Introduction

Spring
Summer
Autumn
 Winter
Index

Acknowledgements

About the Author

Copyright Page
Introduction

Seven years ago, I packed my belongings into a backpack and

hitchhiked to the mountains here in Western Iberia, to the small
village where my paternal grandparents had lived their whole lives.
Growing up, I had always felt a very strong connection with this
place. I would hike in the forest and accompany my grandparents
when they tended to the goats and vegetable garden. However, I
wasn’t exactly sure about what I would find all these years later, nor
exactly what I was looking for. Older adults in the community shared
knowledge and practical skills, such as foraging and seed-saving,
that had been passed on to them by previous generations. By
observing the landscape and all the living things surrounding me, I
realized that what I had been seeking all along wasn’t this particular
place; what I was truly yearning for was a sense of connection and
belonging to wherever I called home.
Since then, my partner and I moved to the hills we call home now
and built a small stone house by hand, started a family and were
joined by some animals. But it isn’t necessary to move to a remote
place to renew your sense of connection to nature. This book is
about finding ways of uniting with the place you live in, whether that
is an urban or rural environment. It is about guiding you in making
the most of where you are, with tools you already have available. It is
about helping you develop a rich relationship with what is around
you, your community and yourself. This is the book I wish I had when
I felt that I couldn’t relate to the nature around me as I lived in a flat,
sharing a garden plot with friends.
With the fast-paced rhythm of modern life, feeling grounded can
be challenging. Many of us feel distant from nature and simplicity,
and long for a slower life in harmony with the seasons, inviting a
sense of wilderness into our day-to-day. However, life over the last
few years has shown me something: that, when you begin to tune in
to your surroundings and to notice the shifts throughout the year, you
learn a new language, that of the natural world. I believe that nature
can be found everywhere, even in the cracks in the pavement, and
that we all have the ability to feel at home and secure in a sense of
belonging to the places we inhabit. Sometimes, we just need the
right tools to unlock this warm sense of kinship.
The Wild Craft is structured by season and seeks to follow the flow
of the year. In each season, you will find projects to spark your
creativity in the kitchen, in your crafting nook and in your growing
area, which might be a garden, a shared plot or a balcony. There are
recipes to keep you excited about what is springing from the ground
throughout the year and crafting projects to practise your skills on,
inspired by my community and the older adults around me. Different
gardening ideas will invite a sense of reciprocity with nature into your
life.
From our small home, where I hear an owl calling from a nearby
tree under a full moon, to you – this is a guide to anyone who wants
to take each season in, slowly and deeply, to reignite your
relationship with the natural world and to infuse your year with
creative crafts, old and new.

SOME SAFE AND SUSTAINABLE WILD CRAFTING

PRACTICES

Featured throughout this book are some wonderful wild finds

you can make use of in your crafting activities, but there are a
few things that we must be mindful of. Here are some
guidelines to adhere to. When we go out with our baskets, we
must make sure that our adventures are not only safe but also
sustainable and respectful towards the plant population and
our surroundings.

◦ Invest in at least two good plant guides for your area and take them
along with you on your outings.
◦ Cross-reference your guides every time you become familiar with a
new plant.
◦ Get to know the poisonous plants in your area (an often
overlooked, but important practice), and take note of any
poisonous look-alikes.
◦ Never taste or consume a plant that you haven’t safely identified.
◦ Avoid harvesting rare or endangered species.
◦ Don’t overharvest, even if a plant seems abundant – always leave
more than you take, to allow the plant population to grow and
recover.
◦ Make sure the land you’re harvesting from hasn’t been sprayed
with chemicals, and stay at least 15 m (50 ft) away from roadsides.
◦ Always get permission before harvesting from private property.
Spring

What to Look for This Season

Kitchen
Wild-greens Sauce
Bitter Tonics

Making
All-purpose Herbal Vinegar Cleaner
Knitted Pan-holder
Botanical Soap

Gardening
Natural Plant Fertiliser
Bird House
What to Look for This Season

Spring has sprung! And, while the seasons don’t exactly follow the
days on a calendar, and vary, from year to year and place to place,
you might have noticed a shift in the air accompanying the equinox.
Maybe you are feeling more energised, and the breeze seems to be
carrying different scents? Maybe you seem to be more attuned to the
sounds outside your window – are the bees buzzing about, do the
birds seem chattier than usual?

On our hill, we notice the days slowly growing longer, the sun’s arc
becoming wider and birds returning after their travels down south –
while others bid us farewell until next autumn. Wildflowers start to
bloom, insects are busy on every tree and the garden bursts with a
renewed excitement.

This change is felt in our bodies, too. When the first signs of spring
unfold and new plants start emerging from the ground, I feel as if I,
too, am waking up from a long winter sleep. I feel a gentle nudge
towards cleansing my body after winter’s sluggishness and getting
my limbs moving once again. The bedroom windows are wide open
from dawn onwards, and I feel like giving everything a good scrub
and airing every linen and tapestry. Creative work takes me to my
happy place during this season.

I hope that the projects in this section bring you the same excitement
they bring me – the excitement of being outside once again after the
long dark months, moving your body, creating, and noticing what is
springing from the ground while the sun, flickering through the foliage,
warms up your skin.

On the next few pages, you will find illustrations of some of the plants
used and referenced in this chapter (for information on safe and
sustainable foraging).
Chickweed
(Stellaria media)

This common weed is native to Europe, Asia and North and

Northeast tropical Africa, and thrives in moist soils, fields, gardens
and along paths, up to an altitude of 3,700 m (12,139 ft). Chickweed
is an annual plant and blooms from early spring to late autumn. The
flowers resemble small stars, hence the name stellaria. Leaves and
tender stems can be collected throughout the year.
Dandelion
(Taraxacum officinale)

Dandelion is a perennial plant native to Europe and Asia. It grows in

meadows, pastures and on wasteground, below 2,000 m (6,561 ft).
Dandelion leaves are best eaten in Spring as they are less bitter
before flowering.
Plantain
(Plantago lanceolata)

Native to Europe, Asia and North Africa, this widespread perennial

plant is commonly found growing along paths, in meadows and even
in dry soils, up to 2,000 m (6,561 ft). The young leaves can be
collected during spring and early summer, and it flowers from early
spring until the first frosts arrive.
Small Nettle
(Urtica urens)

Small nettle is an annual plant native to Europe, Asia and Northwest

Africa and can be found in temperate regions up to 2,900 m (9,514
ft). Small nettle leaves are completely covered with hollow hairs
containing chemicals which create a burning sensation when they
penetrate the skin, which can last up to 12 hours. The tops of the
plant can be collected (gloves will help with this task) during spring,
before it goes to seed. The burning action of the leaves is dissipated
by cooking the plant or by leaving it to wilt for one or two days.
Wild-greens Sauce
This little recipe is a staple at our home pretty much all year round.
Depending on the season, we use cultivated greens from the garden
or, in spring, the prolific wild greens which make, undoubtedly, for my
favourite variation.

This sauce is incredibly versatile, simple to make and packs a punch.

It is our local, seasonal take on the traditional basil pesto.

Experiment with what is growing in your garden or on your balcony,

what is available this season at the farmers’ market and which wild
edibles are growing in your landscape. You will most likely be
surprised by the variety in flavours you will discover by modifying this
recipe a little bit every time.

INGREDIENTS
◦ 150 g (5 oz/2½ cups) greens of your choice (I often use a blend of
chickweed, plantain, basil, mint and blanched nettles, for example)
◦ 2 garlic cloves, crushed
◦ 70 g (2½ oz/½ cup) nuts, roughly chopped and toasted (hazelnuts,
walnuts and almonds are all fantastic here)
◦ 160 ml (5½ fl oz/⅔ cup) olive oil
◦ juice of ½ lemon
◦ ¼ teaspoon salt
◦ 50 g (2 oz/½ cup) any hard cheese, grated (optional)

DIRECTIONS
◦ Pulse all the ingredients in a food processor or blender until fully
combined, but still with some texture. Add more olive oil if needed or
if you like your sauce a little runnier.
◦ Use immediately, or store in a jar in the fridge, with a layer of olive
oil on top, for up to a week.
Bitter Tonics
Oh, the wonderful and often neglected world of bitters! Bitter tastes
were a common element in many of our ancestors’ diets and many
traditional diets still include some sort of bitter taste before and during
a meal, usually in the form of foraged leaves or roots.

So, what is it about bitters? Put simply, a bitter taste on our tongue
stimulates digestive secretions, preparing the body for proper
absorption and nutrition. Have you ever noticed that when you chew
on something bitter, like a chicory leaf, for example, you start
salivating right away? That is the beginning of the process where our
digestive secretions, such as bile from the liver, insulin from the
pancreas and enzymes from the stomach, begin their work. Bitter
tastes, therefore, increase the digestibility of food and, in addition,
have a calming effect upon the nervous system.

If adding bitter foods to your regular diet straight away feels a bit
daunting, you can gradually incorporate them by making your own
bitter tonics – a fun, easy and seasonal project that feels a little bit
like making a magic potion.

INGREDIENTS
◦ bitter herbs of your choice, fresh or dry (I like working with only two
or three different herbs each time)
◦ apple cider vinegar (enough to fill your jar)

DIRECTIONS
◦ Finely chop the herbs (or grind them, if using dried material) and
place them into a clean glass jar until three-quarters full.
◦ Pour the vinegar over the herbs, making sure they’re completely
submerged.
◦ Cover the jar with some wax paper (to prevent rusting of the lid) and
screw a lid on.
◦ Store in a dark place, at room temperature, shaking the jar
occasionally, for 4–6 weeks.
◦ Once maceration time is up, strain and bottle.

NOTE
◦ You can use fresh or dry herbs for this tincture. If using fresh herbs, leave them on
a screen or in paper bags overnight, to remove some of the moisture. This is done
so that the acidity of the vinegar isn’t diluted as much by the water content of the
herbs, thus maximising shelf life.

NOTE
◦ Some herbs you can use:

◦ globe artichoke leaves (Cynara scolymus)

◦ burdock root (Arctium lappa)
◦ chamomile flowers (Matricaria chamomilla)
◦ citrus peel, such as lemon, lime, grapefruit or orange
◦ dandelion root or leaves (Taraxacum officinale)
◦ gentian root (Gentiana lutea)
◦ hyssop leaves (Hyssopus officinalis)
◦ motherwort leaves (Leonurus cardiaca)
◦ rosemary leaves (Salvia rosmarinus)

TIP
◦ You can enjoy your new bitter tonics in a number of different ways: a few drops
straight on your tongue (I like using a dropper for this), about 15 minutes before a
meal; diluted in water; as part of a salad dressing; in cocktails or mocktails.
All-purpose Herbal Vinegar Cleaner
In spring, the warm mornings and the sweet floral breezes coming in
through open windows inspire me to do a thorough clean around the
house. Spring cleaning is a good opportunity to incorporate herbs into
our daily lives, and vinegar cleaners are one of the most practical and
simple ways to do so. They require minimal ingredients, most of
which we already have at home, can be made in large batches and
have a plethora of uses. Besides, it is quite empowering to make
something that can replace store-bought products and reduce the
waste associated with them.

Vinegar is effective at breaking down dirt, bacteria and mould. The

acidity makes it a mild antiseptic and is useful for dissolving mineral-
based deposits. When making a batch of this vinegar, you can
choose to add herbs such as those in the mint family, for example,
which have antimicrobial properties. This is an invitation for you to
experiment!

Here is a simple recipe that can be used as a starting point for your
creations. First, we’re going to make our base, which is the herbal
vinegar blend, and let it sit for some weeks. After straining, we’ll be
mixing it with water in a spray bottle, ready to be used.

NOTE
◦ Do not use this cleaner on natural stone surfaces, such as granite or marble, as
the acidity may etch or stain the material. Test on a small area before applying to
hardwood surfaces, as it may affect the finish.
Two Herbal Vinegar Blends

INGREDIENTS
◦ 0.5 litre (17½ fl oz/2 cups) apple cider vinegar
◦ 30 g (1 oz/1⅕ cups) herbs of the mint family, such as sage,
rosemary and thyme

or

◦ 0.5 litre (17½ fl oz/2 cups) apple cider vinegar

◦ 25 g (¾ oz/¼ cup) citrus peels, such as lemon or orange
◦ 10 g (½ oz/½ cup) evergreen needles, such as pine or spruce

DIRECTIONS
◦ Combine the vinegar and other ingredients in a jar and let it sit for
up to a month, in a dark place, shaking occasionally, before
straining.

This is our base, which we will be using to make the actual cleaning
spray.

Cleaning Spray

INGREDIENTS
◦ 250 ml (8 fl oz/1 cup) herbal vinegar
◦ 250 ml (8 fl oz/1 cup) warm water

DIRECTIONS
◦ Combine all the ingredients in a spray bottle and give it a shake.

HOW TO USE YOUR CLEANING SPRAY

◦ To clean soap scum on sinks and showers, spray on the area that
needs cleaning and let it act for a couple of minutes before wiping
with a soft scrubbing brush in a circular motion.
◦ To clean tiles, spray on the surface and allow to sit for one minute
before scrubbing with a brush or a sponge.
◦ To clean grease-stained mirrors or windows, spray on and scrub
with a clean cloth or a crumpled newspaper page.
◦ To clean a greasy stovetop, spray on and let sit for 10 minutes, then
scrub with a sponge and soapy water.
Knitted Pan-holder
Knitting your own pan-holder can be an easy and rewarding
afternoon project. If you are a beginner knitter, this is a wonderful
project on which to practise basic stitches, but even experienced
knitters will find joy in the simple process of making a small, useful
object that can be used every day.

