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I arrived at Jacksons Wold without much of a plan, which, in hindsight, is often the loveliest way to discover a garden, letting it reveal itself slowly, without expectation. Set quietly in the chalky folds of the North Yorkshire Wolds, it doesn’t announce itself from the road, but that only adds to its quiet allure. I seemed to wind my way off the beaten track for miles, passing through a patchwork of agricultural fields and quiet countryside, before finally arriving at the garden, tucked at the heart of a working family farm behind a huge windbreak of trees. Jackson's Wold is a farm growing mostly potatoes, stretching far and wide, but at its heart, hidden just behind the trees, lies a stunning series of garden rooms, quiet pockets of beauty that flow seamlessly into one another, stunning in their simplicity and grace. I’d visited to see the roses, so the garden rooms came as a delightful surprise. The owners guided us through each space, revealing the rich history, careful planning, and delicate intentions woven into every detail. We began in the woodland garden, where the trees shelter the house and its surroundings from the steady, strong winds. The woodland paths meander gently into the kitchen garden, where a beautiful buxus parterre unfolds, guiding the eye toward a charming greenhouse that stands as the garden’s quiet focal point beyond. The kitchen garden was full of vegetables, protected by netting, held up on simple posts, crowned with terracotta pots. Among them, a few old roses lingered, soft and weathered, quietly adding their charm to the scene. When I returned home and read more about the garden, I discovered that the kitchen garden’s design was influenced by Rosemary Verey’s potager at Barnsley House, a beautiful reminder of how gardens can carry stories and inspirations across time and place. Next, we moved into the meadow, lined with lime trees. Their branches arched lightly overhead, guiding the eye toward a weathered bench at the far end, perfectly positioned to take in the sweeping view of the landscape beyond. We wandered through the meadow and a charming little plant nursery, its tables dotted with promising young perennials, before arriving at a quiet gravelled area tucked behind the farmhouse. It was one of those unexpectedly lovely spaces, simple, but full of quiet intent. Neatly clipped balls of Buxus and Taxus baccata had been thoughtfully arranged among weathered fragments of ancient stone, each piece steeped in local history. There was a calm, timeless beauty to it all. I knew at once it was an idea I would carry home, a vision for reimagining my own gravel driveway with a similar sense of restraint and grace. Beside the farm house a gravelled Courtyard offers a quiet but composed space .  At its centre, a round stone pond with a gently bubbling fountain creates a calm focal point. A short flight of steps leads up to it, adding just enough formality to anchor the layout. Billowing drifts of Nepeta  softened the edges, their cool purple tones contrasting beautifully with the sun-warmed brick walls. The planting was loose but deliberate, with texture and movement playing a greater role than colour alone. It was a restrained, thoughtful space, designed as much for pause as for passage. Beautiful as the Courtyard was, what really caught my attention was a small wooden ramp built into the pond, designed to help frogs and other small mammals escape the water easily. When I asked the owner about it, he explained it was a thoughtful solution inspired by Scampston Walled Garden, not far away. It’s a subtle yet clever detail, yet another idea to consider for my own modest garden pond. Leaving the courtyard, we moved to the front of the farmhouse, where the paving was casually peppered with Achillea mollis  and Campanula , allowed to seed naturally in whatever crevices suited them best. A beautiful old variegated rose climbed nearby, its subtle foliage a gentle foil to a stunning pink fuchsia that caught my eye and, I confess, one I couldn’t resist returning to the nursery to purchase for my own garden at home. This is Fuschia 'White Knight's Blush '. The paving led on to a more formal lawn, enclosed on either side by generously planted herbaceous borders. These were full of colour, texture, and movement, clearly laid out with a confident yet relaxed hand. Beyond them, a backdrop of tall trees provided structure and shelter, giving the whole space a sense of calm enclosure, a garden that knows how to frame its views as well as its planting. At the end of our tour we reached the stunning Walled Rose Garden - the jewel in the crown of Jackson's Wold. Once a working farmyard, it has been transformed by owners Richard and Sarah into a classic English rose garden: enclosed, structured, and filled with scent. Tall brick walls now shelter a space that feels both generous and considered, where the planting is abundant but never unruly. The garden is laid out in three long, parallel borders, each devoted to a distinct palette: one white, one soft yellow, and one a blend of pinks and mauves. This quiet rhythm of colour brings order to the abundance, drawing the eye naturally along the space. At the far end, an old farm barn provides both shelter and backdrop, its walls softened by climbing roses in full bloom. My favourite was Rosa 'Ghislaine De Feligonde' . Nestled among the borders are simple seating areas, just the right spots to sit and take it all in and a striking greenhouse that adds both structure and charm to the space. We lingered over a leisurely lunch in the garden before the time came to bid farewell. Jackson’s Wold is a beautifully conceived garden, its flowing design and confident planting creating a sense of ease and generosity throughout. But for me, it was the walled rose garden that left the deepest impression, a space of such character and quiet beauty that I find myself already hoping to return one day. Garden Writer | Guineveres Garden

I began my working life in the Potteries area of Stoke on Trent, so that part of the world has always meant a great deal to me. Years later, I was delighted to discover that Arthur Parkinson had created a garden at the Emma Bridgewater Pottery in Stoke, a place I’ve long admired for its celebration of British craft. Back in 2018, Arthur penned a heartfelt book celebrating two of his enduring passions, hens and flowers, and the quiet joy of weaving them into the industrial rhythm of the pottery, all while cultivating a garden there. A recent visit to the factory and its garden, brought his story vividly to life, and it’s inspired me to return to the book, The Pottery Gardener by Arthur Parkinson, and to share my thoughts about it with you here. Arthur grew up in the North of England, surrounded from an early age by strong, nurturing women who inspired and encouraged his love of poultry and plants. It was his mother and grandmothers who first introduced him to the joys of the garden passing on their knowledge with care and enthusiasm. His love of poultry began with childhood hours spent watching hens at nearby allotments and on farm holidays in the Peak District. As he grew older, his interests were further shaped by the influential works of plantswoman Sarah Raven, whose vibrant approach to gardening captured his imagination. Equally formative were his childhood visits to Chatsworth House, where the Duchess of Devonshire’s renowned poultry collection left a lasting impression. Arthur opens the book with memories of this childhood shaped by nature, leading to a journey and commission in Stoke on Trent : creating a garden for The Emma Bridgewater Pottery. The book begins by detailing how Arthur set about creating his garden, which he describes as essentially container gardening on a grand scale. He installed large raised beds and used a variety of containers, including troughs and dolly tub-style planters of different sizes and shapes. Arthur places strong emphasis on the care of the garden’s most vital component, the soil, and offers in-depth guidance on how to maintain its health and fertility. The book then explores the rhythm of the garden through its three main seasons. Spring bursts into life with wallflowers and tulips, followed by the rich tapestry of Summer, featuring alliums, dahlias, and roses. In Autumn, the garden reaches a dramatic finale with a spectacular pumpkin display. Arthur favours bold, jewel like colours throughout, creating a vibrant and theatrical atmosphere. Hens roam freely around the gravel paths adding a typically Arthur touch. The book is wonderful and feels incredibly real, largely because of the way Arthur writes, with genuine heart and passion for his work. He takes the time to describe many of the plants he chose for the garden in vivid detail, offering tips on how to care for them, grow them, and nurture them. He also shares his favourite varieties and colours, making you feel both informed and inspired. By the end of the book, I felt a garden like this was more