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Interview: Mark Fane, Crocus Co-Director, PGB Trustee

It is 30 years since Mark Fane built his first garden at the RHS Chelsea Flower Show and this year will be the last. As Crocus bows out of the show, Mark reflects on their incredible legacy of designer partnerships that have delighted show visitors and viewers and inspired a new generation of designers, landscapers and nursery folk.

Written by:

Hattie Ghaui

Published on:

May 20, 2024

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It is 30 years since Mark Fane built his first garden at the RHS Chelsea Flower Show and this year will be the last. As Crocus bows out of the show, Mark reflects on their incredible legacy of designer partnerships that have delighted show visitors and viewers and inspired a new generation of designers, landscapers and nursery folk.

Tell us about your RHS Chelsea medal-winning history with Crocus.

Crocus has now built 38 gardens (including the two we’re building this year), of which 33 won RHS Gold medals and 12 won Best in Show. Before Crocus we built three gardens - two Golds and one Best in Show. The very first of these was a garden for Christopher Bradley-Hole but the first we built as Crocus was for Gardens Illustrated magazine in 2000, designed by Arne Maynard and Piet Oudolf. We had a shoestring budget but we pulled out all the stops - it’s still remembered as an iconic Chelsea garden, winning Gold and Best in Show. Not a bad way to kick things off!

We know it must be a little like choosing a favourite child, but what are your highlights?

With 38 gardens to choose from, it’s quite hard! But I’ve been really thinking about this and I think there are five from over the years that are really special. 

ONE

Tom Stuart-Smith’s garden in 2008 for Laurent Perrier with the cloud-clipped hornbeam trees was really understated but undoubtedly very sophisticated.

TWO

In 2015 Dan Pearson created an homage to the Chatsworth House rock garden for Laurent Perrier. The thing I really liked about this one was that when we visited Chatsworth to select rocks, we discovered that Paxton - the designer who built the original rock garden - had left the rocks he had rejected in the woods. They were just lying around! We brought them all the way to Chelsea, where they won a Gold Medal and Best in Show, having suffered from rejection for the last 150 years, and now they’re back at Chatsworth, showing off to all the other rocks!

THREE

The garden we built last year with Sarah Price was really spectacular. It was really a very special and interesting design, but the cool thing about it was the sustainable way it was built. The hand-crafted bowls and bricks made without cement, the straw walls…it was a fantastic achievement.

Four

The garden I thought was really transformational was with Christopher Bradley-Hole in 1997 called the Latin Garden. It just blew everyone away. We built it with virtually no training or experience - it was really near the beginning of our careers - the water feature leaked and we had all sorts of issues with it, but it won Best in Show and is still remembered as one of those gardens that pushed the envelope for garden design at Chelsea. I love that. 

FIVE

Finally, Andy Sturgeon’s garden for M&G in 2019. Johnny Woodford created incredible burnt oak sculptures that seemed to rise from the earth like geographical monoliths. It was all about regeneration - showing how nature reclaims, adapts to and colonises environments. It’s a garden I’m really proud to have been a part of and one that is inspiring lots of the gardens we are seeing come through at Chelsea five years later.

Sarah Price's Nurture Landscapes Garden at RHS Chelsea '23. Photo by Eva Nemeth

You mentioned that you didn’t have horticultural training when you established Crocus and started building gardens at Chelsea. What led you into the world of horticulture?

My Dad was a gardener and I used to earn pocket money on a nursery - it was called Waterers Nurseries in Bagshot, so I sort of grew up with gardening around. But I had absolutely no intention of carrying it on. I went off to business school, then worked in the city. But quite quickly I realised there was something not quite right about a young whippersnapper pontificating and telling people how they should run their business so I made the unwise decision of trying to do it myself. My timing was unbelievably bad - in 1992, just as the economy was crashing, I left a very highly paid job for a very unhighly paid one. My father had died unexpectedly, and everything was sold off; my brother Pete and I bought the landscaping side of the business and decided to make a go of it. We built it up into a really successful corporate grounds maintenance company before we sold it. That’s where I learned about horticulture, and it pushed me forward to establish Crocus when the internet really started taking off. 

What gave you the idea of partnering with garden designers to create Chelsea gardens?