For the yarn, choose a thick cotton cord, as this will make for a
chunky holder. The pan-holder is knitted using garter stitch, which
has stitches very close together in a tight tension. This is exactly what
you want for a pan-holder, so it keeps your hands safe while you’re
moving hot pans around and also protects your kitchen table when
used as a pad. To make the stitches even tighter, opt for needles one
size smaller than recommended on your yarn label.

Before starting this project, you can knit a small square sample (or
swatch) and, using a ruler, count how many stitches and how many
rows fit within 10 cm (4 in) of work. Compare this number with the
gauge suggested in the project below to see if you should use a
different size of needles.

Cotton is my favourite fibre for pan-holders, as it is heat-resistant and

easy to clean. If you want to work with a different fibre, remember that
not all yarn types are suitable for this project, as some can melt or
transfer the heat too easily.

YOU WILL NEED:

◦ yarn: skein of 5 mm width cotton cord (I used a 250 g/40 m [8.8
oz/43.7 yd] recycled cotton yarn, which is designed with chunky
macramé projects in mind)
◦ knitting needles: a pair of straight 10 mm (US 15) knitting needles,
or whichever size you need to obtain the gauge
◦ crochet hook: 10 mm (US 15)
DIRECTIONS
◦ Cast on 15 stitches.
◦ Knit 1 row, turn.
◦ Knit 1 row, turn.
◦ By repeating the above rows, you are creating the garter stitch.
Keep knitting until your piece measures 22 cm square (8¾ in).
◦ Bind off and leave one last stitch on the needle.
◦ Transfer the remaining stitch to a crochet hook and work a chain of
10 stitches (you will simply be creating a stitch into the previous
one, and repeating). Leave the last stitch on the hook and fasten it
right next to the start of the chain. You have just created a loop.
◦ Weave in all loose ends using the crochet hook.

GAUGE
◦ 7 stitches x 6 rows in a 10 cm (4 in) square, in garter stitch

FINAL MEASUREMENTS
◦ 22 x 22 cm (8¾ x 8¾ in)

NOTE
This pan-holder is knitted flat, from the bottom upwards, in garter stitch. It is finished
with a loop at the corner, so it can be conveniently hung in your kitchen.
Botanical Soap
It is surprising how few things we actually need for our personal
washing routine. And this is one of the reasons I like making soap, as
these soft bars can be used both on skin and hair as part of a
minimalist regime. Another reason for loving this practice is that we
can make soap that truly meets our body’s needs, using ingredients
from the landscape.

My recipe features olive oil from our hill and nettles from the garden,
but you could use any oils and herbs you like, to support specific
conditions – just adapt your recipe accordingly, by doing some
research beforehand. This nettle soap has a soothing action upon the
skin, which is especially useful when there is inflammation or
itchiness. Nettle has also traditionally been used as a hair tonic, so I
feel this recipe really combines the best of both worlds for skin and
hair.

In order to make a great soap, you need exact quantities of water, oils
and lye. For this reason, ingredients in this recipe are provided in
grams. I suggest that you weigh each ingredient beforehand by
placing the ingredients in a pitcher onto a scale, and zeroing out the
weight. Do this for each ingredient, and you’ll be sure to have a
fabulous batch of soap.

YOU WILL NEED:

◦ mask, goggles and gloves
◦ glass jug
◦ kitchen scale
◦ 170 g water
◦ 64 g lye (caustic soda/sodium hydroxide)
◦ 315 g olive oil
◦ 133 g coconut oil
◦ non-reactive saucepan, such as stainless steel or enamel
◦ thermometer
◦ immersion blender (I have one designated just for soap-making)
◦ 10 g powdered dry nettle (optional)
◦ soap mould, which can be lined with wax paper
◦ apple cider vinegar, to keep nearby for safety (vinegar neutralises
the alkaline pH of lye and is good to keep nearby in case some
drops of lye water fall on your skin)

DIRECTIONS
◦ Start by preparing the lye water, wearing a protective mask, goggles
and gloves. Fill the glass jug with previously measured water and
slowly mix in the lye, stirring with a wooden spoon until it’s well
dissolved, being careful to avoid spillage. Remember to add the lye
to the water, and not the other way around. If you can, I suggest
doing this outside because irritating vapours will be released.
Alternatively, open your windows wide to make sure the room is well
ventilated. The water mixture will heat considerably. Let it sit and
cool slightly.
◦ Gently melt the oils in the saucepan on a low heat, then remove
from the heat.
◦ When both the oils and lye water are at the same temperature,
somewhere between 35ºC and 50ºC (95ºF and 122ºF), pour the lye
water into the oils and start blending with the immersion blender,
being careful to avoid spillage.
◦ Keep blending until the mixture starts to thicken and reach what is
known as ‘trace’ (it should resemble mayonnaise).
◦ If using nettle to add a slight colour variation, pour off a small portion
of the mixture and fold in powdered nettle until it is evenly
distributed.
◦ Pour the soap into the mould in two layers (first the simple blend,
then the nettle blend on top) and leave to solidify in an undisturbed
spot.
◦ After 24 hours, it should have hardened and be ready to remove
from the mould and cut into bars with a knife. If it is still too soft,
allow to harden for another 12 to 24 hours.
◦ Allow the bars to cure for 6 weeks in a cool, dry location. During this
time, the soap will harden as any excess water evaporates, and it
will develop lathering and cleansing properties.

NOTE
Before starting this project, ensure that you will have an undisturbed environment in
which to work. While I love involving small children in projects, for safety reasons I
wouldn’t suggest making soap that uses lye in the company of little ones.
Natural Plant Fertiliser
Sometimes, our plant friends need a little support to thrive, and that is
okay! When my plants seem to be running low on energy, or I’m
dubious about the soil quality, I like preparing a small batch of natural
fertiliser, also known as fertiliser tea, from ingredients I have around
me and distribute it freely among my plants.

You can use plants, weeds and grasses from your own garden for
this, which is an example of how we can ‘close loops’ in our
environment: using plants that have absorbed nutrients from the soil,
to return them to the plants growing there.

Next time you are weeding the garden, collect what you’re picking in
a bucket. For that extra ‘oomph’, you can include specific plants to
bring certain nutrients and properties to your fertiliser tea, such as
comfrey and nettles for minerals, dandelion for vitamins or willow for
its growth hormone.

I recommend preparing this outside, to avoid any spillage or strong

smells indoors.

YOU WILL NEED:

◦ large bucket or trash can
◦ plants, weeds and grasses of your choice
◦ unchlorinated water (this will help keep bacteria alive – you can use
spring, rain or filtered water)

DIRECTIONS
◦ Roughly chop the plants, weeds and grasses and place them in the
bucket until half full.
◦ Fill the rest of the bucket with water.
◦ At this point, you may want to cover the top with a piece of fabric or
mesh, to keep any critters out.
◦ Let it sit in the shade for 1–2 weeks, stirring daily.
◦ Once ready, strain and use right away.
◦ To use, dilute in water in a ratio of 1:10 (say, 1 cup of fertiliser tea to
9 cups of water) and distribute over the root areas of your plants.

NOTE
This fertiliser should be used occasionally, no more than once every two weeks.
Bird House
Bird houses provide safe, dry and warm spaces for small birds to nest
in and raise their young. I am passionate about fostering local
biodiversity and, while knowing that birds are resourceful when
looking for places to nest, I believe creating an inviting home for small
bird species can be key to bringing diversity to your environment. In
urbanised areas, due to the loss of natural nesting places, setting up
a bird house can make a difference and is likely to attract small birds
that like to nest in holes and cavities (including blue tits, great tits and
wrens, depending on your region). Feathery residents are not
absolutely guaranteed but, with some planning, you will improve the
chances of a visitor taking up your offer of housing and raising a
family there.

You need to pick the right location for your bird house: garden fences,
trees and walls are good spots, as long as the house is positioned 2
to 5 metres (about 6½ to 16 feet) above ground and out of reach of
predators. The direction it faces is important, too, to avoid full sunlight
and strong winds coming right into the house. Try to ensure a clear
route into the house and a safe perch a short distance away, to give
birds an opportunity to scout the house from afar before venturing in.
Skip the (often-seen) perch attached to the house, as it may
inadvertently provide predators with an easy way in. Lastly, if you
make more than one house, don’t place them too close to each other
as some species are solitary nesters: if you can, place houses at
least 6 metres (20 feet) apart.

Any time of year is good for putting up a bird house, as they can be
used throughout winter as a roosting place, but make sure they are
up before the nesting season starts. This varies for different species,
but late winter to early spring is when many birds start hunting for
nest sites.

The following directions are based on the houses we make, aimed at

great tits and wrens. They feature a flip-opening panel, for easy
maintenance.
YOU WILL NEED:
◦ untreated, unpainted planks of wood, such as pine or cedar, at least
2 cm (¾ in) thick, cut into the following sizes (you can ask for cut
pieces at the hardware store):
- back panel, 35 x 16 cm (13¾ x 6⅜ in)
- front panel, 20 x 13 cm (7⅞ x 5⅛ in)
- floor panel, 13 x 13 cm (5⅛ x 5⅛ in)
- roof panel, 18 x 18 cm (7⅛ x 7⅛ in)
- slanted left panel, 18 cm (7⅛ in) tall at the front and 22 cm (8⅝ in) tall at the
back, 13 cm (5⅛ in) wide
- slanted right panel, 17 cm (6⅝ in) tall at the front and 21 cm (8¾ in) tall at the
back, 13 cm (5⅛ in) wide
◦ drill
◦ measuring tape
◦ sandpaper
◦ 15–20 galvanized screws
◦ screwdriver
◦ small piece of wood (optional), to serve as a handle
◦ metal utility hook
◦ linseed oil or wildlife-friendly stain, varnish or paint

DIRECTIONS
◦ On the front panel (B), drill an entrance hole 10–15 cm (4–6 in) from
the bottom. The hole should be 28–32 mm (1–1¼ in) wide so that
the species it’s aimed at can enter, while keeping undesirable or
predatory birds out. Adjust this size and height according to your
local species (a local nature organisation will be able to supply this
information).
◦ Using coarse sandpaper, roughen the interior of the front panel,
below the entrance, to help fledglings climb out.
◦ Create four narrow drainage holes on the floor panel (A) with the
drill.
◦ Now, start assembling the house using screws. Attach the front and
floor pieces together with three screws in the bottom of the front
piece.
◦ Attach the back panel (C) to the floor, using three screws.
◦ Attach the left panel (E), using a screw on each corner.
◦ Attach the right panel (D), from the front and back panels using only
two screws at the top. Place these screws at the same height, as
this panel will be the flip opening. Test to see if you can flip the door
open a little bit.
◦ Screw the roof (F) to the left and front panels (but not the right
panel, or it won’t open).
◦ Drill two holes for ventilation, on the upper side of each side wall.
◦ Attach a little handle (G) to the right panel, so you can flip the door.
◦ Firmly attach the metal utility hook to the back of the house with one
or two screws.
◦ Finish the house by applying a coat of linseed oil or wildlife-friendly
stain or varnish, avoiding toxic products that could poison the birds.
You could also use a safe paint, in earth tones such as grey, brown
or dull green, keeping in mind that any bright colours might risk
attracting predators.

As tempting as it might be to add nesting material to the finished

house, it is best not to – birds can be quite particular about what they
like in their nests. You may leave suitable material, such as wool
fleece, wood shavings and moss nearby if you wish.

Clean your bird house at the end of summer, or each time you are
sure a family of birds has vacated it, as an old nest can harbour
parasites and bacteria. Open the house, remove the old nest and
brush out the inside. For a deep clean, you can unscrew the roof and
scrub the inside of the house with a gentle cleaner, rinsing it with
clean water afterwards. Allow to dry completely before reassembling.
Summer

What to Look for This Season

Kitchen
Floral-infused Honey
Rye Botanical Cookies

Making
Lavender Wands
Herb-drying Rack
Calendula and Plantain Salve

Gardening
Seed-starting in Eggshells
Mini Pond
What to Look for This Season

Oh, summer! The days are definitely longer now, the sun shines
brightly, butterflies emerge from their chrysalises and new blooms
open up in the warming air.

We feel that the new season has arrived on our hill when the tall
grasses start turning yellow and brittle, and cicadas sing to us all day
long. Here, summer often feels like two different seasons – it starts,
gentle and pleasant, in early June, yet, a month after the solstice, the
streams dry up and the heat becomes overpowering, until the autumn
rains come. Summer is dry and challenging, yet enticing and magical
at the same time.

Summer invites us to slow down during the heat of the day, but also
to be active during the early mornings and late evenings. After all,
there is so much to do. The garden is producing abundantly, and
there is plenty to harvest, cook, preserve and share around the
neighbourhood. There is plenty of watering to be done, too, as the
trees and garden beds get thirsty. Experiencing summer on the land,
as we do, means we feel the effects of climate change, especially as
we listen to tales of this drying land from our elders, who have lived
here their whole lives. It is thus no surprise that summer also comes
with an invitation for climate action. Can we sow seeds of resilience
through our everyday activities? Can we plant more and create more
shade, improve the soil for water retention, support local biodiversity,
and celebrate the tastes and materials of where we live?

