Garden Shows and Festivals As a Business Model – Case Studies and Innovative Approaches

Garden Shows and Festivals as a business model – Case studies and innovative approaches

Prepared by E M Bennis September 2014

Contents

1.0 Introduction: Aim and Purpose 2.0 Overview of Garden Shows 3.0 Methodology 3.1 Approach 3.2 Site selection 3.3 Initial actions 3.4 Introduction to case studies 4.0 Site Form Assessment 4.1Key Facts 4.1.1 Name & logo 4.1.2 Show category 4.1.3 Location 4.1.4 Venue 4.1.5 Gross floor area 4.1.6 Dates 4.1.7 Origins 4.1.8 Themes 4.1.9 Opening times 4.1.10 Ticket price 4.2 Visitor Facts 4.3 Exhibitor Facts 4.4 Location & Facilities 4.4.1 Access 4.4.2 Facilities 4.5 Exhibitions & Show Gardens 4.5.1 Floral displays 4.5.2 Exhibition gardens 4.5.3 Trade stalls 4.6 Associated & Parallel Events 4.7 Awards 4.8-4.9 Exhibitors Terms, Conditions & Contracts 4.10 Show History 4.11 Marketing 4.12 Site Photographs 4.13 Organisation & Contacts 4.14 Sponsorship 4.15 Economic Impact 4.16 Interviews 4.17 Summary & Conclusions 5.0 Conclusions and Recommendations 6.0 Appendices Site survey forms

1.0 Introduction: Aim and Purpose

It is the main aim of the study to provide sufficient and appropriate information to consider the development of some new or alternative form of garden shows.

The study researches the role of garden shows and festivals and their impact in several categories, such as the variety of uses and potential for parks and gardens, the economic benefits, tourism but also inward investment and job creation.

The study establishes an overview what shows there are and what the nature of the show is. Those shows that are the most compatible with the physical resources and the ideological base of the parks and gardens within Hybrid Parks were selected as case studies for detail investigation. The case studies included Philadelphia Flower Show, Giardina in Zurich, the Keukenhof near Amsterdam, two shows in Germany, “Floralie” in Nantes, Chaumont in France and the RHS shows at Chelsea, Hampton Court and Tatton Park as well as some smaller, more local orientated shows.

Case studies provide key facts (such as location, venue, gross floor area, dates, origins, theme, opening times, and ticket prices), visitor facts (including number of visitors, age groups, professional visitors, reasons for attendance, visitor assessment, origin of local visitors, home/garden ownership and intention to invest in a garden) and exhibitor facts (total number of exhibitors, main exhibitor goals and attainment, ratings, market positioning). Each case study also delivers information and evaluation on location and facilities, exhibitions and show gardens, associated/parallel events, awards, marketing, sponsorship, exhibitor terms and conditions and end with a concise summary and conclusions.

A series of recommendations was distilled from the case studies offering good prospects for new shows. There is certainly the need and opportunity to extend beyond the current norm of visitor profile with a narrow range of age and socio- economic groups. This may move the current idea of a garden show into new dimensions. There may be an emphasis on the arts and music to attract younger generations; environmental issues could form an underlying base; regional food could also attract more visitors. Working with students on the design of show gardens may add fresh ideas to a show and attract new visitor groups. A show based solely on gardens and plants will have a finite audience, a broader base line could prove more economically beneficial as well as more sustainable.

Study commissioned by Schloss Dyck Foundation and realised by Prof Ed Bennis

2.0 Overview of Garden Shows

Popular and international in their scope, flower and garden shows span every continent and attract millions of visitors. These range from small, local shows and competitions to major schemes often used for regeneration such as the Floriade in Holland and the Gartenshau in Germany. Modern smaller shows reflect the origins of the shows which are probably based in the 17th century with the development of florist societies with rules for assessing form, colour and quality. Similarly, vegetables entered the competitive framework of local shows in terms of producing the largest and visually perfect tomato, onion or zucchini. Both vegetables and flowers still feature in shows, although vegetables have become less dominant in recent years. Flowers are without a doubt the mainstay of shows; in more recent years, exhibition gardens have taken a prominent role despite the substantial investment to produce them. With some exceptions such as plant fairs, shows require significant sponsorship as they become larger and more elaborate every year.

A vegetable exhibit in a village flower show by the head gardener at Hafodonus House in north Wales in the 1950s.

This type of exhibit can still be found in village shows, but they are disappearing from the larger garden and flower shows.