than achievable myself. Arthur has a real flair for dramatic, architectural plants, the kind that make a bold statement and instantly catch the eye. They're not what I'd usually choose for my own garden, but the way he talks about them, with such passion and clarity, convinced me to give them a try. I’ve decided to experiment with globe artichokes, cardoons, and maybe even some ornamental grasses, plants he uses to great effect. The book is filled with beautiful images of these and other plants, as well as glimpses of his chickens, all photographed by Arthur himself. The book takes you through each season with a comprehensive checklist of tasks to tackle and when to do them. Arthur is generous with his knowledge, sharing his tried-and-tested methods to help you get the best out of each season’s planting. He also includes profiles of some of his favourite seasonal plants, paired with gorgeous photographs that truly inspire. His enthusiasm is infectious and made me want to put some of his ideas into practice in my own garden straight away. My favourite ideas from the book include some really unusual and striking sunflowers, Valentine , Vanilla Ice , and Claret , which add a fresh twist to the typical sunflower palette. I was also drawn to the wide variety of dahlias, with Mel’s Marmalade  standing out for me. It paired beautifully with the autumn pumpkin display that’s both described and photographed in the book. I also loved the section on tulips, both the planting ideas and Arthur’s beautiful photography. He goes for deep, jewel-toned varieties like Queen of the Night , Chato , Brown Sugar , Ballerina , and Jan Reus , which really look spectacular together. Teamed with wallflowers like Sunset Purple  and Sunset Pink , the combinations are stunning. Whether they’re planted in raised beds or layered as bulb lasagnes in galvanised dustbins and troughs, they look completely at home in the pottery garden’s industrial setting. Another thing I really love about the book is how seamlessly the garden connects to the pottery made and sold on-site. So many of Emma Bridgewater’s designs feature flowers and animals, and Arthur brings that to life beautifully, cutting blooms from the garden and displaying them in vases and flower pots from the collection, often choosing pieces that feature his much loved hens. It’s wonderful to see all these threads, the factory, the pottery, the hens, Arthur’s life, and the garden, woven together into something that feels so personal and full of character.  It’s very subtly and cleverly done, and I get the sense that Arthur has a natural instinct for pulling all these elements together almost without even thinking about it. Arthur left the factory in 2019, and as I write this in the summer of 2025, the garden he created is still very much alive. I’ve visited the factory many times over the years, and the garden continues to be lovingly cared for, bringing joy to everyone who stops by. My most recent visit was in summer, but now that I’ve reread the book, I’ll definitely be returning in spring and autumn to catch the tulips and pumpkins at their best. Arthur may have moved on, but his heart, soul, and ideas are still deeply rooted in the place. If you get the chance, I’d really encourage you to visit the factory and garden yourself and, of course, to read the book. It’s full of inspiration, practical ideas, and Arthur’s unmistakable passion for growing. Whether you have a large plot or just a few pots, there’s something in it for everyone. Guineveres Garden | Garden Writer

I was really excited to visit the Cottage Herbery. The couple who had lovingly run it for nearly 40 years had only stepped away a few years ago, so getting the chance to be there felt like something truly special. It wasn’t just about seeing the place, it was about hearing their story, feeling the spirit of what they’d built, and soaking up even a little of the wisdom they’d gathered over a lifetime spent working with plants and sharing their passion. All set for an afternoon immersed in herbs, I was surprised, pleasantly so, to arrive and find a small field bursting with cut flowers and row upon row of Irises. It turned out this beautiful display was the work of India, the couple’s daughter, who now runs her own floral business. She’s developed a real passion for Iris breeding, with many of the striking varieties coming from the United States. It was an unexpected twist to the visit and a lovely surprise. Kim and Rob ran the herb nursery for many years, travelling to plant fairs, giving talks, and even winning awards at the Chelsea Flower Show. So it was a real treat to hear them share stories about the history of the site. And while I’d come expecting herbs, what I discovered instead was something equally inspiring, the transformation of what had once been a rather plain and functional farmyard into a beautiful gravel garden. Listening to them talk about the process, with all its challenges and creativity, was fascinating. The farm itself once grew hops, and the rather industrial-looking structure in the yard had housed a hop-picking machine. Today, it’s been beautifully transformed. A garden now surrounds and softens the space, with glorious rambling roses weaving their way up the old framework. Their delicate blooms and graceful stems stand in striking contrast to the barn’s sturdy metal supports, a perfect blend of the past and present, where beauty and utility meet in the most unexpected way. It was fascinating to hear about the couple’s vision from the outset, the hard work they had put into clearing and planting the site, along with the thoughtful reasons behind their plant and design choices. What I especially appreciated was that they had undertaken all of this work themselves, with only occasional help from friends. The gravel garden featured a wide mix of perennials and annuals, some quite unusual, and others more familiar to me, such as Papaver , Lavandula , and Verbena bonariensis . Care had clearly been taken to ensure the planting looked beautiful from every angle, sitting perfectly within the space. The garden was further enhanced by a stunning backdrop of farm fields and distant trees. Whilst Kim described in detail how the planting had come about, Rob was equally enthusiastic in sharing how much wildlife had been attracted to the garden during its transformation. He was very observant, keeping a log of different bird species, and even had an interesting piece of equipment that could detect a variety of bats, many of which could now be seen around the garden. Although the garden wasn’t particularly large, it had three distinct sections. The outer area featured a gravel garden, while behind and extending into the barn were grass pathways and borders filled with perennials. A cloud-like Lonicera nitida  hedge cleverly framed different views throughout the space. There was even a natural-style swimming pool, beautifully integrated into the design and perfect for a dip when the weather allowed. What really struck me was Kim and Rob’s enthusiasm and the passion they still had, even though they had stepped back from running the herbery itself. They kindly let us wander into the herb section of the garden, which consisted of a series of polytunnels and greenhouses packed with herbs and plants, many of which were for sale. There was also an amazing selection of books available, as they were trying to downsize their collection. I was thrilled to purchase one of the herb books that Kim had written herself and felt especially lucky to have her sign it for me. For those of you who are interested the book is called "Herbs - The Secret Properties of 150 Plants". It was a beautiful afternoon, and the weather was perfect. I spent quite some time wandering through the herbs and exploring the various parts of the garden, realising that anything is possible in gardening if you have passion, vision, and the tenacity to see a project through. Here, what was once almost an industrial environment had been transformed into something truly beautiful yet it still retained elements of its past, with some of the original structures thoughtfully preserved as a subtle nod to its history. In most gardens I visit, I usually take away a plant, a clever planting combination, or a new design idea. But this garden was very different. What I took away instead was a powerful sense of passion, drive, and commitment. The ability to hold a vision of what a place can become,regardless of where it starts, and to have the tenacity to see that vision through, was truly inspiring. The herbery and its garden served as a reminder of what I should keep in mind as I continue to restore my own garden, which was quite neglected at the outset. Holding on to that sense of vision, passion, and perseverance feels all the more important now. Guineveres Garden | Garden Writer