The projects for this summer season are a response to some of these
questions, inspired by acts that promote resilience and community,
both for our human and other-than-human kin. May they inspire you
to get creative, as the cicadas sing you their sweet songs in the
background.
On the next few pages, you will find some edible flowers used and
referenced in this chapter (for information on safe and sustainable
foraging).
Calendula
(Calendula officinalis)

Native to the Mediterranean region, calendula is an annual plant

which, in a mild climate, can become perennial. It has naturalised in
temperate climates throughout the world below 2,800 m (9,186 ft).
Flower heads can be collected during the flowering period, from
spring through autumn, and either the whole head or solely the
orange or yellow petals can be used.
Borage
(Borago officinalis)

Borage is a loosely bushy annual native to the Mediterranean region

and can be found on waysides and wastelands up to an altitude of
1,800 m (5,905 ft). This plant’s bright blue flowers can be collected
from late spring to early autumn, although in mild climates the
flowering period can be longer.
French Lavender
(Lavandula stoechas)

There are over 30 species in the genus Lavandula, some more

aromatic than others, and this one is native to the Mediterranean.
This perennial little shrub can be commonly found in this region in
dry, rocky soil, in sunny positions, up to 1,800 m (5,905 ft). It flowers
from mid-spring to late summer.
Nasturtium
(Tropaeolum majus)

Nasturtium is an annual or biennial plant native to western South

America and cultivated and naturalised in temperate regions
throughout the world up to 2,900 m (9,514 ft) high. Its bright orange,
yellow or red flowers can be collected throughout summer and early
autumn.
Heartsease
(Viola tricolor)

This annual plant is widely distributed across the word, up to 1,800 m

(5,905 ft), being native to Europe and Asia. Common varieties of
perennial garden pansies, with blossoms of different sizes and
colours, have originated from the wild species. Heartsease flowers
from early spring to late autumn, and flowers are best collected
during the early morning.
Rose
(Rosa spp.)

The Rosa genus is native to the temperate and subtropical Northern

Hemisphere, and more than 350 species can be found nowadays
across the world. Roses can be deciduous or evergreen, and some
species and cultivars are more fragrant than others. Petals can be
harvested throughout the growing season, from late spring through
autumn, right after blooming, before the flowers are completely open.
The best moment to do this is on dry mornings, as this is when they
are the most fragrant.
Floral-infused Honey
Floral-infused honeys are easy and versatile, and one of my favourite
ways of preserving little bits of summer in jars. This is a tasty and
aromatic recipe which requires little time to create. Besides, it turns
the scents and the feelings of the season into a memory for the
months to come.

Choose beautifully scented blooms and you’ll be sure to bring a

sprinkle of summer magic into the long days of winter. If you don’t
grow fragrant edibles, remember to always follow safe and ethical
foraging practices and don’t use anything that you’re not 100 per cent
certain you can eat. Keep in mind, if you’re using fresh flowers, that
you’ll be introducing water into your honey, so you should refrigerate
it to extend its shelf-life. Infused honey made using dried flowers can
be left unrefrigerated for three to six months.

YOU WILL NEED:

◦ small glass jar
◦ edible flowers of your choice, green stems removed
◦ local honey

DIRECTIONS
◦ Place the flowers into a clean glass jar until half full.
◦ Pour in the honey to completely cover the flowers.
◦ Let it sit for some hours, topping it up again if needed.
◦ Now comes the waiting: it is best to wait at least a week for the
flowers to infuse into the honey before using. Try to flip your jar
upside down a couple of times a day to keep the flowers covered in
honey.

NOTE
◦ Some flowers that lend their delightful fragrance to honey are:
◦ anise hyssop (Agastache foeniculum)
◦ chamomile (Matricaria chamomilla)
◦ jasmine (Jasminum officinale)
◦ lavender (Lavandula spp.)
◦ lilac (Syringa vulgaris)
◦ rose (Rosa spp.)

TIP
◦ Some of my favourite uses for floral-infused honey are:

◦ added to tea
◦ a few drops over pancakes or toast
◦ incorporated into baked goods
◦ by the spoonful
Rye Botanical Cookies
These little cookies just ‘sing’ summer for me and I like making them
as part of our solstice celebration, using whichever edible flowers are
growing in the garden.

Eating flowers creates a special kind of joy – the joy of being alive,
finding delight in the colours and textures of the plant friends we have
around us. I’d say that this feeling is the perfect ode to the warm days
ahead.

Be curious and creative and, as always, only use flowers you know to
be edible. If the flowers aren’t growing in your garden, ensure that
they haven’t been sprayed with any chemicals and always follow the
ethical and safe wildcrafting practices outlined.

INGREDIENTS
◦ 340 g (11½ oz/1½ cups) unsalted butter
◦ 185 g (8 oz/1 cup) brown sugar
◦ 2 eggs, beaten
◦ 1 teaspoon shaved vanilla pod
◦ grated zest of 1 lemon
◦ 300 g (10½ oz/3 cups) rye flour
◦ handful of edible flowers

DIRECTIONS
◦ Cream together the butter and sugar.
◦ Slowly add the eggs, vanilla and lemon zest.
◦ Slowly mix in the flour until you have a homogeneous dough.
◦ Roll out with a rolling pin to about 1 cm (½ in) thick, and cut the
cookies with a cookie cutter.
◦ Place a single flower (or more!) over each cookie, cover the dough
with a piece of baking paper and press down gently with the rolling
 pin to ensure the flowers are really sticking to the dough, otherwise
they will curl away as your cookies bake.
◦ Bake at 180ºC (350ºF/gas 4) for approximately 10–12 minutes, or
until slightly brown.

NOTE
◦ Some edible and colourful flowers you can use in your baking endeavours:

◦ borage (Borago officinalis)

◦ calendula petals (Calendula officinalis)
◦ nasturtium (Tropaeolum majus)
◦ heartsease (Viola tricolor)
Lavender Wands
Some years ago, while exploring an old, abandoned house, I opened
a drawer and found a lavender wand inside. I brought it up to my
nose and instinctively inhaled the sweet fragrance deeply, even
though the passing years had faded most of it. There is something so
calming about the smell of lavender, and it reminds me of my
childhood, my grandparents’ goat-and-lavender-scented home and
the traditional practices of using the bounty of the land in the home.

Traditionally, lavender wands have been used across the

Mediterranean for perfuming clothes’ drawers, where they also act as
a natural moth repellent, and I think it might be time we returned to
this practice.

Lavender (Lavandula spp.) blooms during the summer months and

should be gathered just before the flowers open. A lavender wand
captures the essence of summer for the months to come. It’s such a
delight to open a drawer during the cold season and be greeted by
the sweet scent of this friendly herb. Lavender, with all its different
species, is an easy herb to come by. If you don’t grow lavender, take
a peek in your friends’ gardens and balconies, or visit your local
garden centre and get yourself a pot or two.

We’re going to look at two different versions of the humble lavender

wand here. The first is very simple – the type I found in that old
drawer years ago, and which I’ve seen passed down through
generations here in Western Iberia. Then we’ll go through a more
elaborate, woven version, which most likely has its roots in the South
of France.
The Simple Lavender Wand

YOU WILL NEED:

◦ bunch of freshly cut lavender sprigs with stems at least 20 cm (8 in)
long
◦ 2 pieces of string or satin ribbon, in a colour of your choice, each 20
cm (8 in) long
◦ scissors
◦ spoon (optional)

DIRECTIONS
◦ Remove any leaves from each sprig.
◦ Hold all the sprigs together, aligning the buds. Tie one piece of
string or ribbon around the base of the flowers, in a tight knot, and
cut the ends.
◦ Holding the bunch with the flowers pointing down, gently fold each
stem over the tied string and the flower heads, as if you were
putting the flowers in a cage. Space the stems evenly, being careful
not to snap them. I’ve found that pressing the stems together under
a spoon before folding helps to loosen the fibres and makes them
more pliable.
◦ Hold the long stems together just below the encased flowers and
wrap the second piece of string or ribbon around them a few times
before tying a tight knot.
◦ You may now trim the stems evenly and, if you fancy, tie another
knot using a third piece of string or ribbon at the base to make either
a bow or a loop, so the wand can be hung in a closet.
The Woven Lavender Wand

YOU WILL NEED:

◦ bunch of freshly cut lavender sprigs with stems at least 20 cm (8 in)
long: use an odd number of sprigs (19 is ideal, but any odd number
over 15 will work).
◦ 200–250 cm (78–98 in) of satin ribbon in a colour of your choice
◦ scissors
◦ spoon (optional)

DIRECTIONS
◦ Remove any leaves from each sprig.
◦ Hold all the sprigs together, aligning the buds. Tie with one end of
the ribbon around the base of the flowers, in a tight knot.
◦ Hold the bunch with the flowers pointing down and gently fold each
stem down over the tied ribbon and the flower heads. It will look as
if you were putting the flowers in a cage. Space the stems evenly
and be careful not to snap them. At this point, you can use a spoon
to press over the stems before folding them, which will help loosen
up the fibres so they don’t break.
◦ You now have the flowers trapped inside and both ends of the
ribbon trailing along the stems – you can start weaving!
◦ Keeping the short end of the ribbon tucked among the flower heads,
bring the long end over and under the stems, all around the bunch.
Weave tightly, pulling the ribbon up with your thumbnail if needed,
so that it is snug to the previous row.
◦ Keep weaving around the bunch until all flowers are covered,
rubbing away any buds that are sticking out.
◦ Once you’ve reached the end of your flower ‘cage’, wrap the
remaining ribbon a couple of times around the stems and tie a tight
knot. You may tie either a bow or a loop, so the wand can be hung
in a closet.
◦ Cut the end of the ribbon and, if you want, trim the stems evenly as
well.

The stems may release oils during the first few weeks after weaving,
so it’s best to hang your wand in a closet, for example, before placing
it in a drawer among your clothes to avoid any staining.

These wands will easily keep their scent for a couple of years, with
the more elaborate one retaining it the longest. To release the natural
oils and refresh the fragrance over time, you can gently roll the wand
between your hands.
Herb-drying Rack
Summer is a season of abundance. Many culinary and medicinal
herbs are now at their peak, ready to be harvested and hung to dry,
for use in the months to come. We have strings stretched across our
kitchen ceiling that are used for drying herbs, and it’s not unusual that
we have bunches of nettles, oregano, thyme and rosemary dangling
above our heads.

Some years ago, I collected more willow than I needed for a project,
so I had to come up with some ideas to use it. Willow is traditionally
used in basket-making due to its long flexible rods and it is a
fascinating material to work with – there are so many possibilities!
Fresh willow stems dried inside a circular object will harden into
circles, which is the perfect starting point for several different projects
– in this case, herb-drying racks that are not only beautiful but
movable as well. I love that I can move the whole rack, with herbs
hanging from it, from one place to another without having to untie
each individual bunch.

Next time you go to a wetland, or are walking close to a stream, take

along a pair of pruning scissors and respectfully collect a couple of
young willow rods. If you can’t find any, ask around your community –
the chances are that someone knows someone who works with this
plant and will be glad to support your creativity!

YOU WILL NEED:

◦ 1 fresh young willow rod, about 1 m (3 ft) long
◦ saucepan 20–30 cm (8–12 in) in diameter (or however large you’d
like your rack to be)
◦ string

DIRECTIONS
◦ Coil the willow rod inside the saucepan and leave to dry in a warm
place for up to a week.
◦ Once it’s dry, remove from the pan and cut the ends if they are
protruding or simply tuck them inside the willow circle. You can
secure the circle by tying a piece of string where the ends overlap, if
needed.
◦ Cut four pieces of string, about 40 cm (16 in) each, and tie each to
the willow circle, spacing them evenly. Gather the loose ends and
tie a knot with a loop. This is how you’ll hang your rack.
◦ To dry your herbs, make little bunches and secure the stems with
string, leaving a long tail so you have enough to attach the bunch,
hanging upside down, to your rack.

TIPS on drying herbs:

◦ Pick your herbs by mid-morning on a sunny day, after the dew has evaporated.
◦ Avoid making overly thick bunches, which might go mouldy on the inside. Opt for
smaller bunches instead.
◦ Dry your herbs in a warm, dry, shady spot. Drying time will vary according to your
climate.
◦ You know your herbs are well dried if the leaves crackle when you crush them and
have maintained most of their colour.
◦ Don’t leave your herbs gathering dust! Once they are completely dry, strip the
leaves or blooms (whichever part you have used) and store them in a labelled jar.
It’s best to do this during the hottest time of the day.
Calendula and Plantain Salve
Calendula (Calendula officinalis) was the first medicinal herb I grew in
the garden when we moved to these hills. Later, the first herbal
preparation I tried my hand at was calendula salve. This herb is truly
such a friendly, simple starting point for budding herbalists.

Recently, plantain (Plantago spp.) volunteered itself to grow by my

calendula patch. This is how plants sometimes speak to us, so I
answered the call and got them together. While each herb has myriad
uses, both are known for their action upon the skin. Plantain has
traditionally been used to treat cuts and rashes, stings and bruises.
As for calendula, this gentle flower is most known for its topical use
as a vulnerary herb, which means it promotes wound healing,
alongside its antibacterial, antiviral and antifungal properties. If you
don’t grow these herbs in your garden and are unable to find them
growing close to you, they are both easy to come by in bulk at a
herbal supplier.