Photo from author’s collection

There is very little published information on the history and development of garden and flower shows. A standard reference for all things garden related, The Oxford Companion to Gardens, does not even mention them, although it directs the reader to the German Gartenshau. The following clips from the Guardian & Pathe News may be interesting: http://www.theguardian.com/news/2014/aug/03/better-days-back-village-flower-show-returns- observer-archive http://www.britishpathe.com/workspaces/graham-english-productions/rs2AivB2 http://www.britishpathe.com/workspaces/BritishPathe/Chelsea-Flower-Show

Public expectations increase as this year’s show must be better, different and larger than last years. Shows such as Chelsea, Philadelphia and Singapore set a standard that is almost impossible to achieve without years of development. The Philadelphia Flower Show was established in 1829 and claims to be the oldest flower show, while Chelsea’s first show was 1913, although the Royal Horticultural Society’s (RHS) first flower show was in 1833. Both of these shows are managed by the Pennsylvania Horticultural Society (PHS) and the RHS respectively which is important in terms of

6 marketing, attracting sponsorship and reputation. The link between these major shows and societies appears to be invaluable and the RHS runs a number of major and minor shows in the UK. The PHS is particularly notable for its support of local initiatives such as urban food production in deprived areas. These are organisations that go far beyond the shows that the public are familiar and have built a much broader reputation for areas related to horticulture including environmental issues, sustainability and education.

There are questions about what is appropriate for a garden or flower show, or what should a show have and not have. Purists object to the amount of trade stalls found at many of the shows, often with items that have no horticultural base and most shows financially rely on selling space for trade stalls. Sam Lemheny, director of the Philadelphia Flower Show, has referred to their market place at the show as a ‘cash cow’ and the show would undoubtedly operate at a loss without them. Even when a show is subsidised from other means such as industry or government agencies, trade stalls are an important revenue line.

Some shows are very clear that they are not a garden or flower show, but a market for garden and horticultural supplies as well as decorative lifestyle furnishings. The show at Schloss Dyck, Gartenlust, is an example of this approach. Arley’s Garden Festival is similar although there is a flower marquee, it too relies on trade stalls and admission charges for its revenue. Both of these events have operated for many years demonstrate that is possible to produce such shows with a profit. 3.0 Methodology

3.1 Approach: From the original tender, the approach was to investigate garden shows and how they could diversify the use of parks and gardens, financially contribute to their support and to broaden the user base. The proposal was to investigate shows that were distinctly different in their scale and approach. It was not appropriate to select and examine one type of show such as a flower show or a plant fair. While this would be useful in explicit detail of that type of show, it was thought to be too narrow in scope and would not achieve the objectives of the programme.

3.2 Site selection: The initial selection started by a scoping exercise for the range of shows in terms of type, scale, location, visitor numbers, reputation, time of year and the ability to access them within a tight time frame. It was clear from the outset that there was little information available in print form or for that matter electronically. Web sites are normally about the individual shows most giving only basic information such as dates, costs, special events and seductive photos from the previous years. One of the few sites that take a broader view is www.flowers.about.com which lists the top 12 shows in 2014. Interestingly the top show listed is in Toronto with Chelsea in second place. Five shows are in the UK, four in the USA, one in New Zealand and one in Australia. There are no shows listed within continental Europe.

There is always a question of who produces and sponsors a site and if there is a predisposition to particular countries or shows.

3.3 Initial actions: Having identified several approved sites for the project, the following actions were followed:

 Search and investigate web sites and published sources related to those shows  Consult with other professionals for recommendations for shows to investigate and visit  To develop a site form for the recording of information  Consult with Schloss Dyck (Christian Grüβen) on the site form and type of information to be collected  Contact with the show directors, exhibitors or other appropriate persons for information and possible interview  Modify the site form to account for other information  Arrange for site visits and potential meetings  Visit and assess show  Consider the addition of other shows (five sites have been added to the initial survey list)  Compile data on individual sites after having visited the show  Contact show organisers and exhibitors after the visit where necessary for additional information

3.4 Introduction to case studies: As the case studies were chosen to explore options and alternative approaches, it is not always possible to make direct comparisons. Some short notes follow on the various flower and garden shows. There are site reports in the appendices with supporting photographs and comments. Sites are presented in alphabetical order.

 Arley Garden Festival, Cheshire, UK: a private and self-funding outdoor fair which is mostly a flower show and plant sales for 2 days. The festival also has other features including classic cars and a gardener’s question time. 6000- 7000 visitors. In addition to the garden festival, plant fairs takes place three times a year in an historic garden: spring, summer and autumn, each lasts for 1 day.  Chaumont, Loire Valley, France: outdoors with 24 show gardens from April to November. Individual settings for each garden. Show is within grounds of a chateau and gardens, tickets give access to all features. Considered more adventurous and avant-garde compared to most other shows.  Dig the City, Manchester, UK: outdoors and the only purely urban garden festival, in August for 10 days with some display gardens and a strong emphasis on children participating in gardens. No visitor demographics.

