A Name Rooted in Beauty
Gertrude Jekyll. For many today, the name belongs to a rose - rich pink, deeply fragrant, always dependable. But long before it was attached to one of David Austin’s finest creations, it belonged to a woman whose influence shaped the English garden itself. She was not flamboyant, not loud, but she left an imprint that endures quietly in the folds of herbaceous borders and the soft haze of summer blooms.
An Artist First
Born in 1843 in Mayfair, London, Gertrude Jekyll showed early promise not as a gardener, but as a painter. She trained at the South Kensington School of Art, where her sense of colour, form and composition began to take shape. Those painterly instincts never left her. When failing eyesight curtailed her career as an artist in her forties, she turned her eye to the garden. What might have been a sorrowful retreat became her life’s great work.

A New Way of Seeing
Jekyll brought to garden design what few had before: a deep understanding of colour theory, seasonal movement and natural form. Her borders flowed with subtle gradations of hue. Cool mauves melted into warm apricots. Grasses nodded beside the bold spires of delphiniums. She rejected the stiff formalities of Victorian bedding schemes in favour of something looser, more expressive, more true to nature.
She saw gardens as living pictures, always in motion and always developing. Each plant was chosen not just for its flower, but for the shape of its leaves, the texture of its stems, the way it behaved in light. Her borders were never still. They whispered and shifted in the breeze. They invited the visitor to linger.
Partnership and Purpose
Jekyll’s long-standing collaboration with the architect Sir Edwin Lutyens brought her vision into perfect balance. Where she brought softness, Lutyens provided structure. Stone paths, dry-stone walls, sundials and pergolas gave her plantings a frame. Together, they created some of the most admired gardens of the early twentieth century. Places like Hestercombe, Munstead Wood and Castle Drogo, where planting and architecture spoke as one.
Gardens for Everyone
Though she designed over 400 gardens in her lifetime, Gertrude Jekyll was also a prolific writer. Her books, including Colour in the Flower Garden and Wood and Garden, remain quietly instructive, rich with observation and grounded advice. She wrote as she gardened, with precision, warmth and a gentle sense of encouragement.
She never set herself above her reader. There was no grandiosity in her tone. Only the belief that anyone, with time and care, could make something beautiful grow.
Echoes in Every Border
Jekyll’s gardens may not all have survived, but her influence lives on. The mixed border, now a staple of English-style gardens across the world, owes much to her. Her emphasis on seasonality, on the poetry of planting, still guides modern designers. And of course, her name blooms afresh each spring and summer on the canes of that fine rose, richly scented, deeply coloured and altogether gracious.
Remembering Gertrude
In the garden at twilight, she moves quietly, skirts brushing against the lavender, secateurs held loosely in hand. Not searching for perfection, but always striving for harmony. She understood that gardens are not static displays. They are stories told in colour, form and scent. Always unfolding, always alive.
To remember Gertrude Jekyll is to remember that gentleness has strength, and that beauty, when deeply observed, becomes a form of wisdom. Hers was a life spent in quiet service to that beauty, and the gardens of the world are the better for it.