This salve can be used on minor cuts, scrapes and burns, as well as
rashes and bug bites. It is safe to use when there is inflammation of
the skin (whether due to infection or physical damage) – think
eczema, bruises, wounds or strains.

For this recipe, there really aren’t specific ingredient amounts: it

doesn’t have to be exact, and you can tailor it to your own needs. But
pay close attention to the ratio of beeswax to oil (1:4), or you’ll end up
with a salve that doesn’t have the right consistency.

The first step is to make an infused oil, which will take some weeks.
To make a salve, we simply add beeswax to solidify the oil. It’s all
worth the wait – you’ll see! I like using olive oil in my preparations,
since that’s what is local to me, but coconut or sweet almond oils are
good options for this salve. You can also blend different oils according
to your skin’s specific needs. There is room to be creative.
YOU WILL NEED
◦ dried calendula flowers and plantain leaves (make sure that your
herbs are completely dry before infusing, since any residual water
content can easily make the oil rancid)
◦ oil of your choice
◦ beeswax, grated (one part beeswax to four parts oil; for example, 1
cup of oil requires ¼ cup of beeswax)

Make Your Infused Oil

◦ Add dried calendula flowers and plantain leaves to a clean, dry jar
and pour the oil over them, covering by 2 cm (¾ in). Let the herbs
and oil infuse for 4–6 weeks in a cool, dark place.
◦ Once the infusion time is up, strain the oil using a cheesecloth or a
strainer, and squeeze out any oil that is left behind in the herbs.

Make our Salve

◦ Put the infused oil into a double boiler (this can be as simple as a
small saucepan that fits over a larger one with a little water at the
bottom) and bring the water in the boiler to a gentle simmer to heat
the oil.
◦ Add the beeswax, stirring until it has completely dissolved.
◦ Carefully pour the hot salve into tins or jars. As the salve cools, you
may want to add a dried calendula head to each tin or jar, for
decoration.
◦ Let cool completely before putting on the lids. Label by writing down
the herbs you’ve used and the date.
◦ Store in a cool, dark place, where it will keep for at least a year.
Seed-starting in Eggshells
Starting seeds is one of my favourite activities as it involves so much
creativity, planning and looking forward. I usually plant my main crops
in large seed-starting trays during summer and autumn, always
thinking of the season ahead. There are, however, different plants I
enjoy planting in smaller numbers throughout the year, for a constant
harvest of herbs, vegetables and cut flowers.

Starting seeds at home is easy, and these eggshell pots are a

beloved option at our home because they are free (thank you,
chickens!), are the perfect size and are biodegradable, decomposing
in the garden once the plants are transplanted and enriching the soil
with calcium. Placed in an old egg carton, the eggshell pots take little
space and fit nicely on a windowsill, encouraging you to water them
daily and watch your seedlings grow in the warm sunshine.

Any type of seeds will grow happily in these pots, except for large
ones, such as beans or courgette (zucchini), which would feel more
comfortable sown directly in the ground or in larger containers.

If you don’t eat eggs and want to try this project, you could ask a
friend or a neighbour to save some shells for you (you could even gift
them some seedlings in return!).

YOU WILL NEED:

◦ eggshells (halved or cracked in such a way that only the top is
removed)
◦ empty egg cartons
◦ potting mix
◦ assorted seeds
◦ spray bottle filled with water

DIRECTIONS
◦ Prepare the eggshells by rinsing them in warm water and letting
them dry.
◦ Punch a drainage hole at the bottom of each shell, using a needle or
a sharp pencil. You can make this from the inside out against a soft
surface, such as a folded kitchen towel, to avoid breaking the shells.
◦ Assemble the shells in empty egg cartons.
◦ Fill the shells with potting mix, pressing gently, and spray the mix
with water until it’s wet. Chip away any shell edges to create a
smoother or wider opening.
◦ Create little holes in the potting mix with the tip of your finger and
sow 2–3 seeds per shell, respecting each plant’s requirement for
depth or special care (you will find this information on the seed
package), then cover them over.
◦ Sprinkle with more potting mix and moisten with the mister.
◦ Care for your seedlings by keeping them indoors in a well-lit area
and watering them every day, or every two days, according to the
environment in your home, being careful not to overwater. Most
seedlings will be ready to transplant when the second or third set of
true leaves develops.
◦ Move your seedlings outdoors for a few days before planting them
out, so they adapt to the different environment (this process is
called hardening off).
◦ When it’s time to plant your seedlings in the garden or larger
containers, gently crush the shells with your fingers and remove
some of the bottom part of the shell. Make a hole in the soil and
bury the shell completely, so that it can keep on providing nutrients
to the plant as it biodegrades over time.

Some Seeds to Experiment with This Season

VEGETABLES:
◦ broccoli
◦ brussels sprouts
◦ cauliflower
◦ collard greens
◦ celery
◦ kale
◦ lettuce
◦ mizuna
◦ mustard greens
◦ rocket

HERBS:
◦ chamomile
◦ coriander (cilantro)
◦ marjoram
◦ rosemary
◦ sage
◦ tarragon
◦ thyme

FLOWERS:
◦ borage
◦ calendula
◦ cosmos
◦ marigold
◦ Queen Anne’s lace
◦ snapdragon
◦ yarrow
Mini Pond
A pond is a fabulous addition to any garden. Water not only brings a
new dimension to a growing area, but also supports local biodiversity
by attracting wildlife such as birds, insects, amphibians and small
mammals. A thriving, diverse ecosystem is a resilient and balanced
one.

Whether you have a large garden plot or a balcony, your pond

doesn’t need to be big to bring benefits. You can make a mini pond by
using a watertight container that is large enough to accommodate
plant pots and deep enough that they are covered with water. You will
need to consider how much sun and shade the pond will get (you
need sun for at least four to six hours a day, but no more than three
to four hours of direct sun), and how cold it will be in winter (it must
be deep enough not to freeze solid in your climate). It’s preferabe to
use rainwater from a water butt for your pond, although you could use
tap water that has been left to stand for 24 hours. This project is
pretty straightforward and you (and your garden) will soon be
enjoying this new mini ecosystem.

YOU WILL NEED:

◦ watertight container, such as a plastic wine barrel, a tin bathtub or
basin. For reference, mine is about 60 cm (24 in) wide and 30 cm
(12 in) deep.
◦ waterproof sealant (optional)
◦ bricks or stones
◦ pots
◦ 3–4 aquatic plants of different heights, including a tall one such as a
rush, 1–2 oxygenators and a marginal. (Use native plants from a
reputable pond-plant supplier.)
◦ aquatic compost
◦ gravel or small pebbles
◦ large feature stone (to act as a landing place and exit for wildlife)
DIRECTIONS
◦ Thoroughly clean your chosen container. Fill it with water and wait
for a couple of hours as you search for water leaks. If you find any,
seal them with waterproof sealant and allow this to dry before
moving on to the next step.
◦ Place your empty container in its designated spot. Dig a hole and
sink the container completely (this will help regulate its
temperature), or, if this is not possible, sink it only partially, or have it
sitting on the surface.
◦ Place bricks or stones inside the container, around the edges,
creating ‘shelves’ for plants that like different depths, as well as a
deeper area in the centre.
◦ Pot up the aquatic plants, covering the compost with a light layer of
gravel, or small pebbles, to keep it from floating to the surface.
◦ Fill the container with water until two-thirds full. Place the plants
inside, on top of the bricks. You can arrange them in a visually
striking way, placing taller plants at the back and cascading plants
at the sides, where they can fall over the edge of the container.
Don’t overcrowd your container, to allow for the plants to spread –
you are looking for two-thirds coverage of the water’s surface.
◦ Top up your container with water, about 2.5 cm (1 in) below the rim.
Place a large stone against the edge of the container to serve as a
landing place for birds and insects and as an easy exit for
amphibians and mammals.
◦ If your mini pond is sitting on the surface or isn’t completely sunk
into the soil, surround it with some bricks or stones, to help critters
access the water. Place bushy plants between the bricks, at ground
level, as protection for frogs and tadpoles against predators and too
much heat.
◦ Watch your plants grow and wildlife use your space over the coming
weeks!

MAINTAINING YOUR MINI POND:

◦ Submerged oxygenating plants are a vital part of your mini pond’s
flora, so do not skip these.
◦ During the warm months, when evaporation can happen quickly, top
up the water regularly.
◦ Regularly remove any leaves that fall onto the pond, as this will
reduce the amount of nutrients in the water that can lead to algal
growth, and prune yellowing and dried leaves from your pond
plants.
◦ Depending on your climate and the plants you’ve chosen, you may
be able to leave your pond outside during winter, as the surface of
the water can freeze without harming the plants or any larvae
overwintering at the bottom. I recommend finding pond-
maintenance tips specific for your climate.
Autumn

What to Look for This Season

Kitchen
Acorn ‘Coffee’
Slow-cooked Fruit Butter

Making
Acorn-cap Candles
Natural Dyes
Tote Bag
Simmer Pot

Gardening
Wind Chimes
Pumpkin Lanterns
What to Look for This Season

Autumn brings with it a welcome fresh breeze and, frequently, the first
rains after a long, dry summer. We can almost hear a collective sigh
of relief from the plant and animal kin around us, as the temperatures
cool down and the sun sets a little bit earlier each evening.

In the morning, the grasses outside are covered with delicate dew,
often trapped in spiders’ webs and resembling intricate lacework. The
colours of mosses, stones and tree leaves seem more vibrant, bathed
by the gentle moisture in the air. As the rains become more frequent
and the fire risk lowers, small bonfires and the occasional wood-fired
stove in the neighbourhood are lit, the scent a comforting hug.

This is, without doubt, my favourite season of the year. We return to

spending more time outside, after a season of sheltering from the
heat. There are mushrooms and acorns to collect, ripe autumn fruits
to harvest and process, and so much to do in the garden, too. For us,
this is a season for being active, in preparation for winter’s retreat.

In this chapter, most of the projects start with a roam outdoors,

soaking in the golden light and crisp air while collecting materials to
work with during this season and the next, in anticipation of the long
weeks we will spend indoors due to the weather. Take notice of the
sounds under your feet as you walk along paths and the shape of
rain-filled clouds above your head. How do the tree leaves dance in
the wind? What songs do they sing? Which new colours emerge from
the foliage? Autumn is infused with beauty and poetry, and there is so
much delight in noticing it.

Over the next few pages, you will find some plants that can be used
as natural dyes during this season (for information on safe and
sustainable foraging).
Blackberry
(Rubus fruticosus)

This common prickly shrub, known as bramble, is native to Europe

and can be found growing in hedges, woods, waste grounds and
along paths and waterways below 1,700 m (5,577 ft). Brambles are
perennial and blackberries can be collected from late summer to mid-
autumn.
Cork Oak
(Quercus suber)

Cork oak is a slow-growing and long-living evergreen tree native to

the Mediterranean region. It occurs solely in this area, where it can be
found up to 1,000 m (3,280 ft). This tree is just one of the species of
oak, many others can be found in Europe, North Africa, Asia and
Americas. The cork oak fruits during autumn, and the ripe acorns can
be collected from the ground.
Common Walnut
(Juglans regia)

This deciduous tree is native to Southeast Europe and Southwest

Asia and naturalised throughout Europe, South Asia and North Africa,
where it grows below 1,500 m (4,921 ft). The fruits start ripening in
early Autumn and are best collected from the ground when they are
fully ripe and fairly dry, in late autumn.
Tasmanian Blue Eucalyptus
(Eucalyptus globulus subsp. globulus)

This is one of the many species of eucalyptus, a fast-growing tree

which is native to Australia. E. Globulus is one of the most widely
cultivated eucalyptus species, in temperate regions throughout the
world, where it can be found up to 1,000 m (3,280 ft). The adult
leaves can be collected for dyeing purposes throughout the year.
Acorn ‘Coffee’
I’ve recently started making this acorn brew as a bioregional
alternative to coffee. In fact, the practice of making acorn coffee is
nothing new, as acorns were used in this way during the Second
World War, a time when coffee, like many other things, was scarce.
Admittedly, I’m not much of a coffee drinker but I do enjoy a cup every
now and then. However, drinking coffee makes me reflect on the
environmental and social cost of producing and transporting a single
crop all over the globe.

Fast-forward (or backward!) to acorns, which for generations have

been a significant part of the diet of the peoples who have inhabited
the Iberian Peninsula, among other locations. Some of my ancestors
fed themselves with acorns, mostly by milling them into flour for
bread. Acorns, here, are as ancestral as it gets. But then, in the
modern era, acorns, like most wild foods, started receiving less
attention, lost to the convenience of large-scale agricultural
production and the modern supermarket shelf. And recently, for this
reason, they have been mostly used as food for pigs. What a win for
pigs, what a loss for us!

Processing acorns for food is a rather complex process, especially

when done manually. I feel so much appreciation for our ancestors,
who dedicated their skill and time to such simple, yet life-sustaining
tasks. For most preparations, acorns need to be thoroughly leached
(repeatedly soaked in water) to remove the tannins, which give them
a harsh, bitter taste. A shorter route to enjoying them, however, is
acorn ‘coffee’, which needs minimal leaching. It’s not really coffee and
it is caffeine-free.

For this recipe, I collected oak from the holm oaks (Quercus
rotundifolia, which, in Portuguese, is known as azinheira) that grow
on our hill: I wanted to try one specific type of acorn, to really get to
know its taste. One of the older adults from this region once told me
that holm oak gives the sweetest of acorns, so this seemed like a
tempting option. But don’t be afraid of playing around and finding a
blend that you like! Different types of acorn have different levels of
tannins, so experiment with what feels right on your tongue.