 Floralies, Nantes: indoor in five large exhibition halls with some outdoor sales areas in May for 10 days. Unusual in that it is essentially a floral display and only takes place every five years on a rota basis with other European cities. States that there are 500,000 visitors.  Gartenlust Schloss Dyck, nr. Düsseldorf: outdoors for 4 days in June. Uses existing display gardens and an historic parkland landscape as an outdoor market space for the sale of plants, and garden/ horticultural products. Approximately 15,000 visitors.  Giardina, Zurich: indoors with very high quality show gardens and garden related products for 5 days in March. Geared towards visitors investing in their garden, rather than simply an exhibition. All exhibitors pay for their display space which is unusual compared to other shows. Around 60,000 visitors.  Keukenhof, Holland: outdoor display of 7 million spring bulbs from March to May for 8 weeks with flower exhibits in three permanent structures. Very focused and with an international reputation. Around 1 million visitors in 2014.  Landesgartenshau, Zülpich, Germany: a reclaimed site from brown coal extraction which has exhibition gardens and new recreational facilities including outdoor concert arena, beach and water sports. Open as a festival site from April to October after which it becomes a permanent public park. Anticipate around 400,000 visitors, peak numbers of 7,000 at weekends.  Nordpark, Düsseldorf: the site report contains only a few photographs. A local one day plant fair which is typical in many countries and in some cases raising money for charities. Mixture of small professional and amateur growers. This specific fair was also operating a bring & buy system of plants.  Philadelphia Flower Show, USA: indoors with a very theatrical approach to the show displays in March for 9 days. Strong level of entertainment. About half of the floor area is devoted to the ‘marketplace sales’. Largest show in USA with 250,000visitors.  RHS Chelsea Flower Show, UK: outdoor with large pavilions; show gardens; flower marquee; garden furnishings and supplies, etc. May, in central London for 5 days. Very much part of the London social season along with Henley Regatta, Wimbledon, and Ascot. Cramped site and very crowded. Always sold out. Largest visitor numbers of UK show with 157,000; numbers limited due to health and safety.  RHS Hampton Court Flower Show, UK: outdoor with numerous pavilions, similar to Chelsea but much larger site; Early July for 6 days, in suburban London. Less expensive and more of a relaxed atmosphere than Chelsea. Largest in terms of site of the RHS shows.  RHS Tatton Flower Show, UK: outdoors and the youngest of the RHS major shows; late July for 5 days in a rural area south of Manchester in northwest England. Recent difficulties in attracting high quality show gardens. Has

never made a profit; supported by the regional government. Numbers of visitors have dropped in recent years to 90,000

Of the thirteen sites above, only the Arley Garden Festival has not been visited by the author due to other commitments. The marketing manager was interviewed for the report and the author is very familiar with Arley and the range of activities there. 4.0 Site Form Assessment

This section reviews the site assessment form as a whole with reference to the sites in the appendices. The sequence follows the titles on the forms. No site has a full entry as some points are not relevant to the particular site or the information was not available. To gain a better understanding of issues, potentials and details it is advised that the appendices are read prior to this section as this acts as a summary of the whole. There is a short form for Nordpark in Düsseldorf as it is a one day plant fair.

4.1 KEY FACTS

4.1.1Name and logo: Nomenclature or the title of a show poses some difficulty. The same word can have different meanings certainly in terms such as garden show or flower show; garden show can mean many things while using the term flower is most likely to include flower displays. Most shows have multiple aspects but terms can be very misleading such as the Garden Show in Croatia is in fact a rock festival. The Swiss use a more generic term, Giardina, to cover their show which helps to identify what the show is about but also allows for flexibility and change in future years. Others such as Chelsea have such strong images and reputations that the full title of the RHS Chelsea Flower Show is shortened to the place name. Similarly, the Keukenhof uses a place name which is recognised as a spring bulb garden rather than a place. This approach is only appropriate when a show is well known.

Most shows adhere to a title that describes what the event is about as it conveys a message to the potential visitor: garden show, garden market, flower show, garden festival. Giardina has a sub-title of Live the Garden where garden is the key word in both the show name and the sub-title. English or words closely associated with the English form are popular as they convey an air of international status and are often easily recognised.