When we started Crocus there really was a limited choice of plants available to the consumer in garden centres. We could see all the incredible plants that designers were using - we were growing wholesale plants for a lot of them - but the general public couldn’t buy them. We wanted to bring that variety and choice to people and by showcasing the latest cultivars and planting trends at Chelsea, we added a touch of glamour to the range we were selling and gave people a really easy way of recreating a little of the Chelsea magic at home.

The National Garden Scheme Garden, RHS Chelsea '24, Designed by Tom Stuart-Smith. Photo by Britt Willoughby

What purpose do Chelsea gardens play for the average gardener do you think - it is about demonstrating accessible ideas, or is it more aspirational than that?

For me, Main Avenue at RHS Chelsea is the catwalk of the gardening world. it’s about showcasing the extremes of what is possible so that people can take that idea, normalise it, and use it for their own homes and gardens. A good example this year is the structure Je Ahn has designed with Tom Massey for the WaterAid Garden - few people will have one of those rainwater harvesting structures at home, but it raises an important issue about water and encourages people to do something similar. The same is true of the plants that are used in Chelsea gardens - everyone wants to see the plant list so they can add something current to their own gardens. And designers are very reliant on nurseries to make it all happen. 

The WaterAid Garden, RHS Chelsea '24. Designed by Tom Massey & Je Ahn. Photo by Britt Willoughby.

You often talk about the importance of having a good team around you. How crucial has your team been to achieving the accolades you have over the years?

It’s absolutely everything. If you’re going to ask someone to get up at five o’clock in the morning to drive a truck to Chelsea and sit in traffic for five hours, or ask someone to put in 10 hour shifts, 7 days a week for a month, they have to completely get what you’re trying to achieve and be a part of it from the beginning. We speak to all our team about the design, about the concept, and in the case of the gardens we’re building this year, about the charity we’re building for. If they buy into the vision, then half the job’s done - everyone on the team will pull together to make it all a reality. And for most of us, it’s not just about getting the job done, it’s about winning the medal, winning Best in Show and that is a powerful motivator. 

Le Bosquet de Chanel, RHS Chelsea '98. Designed by Tom Stuart-Smith

Tell us about some of your more outlandish or unusual memories of Chelsea. 

Very early in my career, we built a garden for Chanel. On the Sunday, Karl Lagerfeld, who was creative director at Chanel, turned up with a host of supermodels in tow for the photocall. We had a gold Venus de Milo style sculpture on a plinth in the garden, and Karl turned to me and said “Just put one of the supermodels on the statue over there please.” So after a brief hesitation, making eye contact with the model to check she was OK with this, I lifted her up onto the pedestal. She was completely calm about the whole thing - I of course was absolutely terrified! 

You’re a Vice-President of the RHS, a Trustee of Project Giving Back, with so much industry experience, what do you think Chelsea contributes to the wider UK horticulture industry?

There are certain events we put on in the UK that I believe are truly world class and RHS Chelsea Flower Show is one of them. It really is where the UK horticulture industry gets to show off its tail feathers and do business with the rest of the world. From the specialist nurseries who showcase their treasures in the pavilion, to the guys who work relentlessly to build showstopping gardens in just 3 weeks, it’s a well-oiled machine that never fails to delight, amaze and deliver for everyone involved. I think it still has a long way to go to achieve optimum sustainability credentials, but it’s certainly moving in the right direction, and I’m excited about seeing how it evolves over the next few years.  

“There are certain events we put on in the UK that I believe are truly world class and RHS Chelsea Flower Show is one of them.”

It’s Crocus’s last year building gardens at the show, but in a personal capacity, will you still have a presence here? Can you assure us you’ll be here next year?!

Definitely! Of course I’ll miss the build up to it and the drama and adrenaline, but it feels like the right thing to do, for us and the business. I am loving being a Trustee of Project Giving Back and helping realise that dream and there’s so much more to achieve there over the project’s final two years so I’m looking forward to seeing that through. And I feel that going out on a high with Tom Stuart-Smith is serendipity in many ways - I started with Tom and this will be my 11th collaboration with him at Chelsea. We’ve always aspired to achieve the highest quality possible but that comes with a lot of pressure and I’m now looking forward to being able to wander around and not feel that I’m responsible for any of it.  

Want to know more about the history and work of Mark and Crocus at the RHS Chelsea Flower Show?

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