Last Summer I finally made it to the Emerald Isle and, as a garden lover, I went armed with a rather long must see garden wish list. Jimi Blake's Huntingbrook Garden had long been at the top of that list - but what I hadn’t expected was the surprise of discovering that Jimi Blake’s sister, June, has her own stunning garden just nearby in Blessington, Co Wicklow. I was lucky enough to meet June in person and visit her garden during my trip. She began by sharing a little of her own background and the garden’s history explaining how it all came to life. Then came quite a relaxed tour of the garden itself, led by June who gave lots of insights along the way. The visit ended with tea and cake in one of June's beautifully converted, award-winning barn studios. It was the perfect way to relax at the end of a very long day. I know the moment I walk into a garden whether I like, love, or even loathe it. But it’s only later - when I revisit it in my mind, looking back at my pictures, notes and memories - that everything clicks into place, and I truly understand the space. That’s exactly how it was with June’s garden. There was layer upon layer of space including vibrant borders, a shimmering pool, a wild meadow, just so much going on and details to take in. But as I walked to the top of the garden, there was a sudden and calming, clear sense of landscape and place. This feeling was strongest at the very top of the garden, where the trees opened up to reveal a view of the distant Wicklow mountains. In that fleeting moment, I realised the house and garden weren't just beautiful, they held a quiet sense of history shaped by time, memory and the people who had passed through them. What really struck me about June’s garden was the riot of colour and the sheer height of the plants - densely packed into stunning, carefully coordinated beds adjacent to the house. There are around ten rectangular beds, each edged in sleek, contemporary steel, and in many ways, they feel like ten distinct gardens of their own. The use of colour in June and Jimi’s gardens was striking. It’s clear that they both have an incredible sense of artistry and natural flair, something instinctive that allows them to be bold, experimental, and confident with vibrant colour. And with their gardens so close together, they can share ideas, inspire each other, and collaborate in ways that only deepen the creativity in both spaces. Some of the raised beds in June's garden have a calm and soft tone, whilst others are bold and full of energy or more experimental and can change from year to year. One of the beds contained a striking yellow Phyllostachys (bamboo) which perfectly complemented many tall yellow coloured plants such as Silphium perfoliatum (cup plant), Rudbeckia laciniata (coneflower) and Helianthus  'Lemon Queen' (sunflower). I loved the long, dark reflective pool, elegant and still, bordered on one side by soft grasses leading out to a meadow, and on the other by a densely planted bed bursting with jewel-toned reds, oranges, and bright, vivid blooms. It was a striking contrast: calm and wild, restrained and exuberant, all in one view. This part of the garden is a challenging area to design as it is set on a noticeable slope, but clever use of stone walls and gravel have helped overcome that. The materials June has chosen link the planting beds, reflective pool, and pathways back to the stonework of the house, creating a sense of cohesion and drawing the whole space together with a natural ease. June is a master of colour, and it showed not just in the bold pairings of plants, but also in the careful play of texture throughout the garden. One combination that stood out to me was a striking white Lysimachia clethroides (goosenck loosestrife) set against a deep red Mondarda (scarlet beesbalm), a simple but powerful contrast that added real depth and energy to the planting. The garden featured plenty of dahlias, many of them grown from seed, which brought an element of surprise and fun to the space. Their variety in colour and form added a sense of spontaneity, making each part of the garden feel a little different and full of personality. Alongside the more familiar hot oranges and reds, June also used bright pinks to great effect, drawing the eye through the planting. On their own, the pinks could have felt a bit too bold, even garish, but set against softer lilacs and fresh greens, they found balance and energy, adding vibrancy without overwhelming the space. The bright pink Sanguishorba worked really well bringing a sharp pop of colour to the planting around it. In other parts of the garden, the planting took on a more restrained and traditional feel. One herbaceous border in particular, with its soft pastel and lilac shades, wouldn’t have looked out of place in a classic country house, offering a calm, timeless contrast to the bolder colours elsewhere in June's garden. Here, a gap in the yew hedge framed the view of the field beyond, cleverly extending the sense of the border’s length. I especially loved the spiky white Veronicastrum virginicum planted throughout as its elegant form lifted the eye and gently guided it along the border, adding both rhythm and lightness to the planting scheme. It was refreshing to see some truly unusual plant combinations, including the use of architectural plants like bamboo. Its strong, sculptural form added structure and contrast, fitting seamlessly into the garden while giving it a modern, dynamic edge. June very cleverly made the garden feel spontaneous and natural, but beneath that relaxed appearance, it was clear that a great deal of careful thought and planning had gone into every border and planting combination ensuring every element worked perfectly within the whole. June's garden is one I would very much like to see again if I am lucky enough to return to Ireland one day. Guineveres Garden | Garden Writer

There were so many reasons why I’d always wanted to visit Provence. The iconic lavender fields and the serene Senanque Abbey had topped my list for years - images I'd seen a hundred times, yet never experienced for real. But Provence offers so much more than just postcard views. There's the scent of Grasse, the perfume capital of the world, and the delicate Centifolia roses (or May Rose) grown at Domaine de Manon exclusively for Dior. And then there’s Miraval, Brad Pitt’s vineyard estate which adds a touch of modern glamour to this stunning landscape. But when I finally got to visit, what touched me most wasn’t any of the things I had imagined. It was a quiet, hidden garden - simple, tranquil, and impossibly beautiful - that stole my heart. And it's that garden that I want to share with you here. This beautiful garden was tucked away on the outskirts of a small village, not far from Bonnieux, made famous by Nicole de Vésian’s iconic garden La Louve. The garden was filled with lavender, a variety of medicinal and aromatic herbs, and other plants typically found in the Provençal landscape. Juniperus communis (common juniper) grew all through the garden, mostly as low, spreading shrubs rather than tall, slender trees. I’ve always loved how its berries bring out the flavour of meat and give gin its distinctive edge and knowing that they also have medicinal uses just adds to its appeal. Scattered throughout the garden was Delosperma cooperi, or Cooper’s hardy ice plant, with its vibrant pink flowers and low, spreading matt growth. It was thriving effortlessly in the warm, dry conditions and really caught the eye. The effect of light on the flowers was far more noticeable here. I loved how the garden, mostly composed of countless shades of green, was suddenly brought to life by bursts of colour, perhaps a deep red rose standing out against a pale wall that itself shifted in tone with the changing sunlight, from soft to bright depending on the time of day. It was so tranquil in this garden, whether waking in the morning, drifting to sleep at night, or wandering through it beneath the midday sun, a deep sense of peacefulness seemed to linger in the air. The garden enveloped you completely. Set on a series of terraces, it was a place where you could easily lose yourself. I loved exploring, turning a corner, descending a few steps, and finding something new each time: a cobbled terrace bathed in light, a neatly patterned herb parterre, or a terrace overflowing with lavender. It was hauntingly beautiful. Some gardens I read or hear about and dream of visiting for years before the opportunity finally comes. Others I stumble upon by pure chance. Whichever way I find them, there is always that same rush of emotion on seeing a garden for the first time. Often, there is simply too much to take in, and being caught up in the moment, it’s easy not to pause and truly appreciate everything: the setting, the design, the planting, the atmosphere. There are so many layers to a garden. Only now, as I look back and write about this beautiful garden in Provence, do I realise just how special it was, how fortunate I was to be there, and how much I long to return. To revisit it slowly, with the benefit of familiarity, and really come to know it. There are, after all, far too many gardens in the world to see. Guineveres Garden | Garden Writer