Logos are always considered to be a key element for recognition and marketing. Shows at Chaumont, Schloss Dyck, Philadelphia and the RHS shows use the logo of the organisations that run the shows. These are recognised brands for the public and the title of the show follows or is associated with the corporate logo. Keukenhof has incorporated its name into the logo, again a well-known title and brand. The Floralies has developed a logo that visually states it is a flower show and Dig the City projects a different image of a hands-on approach and fun. The logos are important

10 for not only marketing but identity and can reflect different national styles or approaches.

4.1.2 Show category: Shows vary in terms of what their purpose is, and what facilities there are. This is simply a means of a quick overview of the main features or activities of the show.

4.1.3 Location: Show grounds range from city centre, suburban and to rural. With each come the associated benefits and problems. Shows such as Chelsea, Philadelphia and Zurich are in city centres that have good public transport access, hotels and high density populations. However, there are the associated costs of often expensive hotels and restaurants for exhibitors and visitors. Heavy traffic and in the case of London, and additional charge to use a car leads to inconvenience and increased costs (Chelsea runs a shuttle service for car users). City centre seems to work best when there is good public transport and other points of interest as a tourist base to encourage a longer stay, or bed-nights.

Rural based shows mean that the majority of visitors will arrive by private car; however, larger shows with a good reputation will attract coach groups to the show. The Keukenhof has coped with the problems of 1 million visitors with not only large car parks, but also with a highly developed system of links to major connection points such as Amsterdam centre and the airport. Schloss Dyck runs a shuttle service at a financial loss from Düsseldorf.

While city centre sites have traffic congestion, rural sites can suffer as the infrastructure may not support large increases in vehicles. Traffic measures are in place for the Tatton and Hampton Court shows with some roads closed, traffic re- directed and limited access and exit to lessen the impact and spread the traffic load. Tatton in its first year demonstrated the problem when traffic came to a complete standstill as the RHS had not predicted, or fully considered the impact on the area. Many visitors with pre-purchased tickets never arrived at the show. This has been resolved through the use of specialist traffic consultants and the police.

4.1.4 Venue: Three shows are held indoors, while the rest are outdoors with some temporary or permanent exhibition structures. There are advantages and problems in both situations:

Indoors:

 The greatest advantage is that the show is not affected by weather conditions  Structure is in place for fast build period  Support teams to deal with electrics, water, circulation management, etc  Delicate plant, particularly flowers, in safe environment  Floors are level; no need for grading  Rooms available for meetings, presentations  Use of artificial light for special effects

 Normally hotels, parking and restaurants nearby  Easy to secure area when closed  Access can be difficult in build and removal period  Lack of natural light changes the perception of the garden  Plants can become ‘stressed’ through lack of natural light and air circulation  Usually more limited space compared to outdoor events  Noise can overwhelm a space  Not possible to have sunken areas unless the exhibit is built higher than floor level  Air quality and circulation can be poor (Floralies)  Space can seem cramped and overcrowded (RHS marquees)

Outdoors:

 Large areas allow for space between exhibits (not the case in Chelsea)  Natural light and air allow for good plant quality  Large areas nearby for car parking (rural sites)  Good access for build and removal period  Good for mid-late season shows  Better feeling of a garden show than indoors

 Poor weather is greatest problem for build period and open days  Need for temporary roads and footpaths due to large visitor numbers and poor weather  Marquee needed for plants subject to damage from winds, storms etc  Security can be a problem after hours  Gardens can ‘dig down’ for added effect  High costs for initial set-up of marquees, water, electricity, security fences  Need for multiple temporary shelters  Garden lighting not effective

4.1.5 Gross floor area: This gives an indication of the amount of space for specific shows and is useful when estimating the amount of space required for the number of exhibitors and visitors. Information was not available for all sites.

4.1.6 Dates: Most shows take place in early spring to early summer, there are a few shows that take place in the autumn focused on plant fairs and small flower exhibitions rather than exhibition gardens.

Shows tend to run for 3-7 days, although Chaumont is the exception in that it runs from April to November and sits within the Loire Valley, a UNESCO World Heritage Site, and has a long visitor season. Keukenhof has an 8 week spring season for the bulb display but there are peak periods where they are at the best. Trip advisor

12 advises not to go when the flower parade is on as it is too busy to see anything. Floralies in Nantes is unique in that the event only takes place every five years.

Show dates are designed to allow a specific range of plants to be exhibited, in most cases this is earlier than their natural flowering season and require special conditions for forcing, or for holding back. Other aspects that affect show dates are other garden shows but also major events such as football matches, World Cup and Wimbledon. In 2012, the Tatton show was moved because of the Olympics. The Philadelphia show has considered moving the show a few weeks later because snow has hit visitor numbers in previous years; however, most exhibitors prefer the early date as their landscape business becomes too busy later on to release staff for the show.

