I have been fascinated with flowers and botanicals for as long as I can remember. I still recall my first flower press, which I received as a Christmas present in a craft set when I was 10-years-old.
“I’m a Dubliner born and bred, but my grandmother – who was a gifted gardener – grew up on a dairy farm in Co Offaly before moving to Dublin in her 20s. I also have dairy farming roots on my father’s side of the family, dating back to 1800s Dublin. Farming is deeply embedded within my DNA, and it was serendipitous that I rediscovered this meaningful connection.
“Last June, I married a wonderful Cavan man, Paul, and we moved onto the dairy farm, which has been farmed by his ancestors since at least the early 1800s. It couldn’t be more different than Dublin; the rolling drumlin hills bring a shroud of mist and dew every morning, with buzzards mewing overhead and the obligatory stray and often-soggy sod underfoot. It is the most idyllic and inspiring place to live and work, and I couldn’t be happier.
“I found the adjustment from city to country life surprisingly easy. I missed my family in Dublin, but everything else felt very natural. I try to help Paul out with small jobs around the farm, when I have time off from my own work. Tasks like laying out the tapes for strip grazing, bringing in the cows for milking and the upkeep of the yards, such as painting fences; I always seem to have a paint brush in my hand. I’m still trying to convince him to hang flower baskets outside the parlour.
“Calving season in spring would be the busiest time for us. I would be more involved with farm tasks, such as bottle-feeding all the newborn calves, cleaning out their beds and looking after any weak calves that may need more attention. It is challenging, demanding and tiring, but the sense of achievement makes it all worthwhile. Paul does the majority of the work, and the milking on the farm. He always leaves me aghast at what he’s physically capable of in a day – it must have something to do with the big bowls of Dublin coddle I cook for him.”
Gillian Corcoran at work in her studio, creating her Lost Forest wearable art pieces
Finding the lost forest
“I had a very different life before I established my business. I studied the history of art and archaeology at UCD, achieving a BA degree in both, and an MA in the archaeology of art and architecture.
“I worked for a while in archaeology and was privileged to briefly work on the documentation and illustration of the Wood Quay finds. I also worked as a research assistant with Prof George Eogan on a title about megalithic art at Knowth. Unfortunately, however, the sector was badly hit by the recession, and work became very scarce. I had to reluctantly admit defeat and try hard to find a new career.
“The idea for Lost Forest came about very organically when I was out walking one day and became mesmerised by autumn leaves trapped beneath a puddle of rain. I wanted to try and recreate that scene somehow, and resin was the medium I chose to work in. Its glass-like finish was perfect in emulating still water. From that simple idea, I built a new and exciting concept, based on years of research, experimentations and plenty of trials and errors. I’m the only artist to work with a natural and sustainably-sourced pine resin derived from pine oils, which are a byproduct of other essential industries. It is imperative to me that everything I do is with a conscious mind and intent, and to be respectful of nature.
“I began with a unique idea to preserve real native botanicals in resin to form miniature worlds within a piece of wearable art. Each and every item is completely bespoke, and takes many hours and intricate craftsmanship to produce – there are no shortcuts allowed. The concept had not been seen before, and my jewellery soon became known worldwide due to social media, and a lot of features in notable publications, such as Vogue.”
Just one example of Gillian Corcoran's designs in her Lost Forest jewellery collection
Custom pieces
“Custom orders are a very exciting and important aspect of my business. I’ve created many special pieces and have heard some tragic, brave and inspiring stories.
“The one that stands out to me, was the story of a young girl named Caoimhe Timmons, who was living with cancer. She had sent me a message earlier in the year to create something special for her mom to help her if she passed away. Her brave message to me were the words of a young lady who had been through so much in her 19 years, yet she had the clarity and wisdom of someone who lived 90. She was instantly an inspiring voice.
“A few months ago I heard from Caoimhe’s mother of her passing. She wanted to honour her wishes with commissioning a necklace in her memory. As Caoimhe had a love of flowers, we decided a pink rose was ideal; a youthful beauty. The crystal was hand gilded with her favourite rose gold, and strands of her blonde hair protectively embraced the scene. It gave her mother an immense sense of strength and connection to Caoimhe, a little part of her she could keep with her forever. Creating something like that for someone is simply an honour.”
Inspired by the farm
“Since moving to the farm, I’ve built my own log cabin studio and have established my own studio garden to grow all my own flowers to use in my jewellery. I also forage on the farm every day for hidden botanicals in the hedgerows, and along lanes, which I wouldn’t have had access to before. I’ve found a new world to discover, and I’m learning more about native flowers I’ve never seen or used before.