I like to make this when the wood-fired stove is already on for heating
the house, to save on resources, as it involves popping the acorns in
and out of the stove a few times.

YOU WILL NEED:

◦ 2 cups ripe acorns (feel free to experiment with a larger quantity but,
if you’re new to acorn coffee, I recommend starting with a small
amount)
◦ nutcracker (optional)
◦ immersion blender (optional)
◦ coffee grinder
◦ hammer (optional)

DIRECTIONS
◦ Collect the acorns. I usually collect mine from the ground when they
start falling. If you live in a region with squirrels, or other nut-loving
critters, you might want to hand-pick almost-ripe acorns from a
mature oak tree in early autumn. You can then leave them to fully
ripen inside a paper bag in a shady spot, for up to a couple of
weeks, until they are brown.
◦ Give the whole acorns a first roast, while they’re still in their shells,
for about 15 minutes in a medium oven (180°C/350°F/gas 4). This
will make breaking the shells easier.
◦ Remove the shells using your fingers, which shouldn’t be too difficult
after the previous step. Keep a nutcracker close by, in case you
need it for some tougher ones.
◦ Leach the acorns. Remove some of the tannins by soaking the
acorn in just-boiled water for a couple of hours, draining and rinsing
in cold water. The acorns will get softer as you do this, and you can
place them, together with some water, in a blender, to break them
 into smaller pieces. Then repeat the leaching process until the water
comes out almost clear – this will depend on the type of acorn you
are using.
◦ Roast the acorns. You’re getting closer and closer to your brew!
Spread the acorns in an oven tray and roast them in a medium oven
(180°C/350°F/gas 4) until dark, dark brown. You don’t want them
burnt, but with a roasted, nutty smell. This process takes about an
hour in my wood-fired stove, but it will depend on the temperature of
your oven and the size of acorn. Stand by while your acorns are
roasting and follow your nose.
◦ Grind the acorns. This might be my favourite bit. If your coffee
grinder isn’t very strong, I suggest wrapping the acorns in some
fabric and hammering them, which sounds quite aggressive but
which is effective at breaking them into smaller bits and makes the
grinding easier. The ground acorns should be black and smell nutty
and delicious.
◦ Brew your cup. When using acorns, I like to brew in a cafetière
(French press), or use the simple pour-over method, letting the
coffee steep before straining.

How does it taste? It is quite different from coffee, yet it has a full,
nutty taste that is very satisfying. There is something truly fascinating
about collecting, processing and brewing something ourselves, from
the landscape around. Share it around and enjoy it with your
neighbours!
Slow-cooked Fruit Butter
There is something quite magical about storing the sun’s warmth and
sweet ripeness in jars to savour during winter. I have been making
fruit preserves every year since we moved to these hills eight years
ago. There is such an abundance of fruit, both cultivated and wild,
during late summer and autumn – often more than one can eat at the
time.

Even though my first steps in fruit preserving were jams and jellies, I
quickly started questioning the quantity of sugar required by most of
these recipes. I almost didn’t want to eat what I was making, as it was
so sweet. Jam and jelly recipes often call for the same weight of
sugar as fruit, as sugar serves as a preserving agent, contributes
flavour, and aids in gelling. I started looking for and experimenting
with ways to make fruit preserves with minimal sugar, or even to
replace it altogether with other sweeteners, and this is where fruit
butters come in. Fruit butters don’t call for as much added sugar, and
can be made with sweeteners such as honey or maple syrup. They
do not have the consistency of jam, which is set to perfection with the
use of pectin in combination with sugar, but instead have a
spreadable and soft consistency, hence the term ‘butter’.

This is a canning recipe, which means we’ll be processing the fruit

butter in jars at high temperatures. This process destroys the
contaminants that would cause natural spoilage and, at the same
time, removes air from the jars. When the jars cool, a vacuum seal
forms to prevent recontamination. Processed through a safe canning
method, jars of fruit butter will keep for about a year but, once open,
need to be stored in a refrigerator and consumed quickly since they
don’t have refined sugar acting as a preservative. For this reason, it’s
best to choose smaller jars. Refined sugar also helps to maintain the
colour and vibrancy of the produce so, by reducing the amount, there
will be some inevitable loss of colour in a fruit butter. You may wish to
keep your finished jars in the dark to slow down the colour loss.
When canning, it’s important to consider acidity. Why? Because,
when we preserve food through a boiling-water bath, as in this recipe,
the high temperatures kill the bacteria that cause it to spoil and
develop mould. However, the temperature achieved through this
method (82ºC/180ºF) is not enough to kill botulism spores, which
thrive in low-acid, oxygen-free environments. This is why, when
canning foods that are low in acid, the jars must be processed in a
pressure canner, which reaches far higher temperatures
(116ºC/240ºF) and is effective at killing any spores that might be
present. Acidity is measured on a pH scale: a foodstuff with a pH of
4.6 or below is considered highly acidic and is safe to be processed
in a boiling-water bath; a pH of 4.7 or above, however, is considered
low and requires a pressure canner.

If the fruit in your preserve hovers between high and low acidity, you
can add something acidic, such as lemon juice, to bring the pH to a
safe level for processing in a boiling-water bath. To measure acidity,
use pH strips or a digital pH tester on your finished product, before
canning. You can also consult a table of typical pH and acid content
in foods, which breaks it down by type of fruit and provides you with a
good reference. There are so many fruits that have naturally safe
acidity levels for preserving through a boiling-water bath. The fruits
suggested in this recipe fall into this category. However, if you want to
try making fruit butters with other ingredients, be sure to check the
acidity of the fruits you plan to use and, potentially, invest in a
pressure canner.

Happy preserving – it’s a fascinating world!

YOU WILL NEED:

◦ heavy-based saucepan
◦ potato masher or immersion blender
◦ canning jars of similar heights
◦ lids (it’s not a good idea to reuse lids, so get new ones instead)
◦ funnel
◦ tongs
◦ ladle
◦ large, deep saucepan for sterilising utensils and to use as a water
bath after bottling

INGREDIENTS
◦ 4 kg (8 lb 13 oz) of yellow peaches
◦ 680 g (17 fl oz/2 cups) honey
◦ juice of 1 large lemon
◦ 1 vanilla pod

Making the Fruit Butter

◦ Wash, chop and core the fruit, removing the pits (peeling is
optional).
◦ Place the fruit in a heavy-based saucepan with 2 tablespoons of
water.
◦ Cook on a low heat, covered, for about 1½ hours. Check regularly
and give it a stir. The fruit will be ready when it’s easy to mash with
a fork.
◦ Remove from the stove and mash with a potato masher, or blend
using an immersion blender, until there are no chunks left.
◦ Return to the stove, add the honey, lemon juice and vanilla pod and
leave to cook on a very low heat, with the lid almost on (you could
slide a chopstick between the lid and the rim of the saucepan, so
that the lid is slightly open), for 6–10 hours.
◦ Stir regularly to ensure the mixture not sticking to the bottom and
cook until the liquid has reduced to a thick, dense consistency,
about half its original volume.
◦ Pick out the vanilla pod and maintain the fruit butter at a low simmer
until it’s time to bottle.
Bottling
◦ Sterilise your equipment when the fruit butter is almost done: fill the
large, deep saucepan with water and bring to the boil. Place your
lids and jars inside, upside down (it’s okay if your jars aren’t covered
in water, but keep them facing down, as steam sterilises too).
Sterilise the ladle and funnel as well. Leave everything here until
you’re ready to start bottling. The tongs will come in handy when it’s
time to remove everything from the hot water.
◦ Ladle the piping hot fruit butter into the hot jars through the funnel,
leaving 1 cm (½ in) of headspace, wipe the rims with a clean, dry
cloth and close with the hot lids. Yes, everything needs to be hot at
this stage!

Boiling-water Bath
◦ To finish, process the jars in a boiling-water bath. Fill the large
saucepan half full with water and bring to the boil. Place as many
finished hot jars as will fit, upwards, in a single layer. They should
be covered by 3–5 cm (1½ to 2 in) of water.
◦ Process the jars in this boiling bath for 20 minutes, with the
saucepan lid on.
◦ Remove from the heat and cool the jars to room temperature, either
on a rack or towel on the kitchen worktop or inside the water bath
itself.
◦ Once the jars are cool enough to handle, check the lids, which
should have sucked down and be slightly concave. If they aren’t,
refrigerate and use quickly, or repeat the process with a new lid. Do
not retighten the lids as this may cause accidental seal failures.

Store your jars in a cool, dark place, and refrigerate once open. Enjoy
these little bits of sealed sunny abundance within a year.

NOTE
◦ If you are ever in doubt about a jar of bottled food, don’t try it—just discard it
instead. Well-processed jars will not have swollen lids, odd smells, air bubbles or
mould growing inside.
Acorn-cap Candles
If you’ve tried the acorn ‘coffee’, you might have ended up with a few
handfuls of acorn caps. Or you might just encounter them in your
strolls through fields and forests. Acorn caps look like small fairy hats
sitting on top of each nut and I had always thought that there must be
something creative to make with them: so, I sat down with my little
one and made something! And that something suddenly became so
much more than just a something. It became a tradition, a ritual in
itself, and quickly a part of our Samhain too – Samhain is the grand
festival of the Celtic New Year (and where Hallowe’en stems from)
and is usually celebrated over the last couple of weeks in October
and the very beginning of November.

Samhain is a time to remember what has passed, and to think about

and honour our ancestors. But it is also a time to look into the future,
as tradition says that this is the time of the year when the veil
between worlds is at its thinnest, making it ideal for divination and
fortune-telling.

The traditions of this time of year have their roots in ancient customs,
and there are many layers to explore. One of the most significant
elements of this celebration is fire, whether a bonfire, lanterns or
candles. And this is how our acorn caps became acorn-cap candles,
as we used elements of our landscape to celebrate the passing
season – in this case, summer giving way to the cold, dark months
ahead. You may feel inspired to make some of these yourself, but this
project is really just a starting point: feel free to use any different
materials you have around. Walnut shells, for instance, work really
well for this.

These little candles work best, and most safely, floating in a bowl of
water. They are such a beautiful, gentle presence on the kitchen
table.

YOU WILL NEED:

◦ beeswax or a vegan alternative
◦ acorn caps, the wider and deeper the better
◦ sand, in a bowl
◦ wick, cut into tiny pieces, a little longer than the height of the caps

DIRECTIONS
◦ Melt the beeswax in a double boiler (you can make this by fitting a
small saucepan over a larger one with a little water at the bottom)
and, in the meantime, place your acorn caps face up in the bowl of
sand, gently nested there – this will help them stay in place as the
wax hardens.
◦ Carefully pour the melted wax into a cap and quickly place a little
wick in the middle, holding for a little while until you feel it’s stuck in
place.
◦ Let the wax harden and cool before removing the candles from the
sand, and you’re done!

NOTE
◦ These candles have a very short lifespan (10–15 minutes, depending on the depth
of the acorn cap you’re using). Even though I recommend you float them in a bowl
of water, remember to keep an eye out as they burn, and don’t leave them
unattended. Remember, fire + wood = stay alert!
Natural Dyes
Natural dyes are simply captivating. There is always something new
to discover and new colours or shades to play with in this ancient
tradition. I love using elements from the garden and landscape to
create colours for different fabrics.

We start by collecting dye plants and extracting their dye into a bath,
which can take from as little as an hour to overnight, depending on
the results you want. Once the dye baths are ready, we prepare the
fabric and proceed to dyeing. There are many different methods of
natural dyeing, and here I’m sharing the one I’m most familiar with.
There are many things that can affect the way a colour turns out, but
that just makes it all the more interesting. You’re in for a wonderful,
creative journey!

YOU WILL NEED:

◦ tannin-rich natural dye materials (see Note), about the same weight
of plant material as the weight of fabric
◦ hammer
◦ 2 large metal pots of your choice, used exclusively for this purpose
(I use an old tin pan that was my grandmother’s, and an aluminium
one)
◦ bicarbonate of soda (baking soda) and lemon juice or vinegar
(optional)
◦ soda crystals (washing soda)
◦ washing powder (laundry detergent)
◦ 100 per cent natural, cellulose-based plant fabric, such as cotton,
linen or bamboo (I’m using a blend of cotton and linen here)
◦ wooden spoon, kept just for this purpose
◦ aluminium acetate (alum) powder
◦ mask, goggles and gloves

Always work in a well-ventilated area.

Prepare the Dye Bath
Let’s start by making some colours. Dye baths can take a few hours
to develop, so can be made in advance and left to sit while the fabric
is prepared (see next step). The exact process for creating a dye bath
varies according to which dye plant you’re using, but the most
common practice is to simply cut your plant materials into small
pieces and boil in water. A good starting point is to use one part dye
material to two parts water, knowing that adding less water will make
for a more concentrated dye, while more water will make for a more
diluted hue.