School holidays appear to have little impact on visitor numbers probably due to the age profile of most visitors. While many shows have attempted to attract younger families, they have not been very successful.

4.1.7 Origins: date of the first time the event was held.

4.1.8 Theme: Many shows have traditionally used a theme as a marketing tool and as guidelines for exhibitors. The Philadelphia site form gives a list of themes that have been used over many years. Where a theme is used for show gardens, it is often very difficult to recognise the theme as many exhibitors ignore them. There are exceptions such as Chaumont where the theme of 7 Deadly Sins is supported by all 24 gardens. It is not always clear as there has been a liberal interpretation of the themes but display panels at each garden, in French and English, provide the link. Hampton Court interestingly had an exhibit of 7 gardens for the 7 Deadly Sins which were more literal in the interpretation. The RHS has moved away from themes for a full show and has developed zones such as Inspire, Grow or Escape. These are sufficiently vague yet open for interesting interpretation. Giardina uses its subtitle of Live Your Garden (slightly poor English but the point is made). The Floralies adopted the theme A Bouquet of Art linking flowers and art. Philadelphia merged art and horticulture together to form Articulture, a clever play on words which was supported in many, but not all exhibits. RHS Tatton had a theme of Carnival but outside of a Ferris wheel and a small parade there was little evidence of it having a major impact. Schloss Dyck has not used a theme for four years and the impression is that a single theme is too restrictive for the exhibitors. However, in Manchester Dig the City as a title with its theme being urban gardening works well due to its location, scale and limited exhibits.

Themes are also found in the floral marquees although most are exhibiting a specific group of flowers dependent upon the season. The Keukenhoff, although known for spring bulbs, has an exhibition of lilies in one pavilion, while another is devoted almost entirely too orchid displays.

4.1.9 Opening times: There is a similarity between many of the shows that open between 09.00-10.00 and close between 19.00-20.00. Some have special evening shows with night lighting including Chaumont, Floralies, and Keukenhof.

Families tend to use Sunday as the main visiting day. In the UK, there are often activities for children such as sports, music lessons etc that take place on Saturday. In Germany, Saturday is a main shopping day since shops are closed on Sunday.

4.1.10 Ticket prices: There are substantial differences in prices in part due to the quality of the show and if there are options to include additional events. Arley and Schloss Dyck allow access to the gardens with the price of admission. Chaumont has a more complex ticket system which can include the parkland and art exhibits; the chateau, parkland and art exhibits; and, chateau, parkland, art exhibits and show gardens. Philadelphia has the most complex ticket system due to add-ons, Chelsea is the most expensive and always sold out. There are specific prices for each of the sites on their site form.

4.2 VISITOR FACTS

Visitor demographics: Despite many requests, few show operators either did not respond to request for this information, or they do not have it. Giardina and Philadelphia have generally good information, and the RHS has reasonable information for the three shows. Caution should be exercised when accepting visitor numbers as these can be inaccurate or misleading as it depends on how numbers are counted. Numbers can be inflated to attract exhibitors and sponsorship.

Even when information is not fully available, certain assumptions can be safely made. Visitors are mainly female, around 75%, and the average age falls within the 55-60 bracket. In terms of on-site observation, these figures seem reasonable at all venues. Most visitors are from what is termed the ABC1 socio-economic group (the RHS is the only one to apply this standard). This relates to income and job type: C1 such as administrative jobs to A being professional. Information from the Philadelphia Flower Show is consistent with these figures.

Catchment area is generally around one hour to the show although large shows such as Hampton Court attract visitors from further away and Chelsea has the highest percentage of visitors from other parts of the country and overseas, as well as the highest socio-economic classification. Dig the City is purely local and unlikely to be attended from beyond the conurbation of Manchester.

Dig the City, only in its second year, has been very successful in attracting children, one of the few shows to do so. This is due to location, type of exhibits and that the school holidays had started. However, exhibitors at many shows are not interested in attracting families as they tend to spend very little at the trade stalls compared to older visitors.

4.3 EXHIBITOR FACTS

There is little information on exhibitors beyond the total number in a show. Giardina has the most explicit data of any show and one could probably consider that there are similar data and reasons for other similar shows. Exhibition gardens and floral displays do not generally have any charge for their site unless they are selling a product. The exception is Giardina which has a different approach than all of the other shows and exhibition gardens are charged for the space. Trade stalls are charged at all venues normally according to size. Figures are not always readily available for the cost of a site but are normally available when contacting the show organisers.