I had one of the most enjoyable days out I’ve had in a long time when I visited Rode Hall for their annual Snowdrop Festival. I knew very little about Rode Hall and went quite ill prepared. Years ago, a friend who had worked in the gardens suggested I visit, but for one reason or another I never got around to it. Now I regret not going sooner. The snowdrops were arranged in natural drifts throughout the wild garden, and it was a pleasure to walk along the woodland paths, taking in the different varieties. Many were planted on terraces along a gentle incline, so you could appreciate their nodding heads without having to bend down. There are over seventy different varieties of snowdrops including Lady Beatrix Stanley, Lady Elphinstone, Straffan, Magnet, S Arnott, Blonde Inge, Mrs Macnamara, Rev. Hailstone, Sickle, Woronowii and Jaquenetta. The path sloped down past a small pond, its surface was dull in the cold Winter light. A wooden bench sat off to one side, half surrounded by snowdrops. They had pushed up through the wet soil, scattered rather than planted and everything felt so calm and still. The path kept going, curving through thin woodland where the ground was soft and the air smelled faintly of damp leaves. Then the trees gave way to a small clearing. At the bottom of a steep slope there was a round stone pond and fountain, clearly manmade, the stones weathered and a little uneven. Higher up, set where the ground levels out, another bench looked down toward the fountain. Sitting there I could see the whole space at once, the pond, the incline and the trees at the edges. There’s no grand view, nothing arranged for effect. Just a contained, ordinary quiet that makes it easy to stay a while and contemplate. I spent a good hour wandering in this part of the garden, and it wasn’t just the snowdrops that drew my attention, Helleborus (Hellebores), Rhododendrons , and Daphne added colour and scent to the stroll. There is nothing pretentious about Rode Hall, it has a calm, natural feel, and walking there I felt quietly connected to the place and eager to see more of the garden. Later, I learned that in 1790 the owner of the hall, Richard Wilbraham Bootle, commissioned a red book from the landscape gardener Humphry Repton, a reminder that this garden has been thoughtfully shaped for centuries. The Red Books were created by Repton in order to illustrate his designs to his clients and they were distinctively bound in red leather. There were approximately four hundred of these books produced in total and just over one hundred are known to be in existence today. I wandered back from the wild garden toward the house, terrace and the rose garden which were laid out in much more formal lines. At the time, I didn’t know who had shaped them. I only felt the shift from looseness to order, from wild to intent. Later I learned the Rose Garden was commissioned from William Andrews Nesfield, one of the most sought after landscape architects of the mid Victorian era, a man whose work reached from Castle Howard to Regent's Park and across many of England’s great estates. Knowing that changed my thoughts and perception of the garden. What had seemed simply composed was, in fact, deliberate and part of a larger vision. I discovered this only after my visit. And once I understood that so many of Nesfield’s designs have been lost altogether, I knew I would have to return to Rode Hall perhaps in the Summer, when the garden would be in full bloom so that i could see the effects of the formal design filled in with planting. February isn’t the best time to see a rose garden. Everything was bare, the canes cut back, the beds dark and open. But that made the structure clear both in terms of the paths, the edges, and the way the beds hold their shape. I could notice it all in a way you wouldn’t when the roses are in bloom. At the centre of the rose garden stood a statue, set perfectly in line with the terrace steps that lead up to the hall. The line carried my eye past her, out across the garden, and all the way to the lake beyond. She was a wood nymph, and she faced away from the house, toward the woodland and the wild garden where she truly belonged . In winter, with the roses gone, she isn’t just decoration. She anchors the space, giving shape and purpose to both the formal garden and the untamed ground beyond. This stunning statue was commissioned by the present owner of Rode Hall from the great nephew of Clough William Ellis, the creator of Portmerion in Wales. I had only seen two parts of the garden, yet already there was a clear thread connecting it to significant designers of the past including Repton, Ellis, Nesfield. Every element carried a story, a lineage, a deliberate hand shaping it and I had only just touched the surface. Rode Hall garden really is remarkable. I walked up the steps to the terrace and around the house toward the walled kitchen garden. Even here, the design was clear with everything aligned, each focal point deliberately placed, whether within the garden or stretching out into the landscape beyond. Along the steps, terracotta pots held dark crimson Helleborus (hellebores) and white Galanthus (snowdrop)s. Simple, restrained, yet striking. I made a note to try the same idea with my own pots at home. For me, even in February, the Walled Kitchen Garden was the jewel in Rode Hall’s crown. Tucked away to the side of the house, this two-acre garden is one of the most beautiful walled gardens I have ever seen. Perhaps it is because it feels so unspoilt, with the gardener’s cottage built right into the garden and walls, looking out across the space it cares for. It is a breath taking place and totally unspoilt unlike many other walled gardens that still exist today. I discovered that over the years, the kitchen garden had fallen into neglect, but careful restoration has returned it without spoiling its character. It’s divided into four sections, growing fruit, vegetables, and flowers, each area clearly defined and very well ordered. February isn’t the ideal time to see a kitchen garden, but the layout and structure were easy to see. The espaliered apple and pear trees caught my eye, their bare branches forming precise, elegant patterns along the pathways of the garden and in a small orchard area. I noted down two pear varieties, planning to try growing them as espaliers on my own allotment, inspired by the simplicity and care of this garden. I chose Doyenne du Comice a late season pear that originated in France around 1840 as well Conference that dates back to 1885 and is often said to be the definitive British pear. The head gardener, lives in the gardener's cottage and I discovered that he is an accomplished grower, having won several competitions for his gooseberries, even earning the title of World Champion. Recently, I came across a method of growing gooseberries on a single-stem cordon, rather than the traditional bush. It caught my attention, and I made a mental note to give it a try myself, perhaps with the Montrose variety, as grown at Rode Hall especially for competition. Rode Hall, is a Grade II listed park and garden and is one of the most unspoilt and enchanting gardens that I have visited. On my snowdrop visit, I only glimpsed a fraction of the garden, missing the grotto, the pool, the Italian garden, and the herbaceous borders. I couldn’t help but feel like I’d barely scratched the surface. It’s one of those rare gardens that stays with you, and I’m already looking forward to returning in the summer. Garden Writer | Guineveres Garden

I felt very privileged to visit this beautiful and unusual garden, which offers the most breathtaking view across the Welsh hills. The garden is made up of many hidden areas that gradually reveal themselves one by one as you explore. Although the entire garden sits on a gentle slope, from the top terrace near the house there is little hint of the series of secret gardens that lie below. Near the house are a series of herbaceous borders where a conscious effort has been made to grow plants that truly thrive. Rather than completely redesigning the borders, the approach has been to divide, split and expand what is already growing well, allowing the planting to evolve gradually and naturally over time. Many of the garden’s features are sunken, and at the top of the garden there is an unusual circular fire pit set into the ground in stone, with a rust-coloured centre. This contrasts beautifully with the surrounding dark green yew hedges, as well as the warmer rusty tones of the grasses and the bright sedum nearby. Between the different garden rooms are wider expanses of grass and even a woodland in the distance. These spaces are often punctuated by sculptures, such as these unusual metal spheres. Many of the pieces also have a connection to the family who created and care for the garden, beautifully tying the space to the people behind it. Beyond the fire pit and herbaceous borders is a small pond with a duck house at its centre, which immediately draws