◦ Smash the acorns, walnuts or other plant material with a hammer,

just enough to expose a good quantity of its surface to the water,
and place in one of the saucepans.
◦ Add water (two parts water to one part dye material) and bring
almost to the boil, then leave to simmer for about 1 hour (20
minutes, if you’re using blackberries). The colour will become
stronger and stronger as it simmers. You don’t want to cook the
plant material, as this might drastically change its colour, so keep an
eye on it, making sure it doesn’t boil.
◦ Remove from the heat and either strain the solid materials or leave
the water to cool for some hours, with the materials in. This will
depend on how deep you want your colours to be. You want to end
up with dye water in the pan, and solids strained and discarded.
◦ The pH of water affects the colour, too. You can play with hues by
adding bicarbonate of soda, which is alkaline, or lemon juice or
vinegar, which are acid, to small bowls of dye bath for testing. If
you’re happy with the result, you can either add your chosen
modifier to the dye bath itself or create a separate bath in a new pan
and add it to that, for two different results.

Scour
It is important, when naturally dyeing cellulose-based material, to
completely clean the fabric you’ll be using, so that you get good
coverage with your dyes. This process is called scouring and is
especially important if you’re using newly bought fabric that hasn’t
been washed before. Quantities will vary according to how much
fabric you’re scouring and the size of the saucepan, but the rough
guideline is to use 2 tablespoons of soda crystals per 400 ml (13 fl
oz/generous 1½ cups) of water.

◦ Dissolve the soda crystals in a small quantity of water in the second

pot, then add the remaining water. Mix in about 3 tablespoons of
washing powder.
◦ Submerge the fabric, filling the pot with more water if needed, so
that you are able to stir the fabric around using the wooden spoon.
◦ Bring the water to a boil, reduce the heat and leave it to simmer for
2–3 hours.
◦ Remove from the heat and, once the water has cooled, discard it,
rinse your fabric well and leave it aside, wet, ready to move on to
the next step.

Mordant
Now that your fabric is clean, it’s time to mordant. A mordant is a
naturally occurring, water-soluble metallic salt that binds together the
fabric and the dye, improving colourfastness. There are only a few
dyes that are naturally colourfast and don’t require this step, so this is
an important part of the process most of the time, if you want colours
that last. For safety, do use gloves and a mask during this step.

◦ Use 7.5 g ( oz/3 teaspoons) of aluminium acetate per each 100 g

(4 oz) of fabric. Dissolve the required quantity of alum in 250 ml (8½
fl oz/1 cup) of boiling water.
◦ Warm some water in the saucepan (enough to cover the fabric),
then mix in the previously dissolved alum water and stir well.
◦ Add the fabric and simmer, stirring occasionally, for 30 minutes.
Turn off the heat and leave to cool.
◦ Rinse the fabric and either leave to dry for future use or keep it wet,
ready to move on to the next step – the actual dyeing.
Dye the Fabric
And just like that, magic is about to happen!

◦ Place the prepared and wet fabric in the saucepan containing the
strained dye bath.
◦ Bring to a light boil and leave to simmer gently for about one hour,
stirring regularly to make sure all the fabric is submerged and to
release any air bubbles.
◦ Turn the heat off and leave the fabric to soak overnight – colour will
continue to develop as the dye bath cools down.
◦ Remove the fabric from the pan and thoroughly rinse under running
water, to remove any extra dye. At this point, you may decide to dye
the fabric once again for a more interesting hue.
◦ Dry the fabric in the shade.

Caring for Your Dyed Fabrics

In this project, we have used plants that are rich in tannins, and thus
withstand the test of time and repeated washing better than others.
Here, however, are some tips on caring for naturally dyed fabric:

◦ Wash cold (30ºC/86ºF maximum), with similar colours, using gentle

laundry soap.
◦ Don’t wash too often. In fact, washing your fabric only when it
actually needs it will greatly improve how well the colours keep.
◦ Dry your clothes in the shade, as sunlight can fade colours.
◦ Keep in mind that colours are alive, and that’s beautiful. The shade
of your dyed fabrics and garments might change over time, and
that’s part of the magic! Embrace the change or dye it again in a
similar colour – or something else entirely.

NOTE
◦ Tannin-rich natural dyes bond well with cellulose-based plant fabric, improving
saturation and colourfastness. Some plant dyes that are rich in tannins include:

◦ whole walnuts, in their hulls

◦ acorns
◦ eucalyptus leaves
◦ blackberries
Tote Bag
Now that we have naturally dyed fabric, let’s make something simple
and useful with it! This bag is made inside out, and then flipped the
right way once you’re done.

YOU WILL NEED:

◦ naturally dyed fabric, cut into the following pieces:
- body: one 90 x 40 cm piece (35½ x 15¾ in)
- straps: two 90 x 4 cm pieces (35½ x 1½ in)
◦ iron
◦ thread in coordinating colours
◦ sewing pins
◦ sewing machine

DIRECTIONS
◦ Fold the body fabric in half, with the right sides facing. Press the fold
with the iron to make a crease and align the sides. Pin them in
place.
◦ Sew along the pinned sides using a 2 cm (¾ in) seam allowance.
Sew along this line twice more, for a sturdy seam. This is the body
of your bag.
◦ Sew a zigzag stitch along each edge of the strap, to prevent
unravelling. Repeat for the second strap.
◦ With the right sides of the bag still facing each other, create a hem
all around the opening of the bag by folding the fabric back 2 cm (¾
in), twice, onto what will become the inside of the bag. Iron over this
fold and pin in place.
◦ Attach the first strap to the tote bag, by inserting the raw end under
the hem of the bag (between the pins), 8 cm (3¼ in) from the side,
and pin in place. Repeat with the other end of the strap, making
sure it isn’t twisted. Repeat with the second strap.
◦ Flip the straps up and sew all around the bottom of the folded hem,
securing the straps in place.
◦ Sew around the hem and over the straps one more time, along the
top of the hem.
◦ You can make the strap more secure by sewing an ‘X’ connecting
the top and bottom seams you’ve made along the hem. Turn the
bag the right way out and press the whole surface well with the iron.
You have finished your new bag!
Simmer Pot
You know that sweet scent that lingers in the air when a cake is in the
oven? Or the smell of warm spices that seems to hug your whole
being as you breathe deeply? Being able to recreate these scents
might just be one of my favourite things about simmer pots. You can
look at the simmer pot as a handmade, bioregional alternative to
scented candles or air fresheners. Put simply, it is a saucepan filled
with water, herbs, spices and fruits left on the heat to simmer – the
scented water evaporates releasing scents and moisture into your
home.

I usually start making them as we light the wood-fired stove in late

autumn. Since the stove’s surface is hot anyway, it’s easy to pop a
deep saucepan full of herbal goodness on it in the morning, to last the
whole day. You can make them on your regular gas or electric stove,
too, in which case you may choose to leave it to simmer for only an
hour, to save on resources. I promise that even a short simmering
time goes a long way to making your home smell like a fairy-tale
scene. Alternatively, you can start it on the stove and then place it on
top of a warm radiator, in a safe and stable position.

Depending on the ingredients you use, your simmer pot may remain
aromatic for a day, or perhaps even two or three. Fruits, for example,
probably won’t last longer than a day, whereas a simmer pot made
with aromatic herbs may be reused the day after. My favourite blend
comes mostly from the garden and consists of citrus slices, pine
needles, rosemary and cinnamon sticks. I also thoroughly enjoy a
simple combination of rosemary and lavender.

YOU WILL NEED:

◦ deep saucepan, holding around 3 litres (3 quarts)
◦ fresh or dried herbs, spices and fruits of your choice (see Note)
◦ enough water to cover the ingredients (topped up during the day)
DIRECTIONS
◦ Fill the saucepan about three-quarters full, add the ingredients, put
on the lid and bring to a boil.
◦ Allow to boil for about 2 minutes, remove the lid and reduce to a
gentle simmer.
◦ Leave it to simmer for an hour, or longer if you want, topping up with
water every half-hour so that the simmer pot doesn’t dry out.

NOTE
◦ Below are some ingredients you can use in your simmer pot, but these are just
starting points. Which scents could you source from your landscape"

◦ herbs: pine needles, spruce tips, cedar sprigs, eucalyptus leaves, rosemary,
lavender, mint, lemongrass, thyme
◦ spices: juniper berries, cinnamon sticks, star anise, whole cloves, nutmeg, vanilla
(pod or extract), slices of ginger
◦ fruits: citrus slices and peel, apples, pears, whole cranberries

TIP
◦ Simmer pots can also make fragrant gifts. Simply create a blend by combining
your choice of dry ingredients in a jar. Add a gift tag and instructions and share
them with those in your community for a season of sweet, lovingly assembled
scents.
Wind Chimes
Wind chimes hold a special place in my heart, maybe because I grew
up with a garden populated by orange trees, each of them with a
different chime dancing in the wind. The sounds of wood, seashells
and small stones clinking together, in celebration of the breeze,
accompanied my early years.

Part of what makes growing spaces special is the fact that they
appeal to our senses, with their colourful visual elements and the
scents of earth and blooms. The gentle sounds of wind chimes fit
perfectly into a garden, stimulating our aural sense. The passage of
wind through chimes becomes music and, by using elements from
our landscape to make them, the sounds are a natural continuation of
our environment and, in a healthy garden, will most likely be
accompanied by the buzzing of insects and the chirping of birds.

For this project, look for dead wood with interesting shapes and
textures when you go out for a walk. If you live close to the coast, you
could experiment with driftwood too.

YOU WILL NEED:

◦ piece of wood 25 cm (10 in) long, 3 cm (1¼ in) in diameter
◦ 5 or 6 twigs of different diameters and sizes, 15–20 cm (6–8 in) long
◦ coarse and medium sandpaper
◦ drill with a 3 mm (⅛ in) bit
◦ twine
◦ wooden beads (optional)

DIRECTIONS
◦ Start by sanding the pieces of wood: use the coarse sandpaper first
and finish with the medium. You don’t need to sand too much, as it
looks lovely if you let the natural features of the wood shine.
◦ Drill evenly spaced holes along the main piece of wood, according
to the number of twigs you have. Ensure that these holes are large
enough for one piece of twine doubled back to pass through, and
that they will be close enough for the twigs to collide with each other
as the wind blows.
◦ Drill a hole 3 cm (1¼ in) from each end of the main piece of wood,
for hanging the chime once finished.
◦ Drill a hole through each twig, 1.5 cm (¾ in) from the top.
◦ Thread a piece of twine through each twig and the main piece of
wood, adding one or two wooden beads per twig, if using. Secure
the twigs so that they hang about 8 cm (3¼ in) below the main piece
by tying a knot at the top.
◦ Thread a piece of twine through each of the end holes on the main
piece and knot together at the top.
◦ Hang your new wind chime outside, in an exposed area, and wait
for the wind to blow.
Pumpkin Lanterns
Earlier in this chapter, we briefly discussed the Celtic origin of
Hallowe’en (or All Hallows’ Eve) also known as Samhain, the time of
the year when magic seems palpable and the barriers between the
world of the living and the world of spirits are at their thinnest (see
Acorn-cap Candles).

Modern Hallowe’en traditions include carved pumpkins with scary

faces, but carving vegetables during this festivity is not new: the
original carved pumpkin was, in fact, not a pumpkin at all, but a large
turnip, lit with candles. The purpose of these carved vegetables,
usually featuring ghastly faces, was to scare off the evil spirits that
might wander around during Samhain.

This project plays with modern decorative elements, but you could
follow the traditional way and experiment with a large turnip, instead.
Position it on a windowsill, or outside as a simple and earthy centre
piece, with a warm presence. Although, if you fancy, you can try your
hand at a ghoulish face too …

YOU WILL NEED:

◦ pumpkin, size and variety of your choice
◦ sharp knife
◦ large metal spoon
◦ erasable marker
◦ drill and bits of varying sizes
◦ LED tea light or fairy lights

DIRECTIONS
◦ Cut your pumpkin open at the base so it sits flat.
◦ Using the spoon, hollow out the inside of the pumpkin (saving it for
an autumnal meal), until only the thick skin remains.
◦ Now, it’s time to start decorating. Create a pattern over the pumpkin
using an erasable marker.
◦ Drill holes in the pumpkin following your pattern, changing drill bits if
needed.
◦ Finish by cleaning the outside of the pumpkin with a damp cloth and
remove any bits that might be clogging the holes.
◦ Add an LED tea light, and top with your pumpkin lantern.

TIP
◦ It’s best to use battery-powered lights for this project, instead of traditional wax tea
lights, to avoid inadvertently roasting the inside of your pumpkin. Your pumpkin
lantern will lend a whimsical air to your space for a few days before it starts to
wither and wrinkle, after which you can put it on the compost heap and start a new
one if you wish!
Winter

What to Look for This Season

Kitchen
Fire Cider
Winter-greens Quiche

Making
Visible Mending
Woodland Coat Hooks
Natural Firelighters

Gardening
Bird Feeders
Winter Wreath
What to Look for This Season

Winter is the season of long, dark nights and windswept landscapes,

and the solstice brings a different rhythm to our daily lives. While
some birds come to visit during the season, others disappear from
sight. Insects seem to be hiding away, fewer woodland creatures are
out and about, the limbs of deciduous trees are bare and the garden
has, for the most part, fallen into slumber. We, too, follow this lead,
with our own version of hibernation. We spend more time indoors,
taking a break from the physical activities of the warm months,
spending days in the company of the fire that crackles in the wood-
burning stove, a ready supply of books and our many baskets full of
different craft projects – from wood carving to wool spinning and
knitting.