Some long standing exhibitors insist on having the same space every year. According to one exhibitor at the Philadelphia and the show director, the number of exhibitors has dropped in recent years, particularly for the large show gardens. A contributing factor has been the economic downturn. While Chelsea seems very full, the exhibitions seem more conservative and less risk taking then pre-recession days. Exhibition gardens and floral displays often have financial support from various sources. More information in the site forms and further in this report under sponsorship

4.4 LOCATION & FACILITIES

4.4.1 Access: In an overview of all the shows, those that attract the largest numbers tend to be either in a city centre or within the peri-urban area. This provides easy access to large numbers of people by both public and private transport. Large scale parking can be problematic with Chelsea being the most obvious but it is extremely well-served by public transport systems.

More rural based shows such as Chaumont, Tatton and Schloss Dyck are reliant on private transport and coach groups. These shows rely more heavily on marketing strategies, return visitors and reputation to attract high numbers.

4.4.2 Facilities: There are similar supporting facilities between all of the shows: catering (moderate to high cost), champagne tents, toilets, information points. In large shows there are normally separate facilities for exhibitors. Further support services can include traffic management, recycling points, ambulance/first aid stations. The extent of facilities is dependent on location and scale of show. Where a show is linked to a house/castle and garden, existing facilities are supported with additional ones particularly catering and toilets.

4.5 EXHIBITIONS AND SHOW GARDENS

Exhibitions can be classified into three groups: floral displays, exhibition gardens and tradestalls.

4.5.1 Floral displays are normally presented by either growers of specific plants or societies. These are usually under cover in exhibition halls such as the Keukenhoff or the indoor shows, or in a marquee to provide protection from the weather. These are often associated with trade stands as the grower will also sell the plants. Sales can be from on site or by mail order depending on the site and season. Almost all of the plants at Chelsea are mail order as there is no room on site to hold stock.

Displays can be simple exhibits where single species are presented such as sweet peas, or elaborate exhibitions as seen in the RHS shows and the Keukenhof. Elaborate displays are usually in search of awards. There are strict time limits for the build and break down periods.

4.5.2 Exhibition gardens have grown in popularity and have become major features. These are normally self-financed and/or have sponsorship. Proposals are made to the organising body some months in advance of the show with often strict guidelines on quality, health and safety, sustainability, recycling, and after use. A portfolio of work is required by some shows.

Show gardens can be sub-divided into categories in terms of scale or theme and are often grouped together. Refer to site forms on RHS gardens and Giardina as good examples

 Most require public liability insurance.  Some shows require someone to be at the garden for the full show to meet the public; this is not always the case with the floral displays.  Large gardens can have between 10-14 days to build the garden while smaller gardens usually have one week.  RHS shows have very few gardens that visitors can walk through due to insurance issues although this does not seem to be the case in most other shows.  There is often support and advice for first time exhibitors

It seems that the prime target for an exhibitor is to receive an award, preferably gold. This is true of the exhibition gardens and floral displays and is used mainly for marketing their businesses.

An exhibitor of a show garden at Hampton Court, a commercial garden centre, did not receive an award but was very pleased with the experience and the public response and intends to exhibit again.

4.5.3 Trade stalls are economically critical to most shows except where there are large subsidies usually by regional and local government, or by a specific industry as

16 at the Keukenhof gardens. These stands range from plant sales and garden furniture to summer houses and green houses. Most shows have non-horticultural trade stands as well. These can be grouped, but not by theme, and small clusters scattered throughout the site, or in some cases set up as a shopping street. The Philadelphia Flower Show is the only one that had a completely separate area for these.

Most stands simply exhibit their products, some undercover. There are some very well designed trade stands at the RHS shows as there are awards for the best stands. This encourages a higher quality exhibition and lifts the feeling above an outdoor shopping centre.

4.6 ASSOCIATED & PARALLEL EVENTS

Most shows have activities to encourage a broader user base in terms of age and gender. There is usually good catering which many find as a supporting reason to attend a show, but there may be competitions such as Lady’s Day (prizes are usually spa treatment, shopping vouchers) or in Dig the City there was a competition for children to design a garden. Schloss Dyck offered children the opportunity to build a miniature garden.

Most venues offer musical entertainment, often through the entire show period. Some have fashion shows, cookery presentations, gardening presentations, and flower arranging. Arley has a small classic car show during their two day fair, although they do not believe this makes a substantial difference in attracting more male visitors. There was also an art exhibition in the main house. Philadelphia had the most expansive in-house events with an addition to the activities above they included an aerial display of acrobats and a butterfly room.

