The gardens along main avenue this year are all breathtaking, no doubt about it. That being said there were two that I was really drawn too, time and time again while I was there.
On Saturday morning, when Jo Thompson’s garden was bathed in the soft light of early morning sun. The dusky mauves, dark pinks, reds, and apricots all came alive with a gentle glow, transforming the space into something quietly powerful. The intention behind Jo Thompson and her team, the essence of the garden they created, come to life.
The planting was masterful. A carpet of Geranium phaeum ‘Samobor’, with its dark purple blooms and slender necks, formed a cohesive underlayer. This slightly taller geranium with soft, elegant foliage knitted the scheme together. Above it rose peach foxgloves, golden Geum blooms that shimmered like leafed gold, and the rich red tones of Astrantia ‘Claret’.
Then, we had Dacus carota rosea as the umbellifera rising up through, alongside a pink Centranthus for structure – yes, Centranthus – quite often relegated as a weed here in Cornwall, was making an appearance in not only this main avenue garden but at least two others I noticed.
The entire composition sat beneath a multi-stemmed Betula ‘Pink Champagne’—with its cinnamon toned bark. Roses were in abundance, each a different shade of pink, softening the space without overwhelming it. A favourite, Rosa ‘William Lobb’, made an appearance.
The garden was romantic but never cloying—feminine, refined, and filled with warmth. The garden is called ‘Strong Beauty’ and I understood why.
Learning that the garden was created for The Glasshouse Project—a charity that supports women rebuilding their lives after prison—brought even deeper meaning. The space felt nurturing, safe, and hopeful. It was a garden that extended a hand, offered a place to rest, and quietly reminded you of the power of second chances.
A striking contrast came in the form of the Dune Garden, a collaboration between Nigel Dunnett and Jane Porter for Hospitalfield Arts Garden. What stood out immediately was the clarity of design—elegant, refined and confident. The garden was made up of dunes that wooden slats running through them that gave them structure and sculptural quality. The wood has painted iron filings on them and when they were watered they turned rusty to make the wood look like corten steel. I wonder if this is a transferrable hack into an actual garden setting?
I didn’t get a chance to ask Nigel this, but when we did talk we spoke about how he would always use plants to define spaces and solve design problems over hard landscaping materials.
The planting was all drought-tolerant and grown entirely in sand—a technique that’s been on our radar for a while. Speaking with Nigel about it boosted my confidence to experiment more with sand as a medium. Not only does it reduce water needs, but it’s also an excellent weed suppressant.
What struck me most was the simplicity and familiarity of the plant palette. Many were well-loved garden staples—Euphorbia myrsinites, Euphorbia cyparissias, Armeria maritima, Silene coronaria, Sesleria nitida (a revelation for me, as I typically favour autumnalis), Centranthus alba – Centranthus again! Santolina chamaecyparissus, Artemisia, and Ballota. The result was that classic silvery-white-and-glaucous-blue look—resilient, fresh, and timeless.
A scattering of yellow was introduced through more tender species like Bulbine, while Hespera aloe added interest with pink spiked blooms. Background structure was provided by Pinus mugo, underplanted with white Lomandra, a surprisingly hardy evergreen grass with strong year-round form.
Nigel’s philosophy, a “people-first approach” to planting, resonates with us at Alford and Sowter. His work has always been a big inspiration to both Scott and I and he continues to be a touchstone in our practice , him along with Jo Thompson as well. I shall be purchasing her book on new romantic planting for sure.