the eye. Looking beyond the pond, in the far distance, a mown grass pathway runs through the woodland towards a small building. It is a very clever design feature, drawing the eye onward and inviting you to explore further into the landscape. Beyond the pond is an unusual wooden bridge which curves upwards over the driveway approaching the house and leads off into the woods beyond. It is a beautiful addition to the space that cleverly links two very different parts of the garden together. Towards the bottom of the garden is a purpose built kitchen garden, perfectly positioned in full sun next to the gardener’s cottage. It is very thoughtfully laid out, with a mini orchard on the slopes above, a large greenhouse, and a series of raised beds, all designed for ease of management and maintenance while creating a productive and attractive space. This is a fabulous area, and at the time of my visit, pumpkins were growing, ready for a Halloween display, alongside fruit, vegetables, and cut flowers for the house. The greenhouse was very well arranged, filled with tomato vines and other tender plants. It is a beautiful space to work in, and a real treat to be able to stroll through the rest of the garden while accessing this more productive area. Close to the kitchen garden is one of my favourite parts of the garden: the sunken water garden. This peaceful, tucked-away space offers a beautiful spot to sit and enjoy the exquisite water features below, with another stunning sculpture at its centre. I have never particularly liked sculptures in gardens, but this garden completely changed my mind. When tastefully placed, a sculpture can add a whole new dimension to a garden space, enhancing its character and sense of discovery as you can see from the stunning centre piece of the water feature below. The final part of the garden is the most spectacular and is astonishingly hidden away. It is approached via a wide pathway that gently slopes upward, and as you walk along it, the ground begins to open up with tall banks on either side—this is the entrance to the very unusual quarry garden. The quarry garden features dramatic, rocky, and steep terrain, with hundreds of uneven stone steps. It is known for its lush plantings of rhododendrons and azaleas, creating a magical and intimate landscape. Fern filled glades and hidden corners make the space feel secluded, offering a unique and engaging experience as you move through it. For many years, this part of the garden had fallen into neglect, with fallen leaves piling up and concealing much of its original layout. Gradually, the area has been cleared, and certain features have been carefully restored with the help of historical photographs. The quarry now includes multiple ponds, flowing streams, and a waterfall, surrounded by a wide variety of mature rhododendrons, azaleas, and a tulip tree. Efforts continue to identify some of the older rhododendron specimens. Unfortunately, there wasn’t enough time to explore the entire garden, which spans over nine acres. I hope to return someday to enjoy the woodland walk and wander around the large lake at the back of the property. It was truly a wonderful day spent in a spectacular and very unusual garden. Garden Writer | Guineveres Garden

On a short trip to Ireland, I was lucky enough to visit the National Botanic Garden at Kilmacurragh, where the head gardener Seamus O'Brien kindly gave me a guided tour of some of the highlights. Kilmacurragh is one of Ireland’s most important gardens, well known for its collection of mature and unusual trees, its wildflower meadow, and its extensive herbaceous borders. At the centre of the garden stands Kilmacurragh House, which suffered a major fire in 1976 that destroyed the entire interior. The house has remained derelict ever since, although over the years there have been various efforts to raise funds for its repair. The ruins sit within the grounds of the National Botanic Gardens at Kilmacurragh, which are the sister gardens to the National Botanic Gardens at Glasnevin in Dublin. It was a beautiful, calm and sunny day and, although it was very sad to see the house in such a derelict state, Seamus explained that they were now much closer to securing the funding needed for its restoration. He spoke with great enthusiasm about the plans for the future, describing how the layout of the house would be arranged, and in particular where his own office would be situated, which you could tell was something very close to his heart. To the front of the house stands one of the icons of Kilmacurragh, a remarkable specimen of Cryptomeria japonica , often described as a living fossil. Around 150 years old, it stretches an extraordinary 30 metres across while reaching only about 6 metres in height. We were kindly allowed to step inside this wonderful and historic tree, and the experience felt both otherworldly and surreal. Closer to the house, the gardeners have created a wildflower meadow inspired by the traditional hay meadows of the past. Seamus spoke with great pride about this project, which began in 2007. He explained that the key to its success has been the introduction of Rhinanthus minor  (yellow rattle), a plant that can reduce grass growth by up to 60%, allowing more delicate and unusual species to thrive. At the time of our visit, more than 130 species had been recorded, including Dactylorhiza maculata  subsp. ericetorum   (heath spotted orchid) and Lotus corniculatus  (bird’s-foot trefoil), which is the larval food plant of the common blue butterfly. Seamus then explained that this whole area was once regularly mown, and it has taken many years to establish the more traditional meadow that exists today. He was keen to point out that this is not a pictorial meadow, which is usually created from curated mixes of wildflower seeds. Instead, it is a natural grass meadow, much closer to what would have been seen in the past and a reminder of landscapes how they used to be, before the widespread use of fertilisers and herbicides. We continued walking through the meadows until we reached the Broad Walk. This style of garden walk became popular in the 1840s following the creation of the Great Broad Walk at Kew Royal Botanic Gardens, designed by the renowned landscape architect William Nesfield, who also designed the Rose Garden at Rode Hall, which I mentioned in one of my other posts. Kilmacurragh’s Broad Walk was laid out in the 1850s by Thomas Acton and his sister Janet. It was designed with enough width for two Victorian ladies, wearing wide, flowing crinoline dresses, to promenade side by side. The walk is lined with alternating Taxus baccata  'Fastigiata' (Irish yew) and Rhododendron  'Highclere' ( R. altaclarense ) , creating a striking and formal avenue. There were some stunning plants and combinations in the herbaceous borders, although there wasn’t enough time to explore them fully. I was particularly taken by the striking pairing of purple Symphyotrichum  asters with Triteleia laxa , also known as triplet lily, which created a truly spectacular combination. We walked away from the house and down an avenue of Rhododendron arboreum and Irish yews ( Taxus baccata ‘fastigiata’ ) where we found ourselves surrounded by glades of southern conifers and many other rhododendron species. As we continued, Seamus led us past a large wooden door that opened into his own personal gardening space within the great estate. He was reluctantly persuaded to let us take a look inside, where several garden beds were set out to grow all types of fruit and vegetables. It was a lovely moment, as he seemed both embarrassed and proud at the same time, joking that he would have tidied up if he had known we were going to look behind the door. This memory stands out clearly in my mind from that wonderful day. Despite all the magnificence of Kilmacurragh Botanic Gardens, this small personal garden held just as much significance with it's own sense of place. I was deeply saddened to learn of the passing of Seamus O’Brien, the head gardener of Kilmacurragh Botanic Gardens. Widely respected as one of Ireland’s leading horticulturists, he devoted his life to plants, conservation, and the restoration of these remarkable gardens. Remembering the small, personal moment we shared that day now feels even more meaningful, and it remains a lasting reminder of the passion and care he brought to Kilmacurragh and to Irish horticulture as a whole Garden Writer | Guineveres Garden