Few shows moved beyond their own display grounds: Arley displayed some modern art and tours of the gardens were given by the owner and head gardener. Schloss Dyck used some buildings and associated spaces around the castle for trade stands. Neither Hampton Court nor Tatton offered a joint ticket to access their gardens. A missed opportunity for those that have travelled some distance. The Landesgartenshau in Zülpich offered entry into the local museum for 1€ extra.

The only other show to clearly have links with museums was Philadelphia. There were a number of museums that supported the show from across the country (details in site form). The Bank of America, their main sponsor, had loaned several Andy Warhol paintings for display at the show. One of the exhibition gardens was based on the Getty Museum gardens in Los Angeles.

4.7 AWARDS

The larger shows offer awards, usually gold, silver-gilt, silver and bronze. There may also be a Best in Show in a particular category such as floral display, garden or trade stand. Criteria for RHS awards is included within the site forms. There are often special awards for children or school exhibits; Arley offers the Lady Ashbrook Award.

There are no accepted standards although many shows use the RHS guidelines which have substantial room for interpretation. Awards can be seen as a key inducement for exhibitors as they will incorporate it into their marketing.

4.8-4.9 EXHIBITOR TERMS, CONDITIONS AND CONTRACTS

Terms and charges will vary year to year. Some information is contained within the site reports; however, for up to date information contact the shows management office.

4.10 SHOW HISTORY

A brief description of the show’s background and development.

4.11 MARKETING

Shows tend to be similar in their use of media with larger shows having a media partner; this is usually a local/regional newspaper. TV coverage is extensive on some shows such as Chelsea as garden shows are ideal for TV coverage since they are visually appealing. Radio is used to promote shows with adverts and in some cases competitions for free tickets. Lifestyle magazines are heavily used for marketing. Posters can be found in some city centres, airports and train stations. Information is usually available in nearby hotels, and sometimes restaurants and shopping centres.

TV and sport personalities are popular and are often used to present demonstrations, interviews and give awards. They are often used to host broadcasts on the show. This helps to raise the profile of the show and attract the public as well as media attention.

While most shows use social media such as Facebook and Twitter, it is questionable as to how effective these avenues are. Social media tends to be used by younger visitors than are seen at the shows. There is no solid analysis of the impact from different media types on visitor numbers.

There is on-site marketing of sponsors with leaflets and brochures but also information panels usually provide sponsor details.

4.12 SITE PHOTOGRAPHS

Photographs are accompanied by comments and descriptions to aid in the understanding of each show, its distinctiveness and in some cases associated issues. Photographs are by the author unless otherwise stated.

4.13 ORGANISATION & CONTACTS

Head office and supporting organisations and names are given where known. Note that some are professional event organisers, and some are employed for the show only.

4.14 SPONSORSHIP

Only the smallest events such as plant fairs and some one-two day events appear to operate without some form of external sponsorship. Sponsorship exists at different levels from major financial and in-kind support to local businesses supporting a garden or floral arrangements. The largest show in terms of scale and cost is the Landesgartenshau which has large government and industries as its backer. This is an exceptional case in that the high cost of reclamation can only be met with government intervention, and that there is a long term after use. All other shows are temporary although some features may remain or be re-located.

Shows tend to have one or two main sponsors, often a car manufacturer, insurance company or a bank. There may be a second tier of sponsors as well, or specific sponsors for a specific event such as a prize, marquee or music event. Philadelphia seems to have the most comprehensive range of sponsors (details in the site form). Their two main sponsors’ financial contribution makes up half of their profits.

Show and floral exhibits will often have one or more sponsor; even the smaller gardens require generous funding. Giardina limits the number of sponsor panels that can be exhibited with the exhibition. Most shows have criteria for the display of this type of information.

4.15 ECONOMIC IMPACT

This is nearly impossible to assess as most shows will not release this information. However, Arley and Schloss Dyck have run their shows for some years at a profit. Both require additional staff for set up, running and break down. Although this is not large scale employment, it is beneficial to the local economy.

Giardina is run by an events company, which also manages around 40 other shows in Switzerland. This is very self-contained with local firms exhibiting and focused on the local market. As such this contributes to local business and running the exhibition centre. This is not seen a tourist venue so there is modest impact on the associated facilities such as hotels and restaurants.

The RHS shows do have a major tourist focus and this helps to support local businesses and increase temporary employment. There is a general feeling from exhibitors that there are very few, if any, commissions arising from the show even if they were awarded a gold medal.

