Beyond many faced restraints, inherent seasonal constrictions and a planting palette that is reduced to seed-heads, textures and autumnal companions (such as vibrant blues and violet tones ) designers from around the world took on the idea of pushing their spaces into new and unchartered landscapes:

With an emphasis on the essentials, stripped bare from most of its alluring early summer glamour, many gardens, displayed at the first autumnal RHS Chelsea Flower Show, reflected the shared history experienced in the last months with one thing in common: An internal need for structure that harmony is allowed to thrive within.

Since the art of making a garden has been prominent in history, trees have been used within landscapes to establish foundations that allow for adding texture rich shrubs and a playful take on perennial planting, yet also providing space for the sometimes harsh and always incontrollable wilderness of nature to co-exist. It acts as a curated structure that allows to conjure up stability without deflecting from the fluidity and motion experienced in nature itself.

Reimagining was at the forefront: From outstanding specimens of Hippophae rhamnoides (sea buckthorn) framing the inventive planting in the M&G garden, designed by Charlotte Harris and Hugo Bugg , discussing the importance of sustainable and repurposed landscapes in urban environments and highlighting the matter of co-exsiting alongside nature whether in the past, the present or the future — to the clever use of an often overseen yet intriguing Rhus typhina “Dissecta” (sumac), used by Thomas Hoblyn in his sanctuary garden to lead gently into the space that is sheltered by a slatted oak sculpture highlighting the use of light throughout the garden, complimented by otherwise minimal planting emphasising the importance of textures within smaller landscapes.

Besides trees, hedging or even topiary, water provides an additional layer of structure within a space that can enhance both the ecological communities within any environment as well as adding another layer of harmony to it — both in a physical and spiritual way:

An extraordinary example is the Guangzhou Garden designed by Peter Chmiel alongside Chin-Jung Chen where man made structures were elevated into dynamic and airy social shelters set within an urban woodland filled with perennials such as Thalictrum delavayi “Splendid White” (Chinese meadow rue), Verbena hastata “White Spires” (vervain) and Salvia uliginosa (bog sage) nestling against the peaceful shallow pond that added depth and interest to the space — reimagining a landscape to distribute cleaner air amongst contemporary cityscapes, whilst further creating a microcosm for nature to thrive within: a well stricken balance between structure and wilderness.

The bare-bones of a what can make a garden great have never been embraced more evidently by the designers that shared their perspectives of contemporary landscapes —both large scaled and throughout smaller spaces such as the balcony and container gardens:

James Smith highlighted his space with Arbutus undo (strawberry tree) featured within his balcony garden that was further filled with lush abundant planting such as Thymus serpyllum “Snowdrift” of Jasione laevis (sheeps bit scabious) set amongst small stepping stones acting as a repetitive structure in the space — to craft a naturally wild hideaway that is both divers and versatile in its use.

Using both plants and containers as the leading elements within a space Sara Edwards introduced the idea of re-settling nature within contemporary urban environments. Her “Tiny Forest” inspired by the Bosco Verticale in Milan as well as the soil restoration work of Japanese botanist Akira Miyawaki — showed how excess materials like readily available Intermediate Bulk Containers can be repurposed to craft environments that allow wildlife and nature to co-exist in already used spaces. With a textural mix of ferns and grasses such as the Japanese field fern Dryopteris erythrosora “Brilliance” combined with Hakonechloa macra (japanese forest grass) Sara showed her approach to crafting harmony within a structured landscape.

This September show has been a great reminder of what is possible within the season of autumn and how the underlying foundation of a landscape, crafted through structures such as trees, shrubs or man made pergolas, sculptures or even containers are vital to any space.

Serene additions of water — artisan craftsmanship and the compelling understanding of ecological processes has shown what is possible within any space.

It allows for creativity to work within the boundaries that are carefully chosen and conjures up harmony between our interaction with the natural world: it is a reminder of a universal interconnectedness and and inextricable bond that we share with being nature ourselves.

With a mixture of woodland planting and charred coal sculptures Tom Massey crafted a space that aligned intense textures with bright and bold colours through such as Kniphofia or a combination of Bistorta merging with Crocosmia, whilst at the same time highlighting soil fertility and its important value moving forward into a nature rich future. It has to be the most impactful space that does reflect structure as the organic foundation that is evident everywhere around the globe and the added stream flowing gently through the space nods towards the life-giving qualities that water offers. Tom Massey has crafted an intriguing landscape that subtly points towards our part in moving forwards and to reimagine our individual efforts.

A September in Chelsea offers more than planting inspiration — in fact it shares a valuable lesson:
From a recent past spent with a lot of uncertainty and ever-changing circumstances gardens and natural landscapes have the ability to show that trusting in natural processes can lead to an experience of profound beauty and abundance. Not simply for our own being but for a thriving eco-system that allows to be taken care of by gardeners and anyone that feels called to contribute to a greener future.