Hare Hill Garden was left to the National Trust by Charles Brocklehurst in 1977. The Brocklehurst family were involved in the manufacture of Silk in Macclesfield and were very well connected. When Charles inherited the garden, it was in a state of neglect, but he was interested in horticulture, and through his connections he contacted the renowned garden designer James Russell. Together Charles and James restored the walled garden and woodland area planting many trees, rhododendrons and shrubs. The garden sits in what was originally a large country estate, and as you approach, through the iron gates and fields, it's hard to imagine a garden at all in this type of landscape. The walled garden was originally the Victorian kitchen garden for the main house, many years before Charles inherited it. When I first visited, I was a little disappointed that the kitchen garden had completely disappeared but, as I delved into the history, I found there was a lot more to this garden than initially meets the eye, and it has a very poignant story. Instead of a productive kitchen garden, the garden contains three herbaceous borders, a pergola, two horse statues, and a huge expanse of grass. I discovered that Charles Brocklehurst had a wish that all who visited the garden should "gain aesthetic and spiritual refreshment", and he had left the entire estate to the National Trust, at the time of his death, with the condition that the house be sold and the money raised be used to maintain and support the garden. From this clause in his will, it is clear that Charles had far more spiritual connection to the garden, than he ever had to the house. With a little more research, I found that Charles had a twin brother called Patrick, and both brothers spent most of their childhood at Hare Hill. In 1930 Patrick's horse fell during a steeplechase , he was very badly injured and died the following day aged just 26 years old. I think the death of his brother had a profound and lasting effect on Charles, and this is most probably why the garden is designed how it is, even to the present day. The two horse statues in the garden were commissioned by Charles just before his death, which was over forty years later. They represent the separation of the twin brothers and their shared love of horses. With the huge expanse of grass in the garden, the statues are real focal points, and the fact that they were put in place forty years after the event, surely shows how much bereavement played on Charles's mind. So despite the inherent beauty, there is a very sad back story to this very special place. The walled garden sits behind tall brick walls and iron gates, in the midst of a very wooded area. The palette is subdued with predominantly white undertones. It almost feels like a place of memorial and reflection with a true spiritual feeling. Plants are grouped in pairs throughout, possibly representing the two brothers and the tragic loss of one of them at such a young age. It's a lovely area for families to vist and perhaps have a picnic on the lawn, with plenty of room for children to play on the grass, but it's also a place where someone who has suffered their own loss can come to sit quietly, connect to nature, and reflect. There are two wire benches situated on either side of an iron pergola, set back behind the herbaceous planting. Here you can sit very quietly, immerse yourself in the garden and its surroundings, and free up your mind to the nature and sounds of the garden. A very meditative and contemplative place. When I realised this about the garden, I forgot my initial disappointment and realised that I had truly arrived at what Charles himself described as a spiritually refreshing location. It's very fortunate that records exist of the full palette of plants that James Russell chose for Hare Hil, as well as a border plan that described and illustrated the herbaceous borders in detail. As far as I am aware the National Trust are now working towards reinstating everything in line with those plans to ensure the garden appears as close to original as possible. I was particulary impressed with the greenhouse, situated just outside the garden walls, where propagation of plants seemed to be well underway. You really have to grasp and understand the back story of this amazing garden to truly appeciate it. I'm sure that Charles gained much pleasure himself from the garden, and surely felt a spiritual connection to his brother in that place - hence the commissioning of the two statues and leaving the garden to the National Trust, rather than a private buyer, for it's long-term preservation. It's a beautiful legacy that he left to all those visiting both now, and in future, children and adults alike - just as it was for his own family - enjoying the estate in childhood and looking back in contemplation later in life. It's a place of spiritual connection that I feel very lucky to have visited. The pairing of plants is a very noticeable theme within the walled garden itself, but is perhaps even more impressive outside of those walls in the surrounding woodland. Just outside the walled garden are two cedar trees planted very closely together. This is very unusual and, although there is no evidence to support it, the age of the trees and their close proxmity to each other could suggest they were planted to commemorate the twins Charles and Patrick Brocklehurst. These trees are Cedrus atlantica glauca or Blue Cedar. A few years ago, the two trees showed signs of terminal fungal disease but, due to their significance and connection to Hare Hill, money has been invested into trying to treat them. I sincerely hope that this is effective. The trees could be deemed to represent the two brothers towering in strength, reaching up into the sky and looking over the garden that formed a part of their childhood, and life, just a short distance beyond. There was a truly magical feeling and magnetism around them. Hare Hill is situated at the top of Alderley Edge on a sandstone escarpment that overlooks the Cheshire Plain. There are many magical connections and legends associated with the area, and Alderley Edge has several myths and historical connections. The soil is very acidic and so Rhododendrons , Hydrangeas and other acid-loving plants, such as Azalea really thrive here. Most of the woodland area around the walled garden comprises this type of shrub, and it is amazing to see in the springtime. However, the woodland area also has herbaceous planting which links with some of the planting within the walled garden, and so connecting the two distinct areas together. Some notable plants in the outer area are Japanese Anenome, Sedum, Fuschia, Dahlias and Roses all in a beautiful colour pallette. The walled garden contains a mainly pastel palette of plants mostly represented in pairs. I really like this spiky Cleome hassleriana, which was repeated throughout the borders and gave an oriental look, which contrasted well with the tall brickwork of the garden walls. Echinacea or coneflower was quite prevalent as well and, again, this is a striking plant which really shone out amongst the rest of the more restrained planting. There were several roses, skimmia and phlox repeated throughout the borders, with cleome too. All the planting was in cool colours, with the occasional contrast colour of yellow or a quite subdued pink, but mainly ethereal in nature. Outside of the garden walls was the woodland area which had a very different vibe. Trees that had fallen were left in this woodland area, slowly decaying and covered in lichen and moss. The upturned and rotting roots were eye catching and drew attention away from the rest of the towering trees beyond. If you started to think too deeply, there was a real connection between life and death in this area of the garden. Similar to the walled garden itself but much more profound. Throughout the woodland area there were places to sit, contemplate and take in the surroundings. Some were rustic style wooden benches and others more ornate iron benches or simple picnic tables for families to enjoy. Several wooden bridges linked two woodland ponds which had attracted a family of ducks. On the surface this was a beautiful natural area with wildlife but, if you started to contemplate and look at the water closely, you could see not only the reflection of the landscape but the reflection of your own soul Hare Hill is multi-faceted. On the surface a beautiful woodland and walled garden for families to enjoy and pass a few hours one afternoon. For others the garden is a place for very deep thought and spiritual connection - not just in relation to their own life and experiences but to Charles Brocklehurst, his own childhood memories growing up at Hare Hil,l and his darker moments and legacy to his brother and generations of others beyond. It is very rare to experience all of this in a garden, and I feel priviledged that the kindness and vision of one person left this legacy for all. Hare Hill Garden is a very special place indeed. Guineveres Garden | Garden Writer