The only show that produced supporting financial information was the Philadelphia Flower Show that claims to make a profit of $1-2 million per show. There financial analysis impact of the show by KPMG indicates that the show has a $61 million impact in the Philadelphia area. This will cover not only the direct impact of the show on local businesses, but a projected impact for the year in terms businesses turnover and employment in the region. The profits are used within the horticultural society and to support their activities in the area.

4.16 INTERVIEWS

Three show directors were interviewed: Giardina, Philadelphia and Schloss Dyke. Members of the management teams from Dig the City, who completed some of the site form, Arley Garden Festival and the Landesgartenshau were interviewed. Contact was attempted by phone and email with all RHS sites, the Keukenhof, Floralie and Chaumont with no response or too busy to speak to anyone.

Points are either incorporated within the site form or listed as key points in section 16 of the site form.

4.17 SUMMARY & CONCLUSIONS

Each site has a short list which identifies main features and issues of the show. These should be read in conjunction with the full site report and not in isolation. 5.0 CONCLUSIONS & RECOMMENDATIONS

The subject of garden shows, garden festivals and flower shows is large and complex. Many conclusions are held within the preceding points and in the site forms which should be read first. The following points are not in any particular order.

Getting Started

 A comprehensive business plan is critical for any size of show  Visit as many shows as possible of similar theme and size  Include not only what happens in a show, but the impact on adjoining areas. Consultants may be needed in traffic management, health and safety, public liability insurance  Consider when proposing a new show that there is a supporting and credible institution to work with as a co-organiser such as a major horticultural society  While shows like Chelsea have an international reputation, consider what can be achieved within the skill sets, financial resources and suitability of location

 This gives credibility and allows the use of their reputation, management skills, marketing connections and expertise  Use an events management company to plan the show, its strategies and development if you are not experienced  Or, develop slowly from a small plant fair and some special features and learn while it grows  Rent or jointly purchase tents, marquees and additional structures with other organisations to share and reduce costs

Situation

 An urban or peri-urban event is likely to attract a different range of people in terms of age, gender and socio-economic level  It appears that the logistics of an indoor event may be easier than an outdoor event is unlikely to be true  Ideally the site should have good public transport and extensive parking to encourage a diversity of visitors  Outdoors, a level site will be easier to develop and a sandy loam soil offers the best opportunity for easy excavation and restoration  Allow sufficient space between exhibits so they can be viewed comfortably  An existing garden/park that has some planting structure can give a good setting for the display gardens; avoid open fields as a setting  Consider long term strategy to develop walks and garden spaces for future garden exhibits

Exhibitors

 Events need to be tailored to a specific audience  There are mixed messages about children and families coming to the show as they tend to spend very little; however, these are future spenders  Early contact needed with potential exhibitors to bring on board and discuss their proposal  Have information packs for exhibitors and a training programme for first time exhibitors  Start early in attracting sponsors and offer a range of different investment opportunities to them  Use display boards and stands/tents to provide a uniformity across the site  In larger shows, consider separate areas for exhibitors for food and toilets  Spread exhibition types-floral, trade and gardens-across the site to encourage full use of the site and reduce congestion  Exhibitors want to win a medal; use a full range of medal colours and types of exhibitions  Survey exhibitors for their response to the show

Visitors

 Special events attract different audiences as well return visitors  Each year needs different approach to attract visitors  Provide clear maps and information on site for facilities  Guidebooks tend to be useful for revenue generation, but are seldom used by most visitors  A range of catering types from low to high cost.  Provide temporary seating and rest spots particularly around catering areas  Install a bank cash machine on site  Hands on activities can encourage children to the show and families to stay longer  Develop links to other activities in the region, with possible joint tickets, to urge visitors to remain in the area longer  Use a visitor survey to understand their needs and expectations

Marketing

 Explore and use the full range of marketing available from social media to TV and the use of celebrities  Newspapers, magazines and radio can promote the event through articles and competitions  Promote the difference from the previous year’s show  Link marketing types to the visitor and exhibitor surveys to determine which methods are most effective

RHS Tatton Flower Show 2008: Award winning show garden by author

Appendices

1: Arley Garden Festival, Cheshire, UK

2: Chaumont, Loire Valley, France

3: Dig the City, Manchester, UK

4: Floralies, Nantes, France

5: Gartenlust Schloss Dyck, nr. Düsseldorf, Germany

6: Giardina, Zurich, Switzerland

7: Keukenhof, Lisse, Holland

8: Landesgartenshau, Zülpich, Germany

9: Nordpark, Düsseldorf, Germany

10: Philadelphia Flower Show, USA

11: RHS Chelsea Flower Show, London, UK

12: RHS Hampton Court Flower Show, Greater London, UK

13: RHS Tatton Flower Show, Cheshire, UK