And yet, even though the outside world appears to be asleep, and we
give in to the season of rest ourselves, there is so much happening
that goes unseen. Underground, the symbiotic relationship between
root systems and microbes continues to develop, in preparation for a
burst of spring growth. And the repose enjoyed by many creatures is
merely preparation for another season of activity. There is so much
renewal and unseen growth during these seemingly barren months of
the year.

For us humans as well, rest is essential, and this is the time of the
year we feel it deep in our bodies, as our days slow and we seem to
move at a more relaxed pace. This is the season for us to take stock
and, maybe, to start thinking which figurative seeds we want to sow in
our lives come spring – these seeds could be new projects, ideas or
creative adventures.

This season, most of the projects tap into that winter need for warmth
and comfort. Make yourself a good cup of herbal tea and be inspired
by the ideas in this chapter, creating new winter traditions and crafts
at home, as the world outside your window darkens and chills.

On the next few pages, you will find some of the plants used and
referenced in this chapter (for information on safe and sustainable
foraging).
Dog Rose
(Rosa canina)

Native to Europe, Northwest Africa, Canary Islands, Azores, Central

Asia and Pakistan, dog rose is one if the many wild varieties of rose
that can be found growing in fields and disturbed areas, as well as
deciduous woodlands, hedges and roadsides, up to an altitude of
2,000 m (6,561 ft). Dog rose flowers from May to July, and the
blossoms can be collected and dried in the shade. The red-orange
fruit (rose-hip) can be picked from late summer to early winter, to be
used after the hairy pith and seeds have been thoroughly cleaned
out.
Mallow
(Malva parviflora)

This species of mallow is an annual (sometimes biannual) weed

native to the Mediterranean region, stretching to Pakistan and the
Sahara. It can be found growing on cultivated land and roadsides, in
a variety of climates and soil conditions, up to 2,600 m (8,530 ft). It
usually comes up after the winter or spring rains and its pale pink
flowers bloom from spring to autumn. The leaves can be collected
throughout the year, although the young leaves are usually preferred.
White Goosefoot
(Chenopodium album)

White goosefoot is a common annual weed native to Europe, North

Africa, Asia and some parts of North America. It can be found in
temperate and subtemperate regions, where it occurs to altitudes of
3,600 m (1,1811 ft). It grows on cultivated and disturbed ground,
usually being one of the first plants to appear in building sites or
roadworks, although it grows best on fertile soils. The small, pale
green flowers bloom in the summer, and leaves can be collected from
spring to mid-autumn.
Wild Radish
(Raphanus raphanistrum)

Wild radish is probably the ancestor of cultivated radish, and is native

to Europe, North Africa and Central Asia. It is widespread and can be
commonly found in weedy places in fields, and sometimes in gardens
and waste ground, up to an altitude of 2,900 m (9,514 ft). Wild radish
is an annual plant that flowers during summer, and the leaves are
better picked before flowering season.
Fire Cider
Fire cider is a folk recipe that stimulates the immune system and the
digestion, and it has warming characteristics, making it the perfect
addition to your winter herbal cabinet. Apple cider vinegar, honey and
spices have a long history of traditional uses, but this particular
configuration has been popularised by Californian herbalist Rosemary
Gladstar, who gave it its enticing name.

This is one of those recipes that have lots of variations, and the basic
recipe allows for adjustments based on your personal taste and
bioregion. I grab many of the ingredients from my garden and can’t
resist popping in a few heads of wild lavender and rose-hips too.
Even if you’re playing around with variations, make sure to keep (at
least some of) the staple fiery ingredients: onion, garlic, ginger,
horseradish, hot peppers and turmeric.

INGREDIENTS
◦ 1 large onion, chopped
◦ 2 heads of garlic, chopped
◦ 1 lemon with peel, diced
◦ ½ cup fresh ginger root, grated
◦ ½ cup fresh turmeric root, grated
◦ ¼ cup fresh horseradish root, grated
◦ 2 tablespoons fresh thyme, chopped
◦ 2 teaspoons fresh ground black pepper
◦ 1 fresh chilli pepper, chopped
◦ 3 heads of dry lavender
◦ 4 fresh rose-hips, split in half, hairy pith and seeds thoroughly
cleaned out
◦ 1 cinnamon stick
◦ 750 ml (25 fl oz/3 cups) apple cider vinegar (or enough to cover the
ingredients)
◦ 125 ml (6 fl oz/½ cup) local honey (or more, if desired)
DIRECTIONS
◦ Mix all ingredients, except the honey, in a wide-mouthed jar and
cover with vinegar.
◦ Place some parchment paper on top of the jar before screwing the
lid on, to avoid rust created by the vinegar in contact with the metal
(alternatively, use a plastic lid).
◦ Leave to infuse for about 4 weeks before straining.
◦ Add honey, stir well and taste, adding more honey if needed.
◦ Bottle and label. It will keep for several months on a dark and cool
shelf.

TIP
◦ Some of my favourite uses for fire cider:

◦ a tablespoon in a glass of water to start the day

◦ as a salad dressing, on its own or mixed with olive oil
◦ sprinkled over rice and other cooked grains
Winter-greens Quiche
Quiches are filling, comforting and just speak of winter to me, for all
the good reasons: making them fills the whole house with a delicious
scent which, along with the sounds of a fire crackling in the wood-
fired stove and the tap of rain on the roof, pretty much sums up the
season at our home.

For this recipe, I like using wild greens, but will often combine them
with cultivated leafy greens. You can use solely one or the other, or
both. The recipe will work the same way!

This quiche is delicious either hot or cold, and sometimes I just make
two of them in one go. Slices make for wonderful little snacks the next
day and are well-loved contributions in a potluck or as caring gifts to
someone in need of some extra support.

For the Pastry

◦ 200 g (7 oz/1⅓ cup) wholemeal (whole wheat) flour
◦ 6 tablespoons cold unsalted butter
◦ 4 tablespoons cold water
◦ salt, to taste

For the filling

◦ 2 tablespoons olive oil
◦ 1 onion, thinly sliced
◦ 1 garlic clove, thinly chopped
◦ Handful of sage leaves
◦ 400 g (14 oz/8 cups) mix of wild greens (such as chickweed, fat
hen, mallow and wild radish) and leafy greens (such as spinach,
chard and kale)
◦ 1 teaspoon dried oregano
◦ 4 eggs
◦ 200 ml (7 fl oz/scant 1 cup) double cream
◦ 1 tablespoon Dijon mustard
◦ 100 g (4 oz/1 cup) hard cheese, grated
◦ salt and pepper, to taste

DIRECTIONS
◦ For the pastry, add the cold butter to the flour in a mixing bowl. Rub
in well with your fingers until it resembles fine breadcrumbs. Slowly
add the cold water, combining well, until the pastry starts coming
together into a ball. Add more water if necessary and salt.
◦ Cover the bowl containing the pastry with a cloth and let it sit in a
cold place while you prepare the filling.
◦ Heat the olive oil in a heavy-based frying pan over a medium heat
and add the sliced onion. Stir occasionally, until they’re golden and
fragrant.
◦ Add the chopped garlic and sage leaves and keep stirring for a
couple more minutes.
◦ Add the greens, tossing them to cover with olive oil. Keep stirring
until they’re wilted and soft, and add the oregano. Remove from the
heat but leave in the hot pan.
◦ In a bowl, beat the cream with the eggs until combined. Add the
mustard, grated cheese, salt and pepper.
◦ Put a baking sheet in the oven and preheat the oven to 180°C
(350°F/gas 4).
◦ Roll out the pastry on a floured work surface and place it in a lined
flan dish.
◦ Spread the cooked greens over the pastry, and then pour the cream
and egg mixture over these, covering evenly. If you have dough left
from the trimmings, you can now make little leaves or other
decorative shapes with it, to place on top.
◦ Bake for about 45 minutes, or until the surface is golden. Remove
from the oven and let it cool slightly before serving.
Visible Mending
Mending clothes can be a radical act of love, care and self-
sufficiency. In a time when there is so much focus on buying
sustainable fashion, I believe that caring for the clothes we already
have in our wardrobes is one of the most sustainable things one can
do.

Visible mending is a fun way of mending clothes. We don’t need to

hide the fact that our pieces have ripped somewhere or that we’ve
had a go at fixing it. Visible mending embraces the stories and
imperfections of what we wear, telling of trial and error, of skill and of
love. The techniques of visible mending are endless and vary across
knitted or woven pieces. Here, I’m sharing my favourite knitting
technique for mending knitted clothes, which I find to be the simplest,
too, once you have a good grasp of the basics of knitting. You can
use it for jumpers, cardigans, shawls and socks, for example. For a
fun, interesting mend, choose a contrasting colour for a detail that
might just become a conversation starter.

YOU WILL NEED:

◦ knitted garment with a hole or a tear in it
◦ 4 or 5 double-pointed knitting needles (depending on whether you
use a safety pin) similar in size to the gauge of your garment
◦ safety pin
◦ yarn of a similar weight to your garment, in a colour of your choice
◦ tapestry needle
◦ small scissors

DIRECTIONS
◦ Start by delimitating the hole you’re about to mend, ripping or cutting
some further rows and stitches to make the hole square or
 rectangular. Keep a full row of intact stitches on all four sides of the
hole.
◦ Slide a double-pointed needle horizontally through the stitches at
the bottom of the hole.
◦ Slide a safety pin (or, if the hole is too long, a double-pointed
needle) horizontally through the stitches at the top of the hole and
close it.
◦ Slide a double-pointed needle vertically through the row on one of
the sides. Repeat for the other side.
◦ All the sides are locked now, so it’s time to start reconstructing. Take
your yarn and a double-pointed needle and start knitting. Beginning
with the first stitch on the bottom needle, knit to the end of the row,
knitting the last stitch together with the first stitch in the vertical
needle. Turn.
◦ On the wrong side, purl to the end of the row, purling the last stitch
together with the first stitch on the vertical needle. Turn.
◦ Keep working back and forth in stockinette stitch, always knitting or
purling the last stitch together with the corresponding stitch on the
vertical needle, until you’ve knitted all the vertical stitches and
reached the top of the hole, with the right side facing.
◦ Join the stitches from the double-pointed needle with the ones held
in the safety pin (or double-pointed needle) using a tapestry needle
to sew in stockinette stitch until the end of the row. Tie a knot on the
wrong side.
◦ Pull to the back any bits of yarn that might be sticking out on the
right side and weave in all ends.
Woodland Coat Hooks
We started making these hooks as we approached the final stages of
building our small stone home by hand. When most of the structural
bits were sorted (such as running water and our solar-power system),
we started looking into those details that truly make a house feel like
home. Coat hooks were quite high on the list, as we had spent years
piling clothes on chairs and hiding them behind doors … We thought
we could definitely treat ourselves to some hooks and, like most
things, our first thought was, ‘Can we make them ourselves?’ The
good news is we could, and so can you!

One of my favourite things about this project is that you can use
material you find right outside your door, or during a walk in the
forest, or maybe even from your allotment garden. This project truly
brings the natural world inside one’s home and I hope it brings you
joy and a sense of connection with your landscape, as well as
encouraging you to look differently at the natural resources that
surround you.

YOU WILL NEED:

◦ a few Y-shaped branches (you can use dry wood for this, but green
wood will be much easier to split and peel) about 25 cm (10 in) long
◦ small axe
◦ good carving knife
◦ sandpaper (optional)
◦ beeswax and olive oil (or wood varnish)
◦ piece of cloth
◦ drill
◦ two screws per hanger
◦ wood filler (optional)

DIRECTIONS
◦ Grab your wood! Remember, you are looking for little Ys: thicker
part will be attached to your wall, and the branch going outwards
and upwards will be your hook.
◦ Split the largest part of your branch lengthwise using the axe. The
flat side is what you will be attaching to the wall, so you want to
make a clean cut there.
◦ Get out your carving knife and debark the branch. Go slowly, and
pay extra attention to that Y fold, removing as much bark as you
can. You can also take this moment to smooth the flat side of your
coat hook.
◦ If using green wood, you can smooth any outside edges with the
carving knife for a beautiful knife-finished look. For dry wood, use
sandpaper for a smooth finish.
◦ Make a simple, natural finish by slowly heating 1 part beeswax and
3 parts olive oil in a double boiler. Once cool, gently rub it over the
hook with a piece of cloth. Alternatively, you can use wood varnish if
you have some already. It’s advisable to allow the wood to dry for
some days, before moving on to the next step.
◦ Bringing it all together! Find the perfect spot on your wall and
prepare your hook by drilling two little holes, one at the top of the
hook, the other at the bottom. If you want to ‘hide’ your screws, drill
the hole slightly wider, just at the surface of the wood, and this will
ensure that the screw sits nicely inside. You could then cover the
screws with wood filler to make them ‘invisible’.
◦ At this point, you may want to apply another coat of finish. If you hid
your screws under wood filler, sand that first and apply some
coating over it as well.
Natural Firelighters
As you can tell by now, winter rhymes with ‘wood stove’ … at least, in
this neck of the woods! The wood-fired stove is the only source of
heat in our home, and we have one in our bedroom and another in
the kitchen. During the cold months, the kitchen really becomes the
heart of our home and the fire is on all day. We cook both inside and
on top of it, and spend many days in its company, comforted by the
warmth and light as rain and wind sweep the landscape outside.

In recent years I’ve dedicated myself to making natural firelighters. I

don’t make enough of these to last for the whole year, but they give
us a head start as the long, cold nights approach.