From the moment I stepped through the rather unusual entrance gates I knew that this garden was different. I was intrigued and keen to find out more as very little is given away on first impressions. Owned by a renouned designer and his wife, this is a garden of two distinct halves each gardened by a very different personality and each with it's own individual feel and design. Although a garden of two halves there are other parts to this garden, one of which comprises traditional lawn and very tall topiary that surrounds the house itself. In many places this is edged with lavender and there is a large silver sculpture in the centre of the lawn which is a nod to the design background of the owner. The best parts of the garden are hidden away behind this cloud shaped hedging and each reveals itself to you one at a time. You are led through the garden and this journey starts where the cloud topiary ends. At the beginning, the garden leads you, by a gradual narrowing of the lawn, to the end of the topiary garden and the entrance to the designer's garden beyond. The first of the hidden gardens belongs to John Makepeace, the award winning funiture designer, maker and teacher. This garden is very design orientated and quite modern in feel with lots of grasses, a pond and a striking summerhouse which appears to float at the edge of the pond and is accessed by a wooden walk way. The whole feel here is contemporary and minimal. There are many different grasses which give structure and movement to the garden. Much thought and consideration has been made to choose varities which have a range of different heights and colour. The garden has a relaxed, meditative and peaceful feeling to it and gives interest through every season. When we first arrived at the garden John explained a little about his long career in design, wood and furniture making. He showed us his woodstore which was something quite special containing wood from trees that had fallen in a storm at Kew Gardens, London. It's not surprising therefore to find wood features quite dramatically in John's own part of the garden. The wooden walk ways are expertly designed as is the stone and wood summerhouse which is the centrepiece and main focal point of his garden. The summerhouse has full height windows on two sides and beautiful furniture but also a doorway leading on to the other garden which belongs to his wife, Jenny. Just like the topiary garden John's design garden leads you unwittingly from beginning to end. It was easy to imagine yourself spending hours in this beautiful setting. It's the perfect spot for reading or just emptying your mind and relaxing either on a warm summer day with the doors open and the grasses gently swaying in the breeze or in the midst of Winter wrapped up well and watching the garden blanketed in snow. This garden works whatever the season. As I walked through the Summerhouse to Jenny's garden I stopped to take one last look. The back of the summerhouse is curved in stone and surrounded with much taller grasses through which you can just glimpse the curves of the pond and the curved bridge beyond, both mirroring the curve of the summerhouse itself. Straight lines and curves have been used to great effect both in the architecture and the planting of the garden all depending on the angle of observation. The grasses pull everything together and the overall scheme has been cleverly thought out. This isn't just a garden, it's a spectacular example of design. Jenny's garden is a complete contrast to John's but it is also quite separate and so the two work side by side but hidden from one another. As you leave John's summerhouse behind you find yourself on a gravel pathway flanked on one side by a tall wall and framed by huge trees on the skyline. This is a potager, cottage, cutting, fruit and vegetable garden all in one. Wood also features in this garden - there is a beautiful fruit frame, many wooden edges to the planting areas and a stunning glasshouse as well as Jenny's garden studio which also features wood and well thought out design. The garden is full and brimming over with Summer flowering roses, geraniums, foxgloves, lupins and many other cottage garden type plants. Jenny's seating area is a simple metal table with chairs situated in the middle of the garden complete with a contrasting coloured parasol. Rusted metal rebars had been used as plant supports or curved into garden arches and these fitted in perfectly to the artisan feel of her garden. There were rustic design features such as the old beer barrel complete with weathered teracotta pots which doubled as a water butt and sat in front of a wooden framed small pond complete with beautiful pink water lily. This garden had a wild and abandonded feel with plants allowed to spill over into the gravel pathways or self seed whereever they felt happiest. Pots were placed throughout the garden to add colour and interest away from the planting beds themselves. The whole place is a profusion of life and colour which became overwhelming in a beautiful mind numbing way. This was a real working garden and the greenhouse was full of seed trays whilst the cold frames were all full of more tender looking plants. It's clear that Jenny is a plantswoman and not afraid to experiment with propagation, seed sowing and taking cuttings of plants. A glimpse inside the studio showed that Jenny, just like John, had her own contemplative garden space. Here she was working on pottery and there was a very cluttered and artsy feel to her studio - just like her garden, but in total contrast to the grass modernist garden and summerhouse of John's. At the edge of this garden were some weathered oak gates which signalled the end of the garden and the beginning of something else - an old orchard and meadow area. Again the gates drew your attention away from the cottage garden to the expectation of something beyond - so the end an beginning was yet again expertly curated. The meadow area was the last part of the garden and even here there was contrast - a grey wolf sculpture sat in this part of the garden alongside the geese who waddled around oblivious to their sculpted companion. As we wandered in the meadow there was one last treat in store - this beautiful bee orchid, Ophrys apifera , was flowering just beneath one of the old apple trees. A wonderful surprise and a reminder of just how special the Makepeace garden is. Definately a garden to put on your own garden wishlist. Guineveres Garden | Garden Writer

I had very little idea what to expect when I travelled to Dorset earlier this year to visit a handful of gardens, including a Walled and Rose Garden designed by Isabel and Julian Bannerman. This beautiful garden is nestled deep in a valley, enveloped and protected by the rolling hills and countryside beyond. Roses are one of my favourite flowers, and the Bannermans are garden designers whose work I have admired for years. I have most of Isabel's books, and I've seen many images of their spectacular gardens in glossy magazines. To see a romantic themed Bannerman garden in person, filled to the brim with roses and the Bannerman signature oak design features was a special treat. I felt priviledged to have this opportunity, and am very thankful to the owners who opened, and shared, their stunning garden for a few hours with me. Set back from a country lane, a winding gravel driveway leads to the property where the garden is tucked away behind an oak gateway, which leads into a courtyard area packed full of the most beautiful and fragrant roses. There is a feeling of being deep in the English countryside, surrounded by fields, country lanes, bird song and peace. When I visited in June the roses were in full bloom and set off beautifully with clipped topiary, foxgloves, peonies, alliums and geraniums too. There's a timeless and romantic feel throughout the planting in this garden, complemented by the moss and lichen which has been allowed to creep over much of the paving, as well as the teak and rattan furniture, giving the impression everything has been here for many years. It's very cleverly curated and whilst there it felt as if time had temporarily stood still. There are many different parts to the garden, and each flows seamlessly into the next. In the rear garden area, there was a charming side courtyard tucked away close to the house, which mainly comprised of pots containing topiary and cosmos all set off by the stone steps and light coloured pea gravel. Roses were everywhere with many different varieties - shrubs, climbers, ramblers both old and new. They looked so natural, but it was clear that behind the scenes hours of work and planning had gone in to creating this garden. I particularly liked this lovely espallied rose set off with the purple geranium below, a simple but stunning way to cover the cream coloured wall. Many of the roses had been cut, and put on display, with stylish labels so that it was easy to see the colour and form of the flower very close up. My favourite was this deep maroon Rosa ' Charles de Mills' an old, once flowering rose, dating back to 1790. There were many other roses on display too, including these two tone roses Rosa 'Ferdinand Prichard' a repeat flowering climbing rose and Rosa 'Eyes for You' an eyecatching floribunda. It was lovely to see all the beautiful rose cuttings, and it's rare to see so many rose flowers close up. I made mental notes of the ones which really caught my eye, and there were plenty to choose from, as there are hundreds of roses in this stunning garden. From the courtyard area we