different ideas and get inspiration from different resources. “The other thing that’s changed is that we have started to realise that pollinators and wildlife are really important to our gardens and that’s now starting to make a difference in how we approach design. “In terms of how I’ve adapted, it’s about constantly looking at what’s changing, listening to people, talking with other designers and landscapers and trying to make sure that I’m keeping on top of things.” How do you go about approaching a new design? “It’s always about listening,” explains Ian. “The customer is king or queen in the process, so I’ll always start by wanting to understand who they are and what they perceive to be the issues with their current garden. “It’s key to trying to make sure that the garden responds to its location and the architecture of the house but the primary aim should always be, in my view, to create the garden that will deliver solutions to the customers. “Above all else, it’s trying to make sure that the plants are always the star. Beautifully laid paving is great, but it never is going to delight in the way that glorious planting can.” Are there any specific challenges that come with designing gardens? “The biggest challenge at the moment I’m finding, and I’m sure I’m not alone in this as a designer, is budget,” he shares. “So often people, particularly if it’s their first time having a garden designed and built, don’t really appreciate how much it can cost. I always make a point in my first conversations with the customer where I ask about budget and we’ll try and have that conversation early on. “It’s not about taking a commission and designing a garden that looks amazing and they love everything about it until they get it priced. That doesn’t do anything for the customer, doesn’t do anything for my reputation, doesn’t do anything for my personal satisfaction. “It’s about being honest and helping people get the best value they possibly can and avoid some of the expensive mistakes that people tend to make if they go their own way. “We’ve also got opportunities as well. I get to help people create spaces that hopefully they’re going to spend lots of happy time in with their friends and family. It doesn’t really get much better than that. “To be able to play a tiny part in that is a joy. So yes, there are challenges and yes, particularly at the moment, budgets are a concern because prices aren’t going down. But when it works, and we’re able to guide a customer through the process and they end up with a garden that they adore, it doesn’t get any better.” What’s your favourite part about your job? “I’m lucky because I get the variety so no two gardens are ever the same. I also really love the process of working with a customer and seeing a garden being transformed is great. “To see how the customer responds to that is amazing. To take somebody from a garden that is uninspiring and isn’t doing what they want it to do to a space that they love spending time in is fantastic. “I can’t imagine doing anything else.”
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