YOU WILL NEED:

◦ egg carton (alternatively, you can use paper cupcake cases)
◦ wood shavings
◦ flammable natural materials, such as small pinecones, dry garden
trimmings and herbs, dry pine needles, bits of paper
◦ dry citrus peels or slices
◦ beeswax, either from a block or repurposed from old beeswax
candles

DIRECTIONS
◦ Fill the egg-carton compartments halfway with wood shavings.
◦ Pack the remaining space with the rest of the materials.
◦ Melt the beeswax in a double boiler until no chunks remain.
◦ Pour the beeswax into each compartment, being careful to leave
some odd bits of flammable material sticking out (these will act as a
wick). The goal here is to make everything stick together, including
to the egg carton. The beeswax will slow combustion (which is
particularly helpful when lighting a wood-fired stove).
◦ Let the beeswax cool and harden, then separate each compartment
by ripping, creating individual firelighters (if you used cupcake
cases, you already have them). Store in a cool place, keeping them
on hand for when it’s time to start a fire.
◦ To use, arrange your branches, twigs and logs as you normally
would in your stove or fireplace, with a firelighter underneath, and
light.
Bird Feeders
We’ve noticed an increase in the number and diversity of birds since
we moved on to the hill and started supporting the already
established small ecosystem here. Insects, birds, reptiles and
amphibians are all welcome and part of the bigger picture,
interdependent on each other. Seeing the biodiversity that is
flourishing partly in consequence of our actions is something that fills
my heart with joy.

Every year we plant sunflowers in our garden beds, a tall variety with
large heads, that easily grows up to 2 or 3 metres high (around 7–10
feet). I’ve been saving these seeds and sharing them around for the
last few years and it’s fun to see them popping up in friends’ gardens
too! The stems are thick and sturdy, and the heads so heavy that,
after they flower and the seeds start maturing, they simply bend over,
as if the flowers are looking at their feet. We leave them be so that
the seeds can ripen to be harvested later for our pantry and our
chickens. But these large heads of ripening seeds also serve another
purpose: they make freely available bird food during the summer and
autumn months.

Many different types of birds enjoy the ripening seeds. The strong
sunflower stems and leaves provide support as the birds scout the
plant and chat with each other, before flying to the head – some even
hanging upside down to feast on the seeds. Birds are well equipped
to look for their own food but, with urbanisation and the intensification
of agriculture, that can sometimes be a struggle. So, when
nourishment is available, they do come and they bring with them
many benefits (including controlling pest populations), as well as
giving us the joy of watching our little feathery friends up close.

In fact, most birds don’t need our support during summer. While
nesting and caring for the young ones, many birds focus primarily on
eating insects. Besides, it’s important that young birds learn how to
provide for themselves. However, depending on where you live, as
autumn nears its end and the season of cold, short days approaches,
natural seed sources become scarcer. That’s when we intentionally
set up bird feeders to support the local bird population (and we have
water available to birds for bathing and drinking, all year long).

You can make your own bird feeders as easy or complex as you like.
This project uses an orange as the ‘bowl’, but you could use any
other round fruit you have available, such as lemons, passion fruit or
coconut. As always, be creative! Keep in mind that small feeders are
desirable because the food disappears quickly, meaning less time for
it to get wet and spoil (ours get emptied in a single day). During
winter, birds may become reliant on the feeding support you provide
and, for this reason, you should check your feeders regularly. If you
live in an isolated area and need to be away for some time, try to
arrange for a neighbour to come over and refill the feeders.

YOU WILL NEED:

◦ 1 large orange, halved and juiced (pour yourself a glass!); you will
only use one of the halves for this project
◦ spoon
◦ 2 dowels (or thin, straight sticks) about 25 cm (10 in) long
◦ 2 pieces of thread, about 50 cm (20 in) long
◦ mix of bird food (see Note for suggestions)

DIRECTIONS
◦ Scoop out the inside of the orange half with the spoon, leaving only
the skin as a bowl. Punch a little drainage hole at the bottom of the
orange bowl.
◦ Push the dowels or sticks through the orange from opposite sides,
crossing in the middle.
◦ Tie each end of a thread around a dowel where it sticks out of the
orange, sliding the knots close to the skin. You can create a loop at
the top by making a knot with the two threads together.
◦ Fill up the orange with bird food and hang in a safe space (see
Tips).
◦ Replace the feeder with a new one as needed, as they can have a
short lifespan.

NOTE
◦ Some bird food suggestions:

◦ brown rice, cooked

◦ corn, cracked
◦ millet and other small whole grains
◦ porridge oats, uncooked
◦ sultanas, raisins and currants
◦ soaked sunflower seeds
◦ walnuts, hazelnuts and other nuts crushed into small pieces

TIPS for picking a safe spot for your bird feeder:

◦ Site it away from fences or any other structures where cats and other predators
could get to it.
◦ A nearby evergreen bush, about 3–4 metres (10–13 feet) away, is a welcome
addition, since it can be used by birds to scout the area before venturing to the
feeder.
Winter Wreath
Wreaths and winter time seem to go hand in hand. Making wreaths
from evergreens is a meaningful way of bringing nature inside our
homes, to adorn our walls and honour the seasonal cycles. It is a
tradition that has been present throughout the centuries (in Europe,
its origins have been traced back to both Ancient Rome and the
Celts).

Wreaths keep their beauty for many weeks, so they can keep you
company throughout the holiday season if you have made them
around the solstice. Wreaths traditionally feature berries as well as
the branches of evergreen plants, and I like adding a twist to mine by
incorporating aromatic herbs, too. Once the wreath is taken down, the
dried herbs can be separated and stored for future use.

YOU WILL NEED:

◦ fresh evergreen branches, such as pine, juniper, fir, holly, ivy or
mistletoe (see note about toxicity)
◦ fresh aromatic herbs, such as thyme, rosemary and laurel (bay)
◦ branches with red berries, such as hawthorn or rose-hips
◦ twine
◦ scissors
◦ circular frame the size you want the wreath, say 30 cm (12 in) wide
– you can make this frame with bendable wire or, alternatively,
willow rods, following the same method used for the herb-drying
rack
◦ ribbon in a colour of your choice, for hanging

DIRECTIONS
◦ Gather fresh evergreen branches and herbs and cut them into
similar-sized bundles, about 20 cm (8 in) long. Combining
evergreens and herbs, tie each bunch with twine at the base of the
 stems. You want about 10 bunches, but you can change this
number according to the size of the wreath.
◦ Tie the end of the twine around the circular frame, at what will be
the top. Make a knot and keep the twine attached – you will cut it
once you’ve finished adding all your bundles.
◦ Add the first bundle, on top of the knot you’ve just created, and wrap
the twine around the stems tightly.
◦ Place the stems of the next bundle under the top of the first bundle,
to hide them, wrapping the twine tightly around stems and frame.
◦ Keep working like this all the way round the wreath.
◦ When you are at the starting point again, make a tight knot with the
twine and cut it.
◦ Tuck the branches with red berries into your wreath, either by sliding
them among the bunches or securing them with twine.
◦ Tie the ribbon around the top of the wreath and create a loop, for
hanging.

NOTE
◦ If you plan on storing and using the aromatic herbs in your wreath once dry, don’t
incorporate plants of known toxicity, such as holly, ivy or mistletoe.
Index

A
acorns: acorn cap candles 1–2
acorn ‘coffee’ 1–2
autumn 1–2

B
bags, tote 1–2
birds: bird feeders 1–2
bird house 1–2
bitter tonics 1
blackberries 1
borage 1
botanicals: botanical soap 1–2
rye botanical cookies 1–2
butter, slow-cooked fruit 1–2

C
calendula 1
calendula and plantain salve 1–2
candles: acorn cap candles 1–2
pumpkin lanterns 1
chickweed 1
wild greens sauce 1
winter-greens quiche 1–2
cider vinegar: fire cider 1
cleaner, all-purpose herbal vinegar 1–2
coat hooks, woodland 1–2
‘coffee’, acorn 1–2
common walnut 1
cookies, rye botanical 1–2
cork oak 1
D
dandelions 1
dog roses 1
drinks: acorn ‘coffee’ 1–2
bitter tonics 1
fire cider 1
drying rack, herbs 1–2
dyes, natural 1–2

E
eucalyptus, Tasmanian blue 1

F
fabric: natural dyes 1–2
tote bag 1–2
feeders, bird 1–2
fertiliser, natural plant 1
fire cider 1
firelighters, natural 1–2
flowers, edible 1–2
floral-infused honey 1
rye botanical cookies 1–2
seed-starting in eggshells 1–2
French lavender 1
lavender wands 1–2
fruit: simmer pot 1
slow-cooked fruit butter 1–2

G
greens: wild greens sauce 1
winter-greens quiche 1–2

H
heartsease 1
herbs: all-purpose herbal vinegar cleaner 1–2
 bitter tonics 1
herb-drying rack 1–2
seed-starting in eggshells 1–2
simmer pot 1
honey: floral-infused honey 1
slow-cooked fruit butter 1–2

K
knitted pan-holder 1–2

L
lanterns, pumpkin 1
lavender, French 1
lavender wands 1–2

M
mallow 1
mending, visible 1–2

N
nasturtiums 1
nettles 1
wild greens sauce 1

P
pan-holder, knitted 1–2
peaches: slow-cooked fruit butter 1–2
plant fertiliser, natural 1
plantain 1
calendula and plantain salve 1–2
wild greens sauce 1
pond, mini 1–2
pumpkin lanterns 1
Q
quiche, winter-greens 1–2

R
radishes, wild 1
winter-greens quiche 1–2
roses 1
dog rose 1
rye botanical cookies 1–2

S
salve, calendula and plantain 1–2
sauce, wild-greens 1
seed-starting in eggshells 1–2
simmer pot 1
small nettles 1
soap, botanical 1–2
spices, simmer pot 1
spring 1–2
summer 1–2

T
Tasmanian blue eucalyptus 1
tote bag 1–2

V
vegetables: seed-starting in eggshells 1–2
vinegar: all-purpose herbal vinegar cleaner 1–2
fire cider 1

W
walnuts, common 1
white goosefoot 1
wild-greens sauce 1
wild radishes 1
winter-greens quiche 1–2
wind chimes 1
winter 1–2
winter-greens quiche 1–2
woodland coat hooks 1–2
wreaths, winter 1–2
Acknowledgements
To Sam, my partner and best friend, without whom this book simply
wouldn’t be possible. Thank you for always having my back, building
a roof over our heads and showing me the best pieces of wood to
work with, among so many other things!
To my daughter, who loves putting the ripest strawberries aside for
me, explores the world with curiosity and ease and is understanding
of my work flow. To my mom, aunt, dad, sister, grandparents, great-
grandparents, my whole family, close and afar, who love me and
support me through growth and blossoming, and have shown me
that someone can still put down new roots in a place if their original
home has been left somewhere far away.
Thank you to my friend Cecília Marques, for sharing her soap
wisdom with me, and Leroy Manuhutu, for kindly sharing his sewing
machine and creative ideas too. To Erica and Jess, thank you for
believing in me.
To my educators and friends at the Herbal Academy, thank you for
helping me understand the why behind my plant allies and how to
work creatively with them, and a special thanks to Jane Metzger for
lending a hand and a pair of eyes when I needed them the most.
Thank you to the amazing team at Hardie Grant: Kajal, for trusting
me; Chelsea, for gracefully guiding me through; Jessica, for helping
my rambles become sentences; and Olivia, for your fabulous design
skills that have put it all together. To Ana Zilhão, the magic-maker
behind the lens and new-found friend, thank you for bringing this
book to life with your photography, and for the laughter and joy that
were ever-present throughout.
Last but not least, thank you to my other-than-human teachers, in
their various forms, for showing me what true reciprocity looks like.
About the Author
Catarina Seixas is a land steward, mother, knitter, folk herbalist and
writer, living in the hills of central Portugal, her native land, with her
partner and daughter. Over the last seven years, they have built their
own house by hand and grown a garden. They value what’s local
and in season and believe in the strength of community and trade.
To them, these represent acts of resistance and social empowerment
– they may be small steps towards a better world, but make a
difference at a local level.
Catarina has been a contributor to publications such as Willow and
Sage, Vogue Knitting, Pom Pom Mag, Making Stories, Ginza Mag
and Plants are Magic, among others. Find her online at:
theolivetreesandthemoon.com.
Published in 2022 by Hardie Grant Books, an imprint of Hardie Grant
Publishing
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All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system or transmitted in any form by any means,
electronic, mechanical, photocopying, recording or otherwise,
without the prior written permission of the publishers and copyright
holders.

The moral rights of the author have been asserted.

Copyright text © Catarina Seixas 2021
Copyright photography © Ana Zilhão 2021
Illustrations © Board of Trustees of the Royal Botanic Gardens, Kew

British Library Cataloguing-in-Publication Data.

A catalogue record for this book is available from the British Library.

The Wild Craft by Catarina Seixas

eISBN: 978-1-78488-541-0

Publishing Director: Kajal Mistry

Senior Project Editor: Chelsea Edwards
Design: Olivia Bush
Photography: Ana Zilhão
Copy Editor: Jessica Spencer
Proofreader: Alison Effeny
Indexer: Vanessa Bird
Disclaimer: While every effort has been taken to ensure the accuracy
of the information given in this book, the author and the publisher do
not assume and hereby disclaim any liability to any party for any
loss, damage or injury caused by errors or omissions from the
information given, whether such errors or omissions result from
negligence, accident or any other cause.