wandered around to the front of the house which contains a large lake together with pretty rowing boat. The lawns sweep down to the lake which is set off beautifully against the rolling hills behind. For a moment you could almost forget you were in a garden, as it felt so much part of the hillside, hedges and trees beyond. Before I'd even seen the rest of the garden, I knew this was a very special place, and I'd never seen a garden so well placed within the surrounding landscape. It was stunning. The front of the house has fairly restrained planting as the lake is the feature here. There are a few roses, but the path leads you around to the side of the house, which has also been cleverly designed to sit perfectly within the landscape beyond. This lovely stone seating area is aged with lichen, and it's difficult to see where the garden ends and the field behind actually begins. This sense of the garden sitting within it's landscape was evident throughout, and has been expertly designed. Walking along the side of the house we were led into a narrow area with a rill to the side. This area comprised the fields of the natural landscape, then a pathway with more natural planting beneath trees with a topiary lined water rill to the side, filled with carefully placed and manicured topiary balls of Buxus and Taxus baccata as well. There was a large blue seat with small pond and gravel planting area with the Bannermans signature weathered oak features that perfectly replicate the look of very old stone. The weathered oak features continued throughout the garden and here, in the form of a balustrade, forming a boundary between the garden and field beyond. Every so often there was a bench, recliner or seat enticing you to sit down for a moment and take a while to stop and savour the beauty and nature around you. The borders were filled to overflowing with roses, irises, geraniums, lupins, delphiniums, valerian, allium and all range of typical cottage garden style plants. The colour scheme was pinks, purples, whites, blues and lilacs, which were set off with a pop of dark maroon or scarlet placed strategically through the borders. It was a profusion of colour, plants and romance. The borders appeared as if they had just come together naturally but it was clear that someone with an eye for colour had been involved as the colours complemented each other to perfection. Past all the herbaceous borders was a huge carved oak gate, which was again made to give the impression of stone. Flanked by climbing roses, this gave a tantilising view of the walled garden and greenhouse beyond. This was a cutting, fruit and vegetable garden with beautiful greenhouse and a series of parterre type beds. To give continuity, several of these were planted with similar herbaceous plants as the main garden itself, and so the two areas linked seamlessly together. The planting and standard of the garden was immaculate. The gravel paths were just perfect, and beautifully framed the series of planting beds within the walled garden. It was difficult to take everything in, and so I made copious notes of ideas I could replicate in my own garden. The walled garden is a few steps down from the main garden area and so appears to be almost sunken in style. This is so cleverly thought out because as you cast your eye beyond the boundaries of this garden area your view is drawn to the hills and countryside in the distance, whilst the main garden is hidden from view. As well as vegetables and fruit, the walled garden is packed full of herbaceous plants and annuals, as well as even more roses, many of which are climbing against the walls. Extremely well clipped topiary is scattered about and, in places, under planted with Alchemilla mollis (Garden Ladys Mantle) which spills out on to the gravel and softens up the tightly clipped topiary forms. There are some beautiful terracotta containers placed at strategic points to draw the eye, and all planted with an very beautiful display. All the pots and furniture in the garden are very natural - terracotta, rattan and wood. I think this adds to the timeless appeal and, along with the planting and design gives the impression of a place which has stood still in time. As we left the garden there was a glimpse of a meadow leading into the fields beyond. When we visited it was filled with Leucanthemum vulgare ( Oxeye Daisy) planted around a beautiful orchard, with a grass path expertly mowed and winding through the field. It was a haven for all sorts of insects and polllinators, and a beautiful contrast to the rest of the garden. Guineveres Garden | Garden Writer

Chelsea in Bloom is something I look forward to every year. It's a very artsy alternative, or addition to, the world famous Chelsea Flower Show. A flower festival with a theme, which is free to attend, and takes place in the streets of Chelsea, a stone's throw from the famous Flower Show, every year. This event is spectacular with atmosphere because it embraces flowers and people - bringing together local residents and others from much further afield. People stop to admire the flowers, take pictures, talk amongst themselves, or to the exhibitors, taking time to pause, and enjoying a slower pace of life, for a few moments of the day. Chelsea's best retailers, restaurants and hotels adorn themselves with stunning floral designs and compete against each other to win a coveted award. This year's theme was "Floral Feasts", and each contestant has their own interpretation and take on that idea, showcasing displays that Chelsea is very famous for, including its botanical heritage and fabulous food. My tour of Chelsea in Bloom began with the Ralph Lauren store in Sloane Square. The store facade was covered with coffee arabica plants and jasmine, rose, hyacinth and cosmos. The windows had oversized coffee cups, and the Ralph Lauren coffee cart served iced beverages in aid of the Royal Marsden Charity. LK Bennett chose to display an "Afternoon Tea at the Races", with tiered cakes, sandwiches and pastries together with wine - the perfect combination for them, as the Official Sponsor of Royal Ascot. Les Nereides Jewellery store had a very understated design based on their in-store Strawberry jewellery collection. The three-dimensional strawberries were intended to trigger your imagination and evoke a woodland scene of peace and tranquillity. The foliage used real leaves and the strawberries, which were different sizes, had been made from fresh and dried flowers. Les Nereides display had a sustainable theme which fits with the ethos of the Flower Show. Vardo restaurant in Duke of York Square had also taken their inspiration from strawberries. Their two metre tall installation represented the La Bomba cocktail - a fruity delight infused with the vibrant flavours of strawberry and juniper, and topped off with champagne. This was a striking display and looked fabulous against their bar cart and blackboard menu. Trilogy, also in Duke of York Square, had collaborated with one of their key brands to produce a huge ice cream cone. which depicted the true taste of Summer. They combined pastel blooms and sorbet shades with a wildflower archway, and the ice cream installation which worked really well together. Space NQ Beauty Banquet chose to use flowers in a display true to their own brand, and made a simple but striking statement. Their take on the theme served up a mouth watering platter of food inspired, and ingredient led products, such as the bright red lipstick below. An eye catching bold and quirky display was inspired by Trinny Woodall at Trinnys of London. Zesty fruit and bold colours were uplifting, and the fresh lemons with sunny yellow hues evoked a positive freshness. The flowers had been chosen to reflect Trinny London's passion for making every day brighter, and encourage everyone to be their best self. "Floral Feasts" at Brora was my absolute favourite display of Chelsea in Bloom. They had a Sweets and Treats Tea Party Window theme, which continued inside the store where sherbet lemons and mint refreshments were served. This display is a credit to Filomena Martino, the Visual Merchandising Manager, at Brora who always embraces Chelsea in Bloom, and comes up with some brilliant ideas. I am always excited to see the Brora display each year. Their Chelsea in Bloom display was the perfect fit with their ethical values and clothing collections, many of which have a botanical theme - with flower, fruit and food names in abundance. The clothing colour theme at Brora this year includes rhubarb, cherry, chocolate and sherbet, fitting perfectly with the sweetshop display and whole theme of Chelsea in Bloom. Prints such as ‘nettle botanical’ and ‘mimosa bloom’ stir up memories of hazy summer tea parties in the garden. There was a charitable element to "Floral Feasts" at Brora with 10% of their in-store sales of clothing with food-inspired colour names, given to the charity The Felix Project  for the duration of the ‘Sweets and Treats Tea Party’ window. Garden Writer | Guinevere's Garden