“Nature definitely slows down during this time of year. However, there is still a plentiful supply of autumn-rich botanicals, such as mosses, tiny fungi and berries, all of which I use often. I do gather the majority of my botanicals in the spring and summer months, as there is a larger variety to choose from. I preserve each and every one and amass a collection that will last me over the winter.
“I don’t usually forage from late October to January. This is a nice time of year to just relax and unwind and observe the changing seasons. It keeps me very in tune with my surroundings and I feel that Mother Nature and I have a very symbiotic and respectful working relationship.” CL
For further information, visit www.lost-forest.com or follow on Instagram @lostforestjeweller
I have been fascinated with flowers and botanicals for as long as I can remember. I still recall my first flower press, which I received as a Christmas present in a craft set when I was 10-years-old.
“I’m a Dubliner born and bred, but my grandmother – who was a gifted gardener – grew up on a dairy farm in Co Offaly before moving to Dublin in her 20s. I also have dairy farming roots on my father’s side of the family, dating back to 1800s Dublin. Farming is deeply embedded within my DNA, and it was serendipitous that I rediscovered this meaningful connection.
“Last June, I married a wonderful Cavan man, Paul, and we moved onto the dairy farm, which has been farmed by his ancestors since at least the early 1800s. It couldn’t be more different than Dublin; the rolling drumlin hills bring a shroud of mist and dew every morning, with buzzards mewing overhead and the obligatory stray and often-soggy sod underfoot. It is the most idyllic and inspiring place to live and work, and I couldn’t be happier.
“I found the adjustment from city to country life surprisingly easy. I missed my family in Dublin, but everything else felt very natural. I try to help Paul out with small jobs around the farm, when I have time off from my own work. Tasks like laying out the tapes for strip grazing, bringing in the cows for milking and the upkeep of the yards, such as painting fences; I always seem to have a paint brush in my hand. I’m still trying to convince him to hang flower baskets outside the parlour.
“Calving season in spring would be the busiest time for us. I would be more involved with farm tasks, such as bottle-feeding all the newborn calves, cleaning out their beds and looking after any weak calves that may need more attention. It is challenging, demanding and tiring, but the sense of achievement makes it all worthwhile. Paul does the majority of the work, and the milking on the farm. He always leaves me aghast at what he’s physically capable of in a day – it must have something to do with the big bowls of Dublin coddle I cook for him.”
Gillian Corcoran at work in her studio, creating her Lost Forest wearable art pieces
Finding the lost forest
“I had a very different life before I established my business. I studied the history of art and archaeology at UCD, achieving a BA degree in both, and an MA in the archaeology of art and architecture.
“I worked for a while in archaeology and was privileged to briefly work on the documentation and illustration of the Wood Quay finds. I also worked as a research assistant with Prof George Eogan on a title about megalithic art at Knowth. Unfortunately, however, the sector was badly hit by the recession, and work became very scarce. I had to reluctantly admit defeat and try hard to find a new career.
“The idea for Lost Forest came about very organically when I was out walking one day and became mesmerised by autumn leaves trapped beneath a puddle of rain. I wanted to try and recreate that scene somehow, and resin was the medium I chose to work in. Its glass-like finish was perfect in emulating still water. From that simple idea, I built a new and exciting concept, based on years of research, experimentations and plenty of trials and errors. I’m the only artist to work with a natural and sustainably-sourced pine resin derived from pine oils, which are a byproduct of other essential industries. It is imperative to me that everything I do is with a conscious mind and intent, and to be respectful of nature.
“I began with a unique idea to preserve real native botanicals in resin to form miniature worlds within a piece of wearable art. Each and every item is completely bespoke, and takes many hours and intricate craftsmanship to produce – there are no shortcuts allowed. The concept had not been seen before, and my jewellery soon became known worldwide due to social media, and a lot of features in notable publications, such as Vogue.”
Just one example of Gillian Corcoran's designs in her Lost Forest jewellery collection
Custom pieces
“Custom orders are a very exciting and important aspect of my business. I’ve created many special pieces and have heard some tragic, brave and inspiring stories.
“The one that stands out to me, was the story of a young girl named Caoimhe Timmons, who was living with cancer. She had sent me a message earlier in the year to create something special for her mom to help her if she passed away. Her brave message to me were the words of a young lady who had been through so much in her 19 years, yet she had the clarity and wisdom of someone who lived 90. She was instantly an inspiring voice.
“A few months ago I heard from Caoimhe’s mother of her passing. She wanted to honour her wishes with commissioning a necklace in her memory. As Caoimhe had a love of flowers, we decided a pink rose was ideal; a youthful beauty. The crystal was hand gilded with her favourite rose gold, and strands of her blonde hair protectively embraced the scene. It gave her mother an immense sense of strength and connection to Caoimhe, a little part of her she could keep with her forever. Creating something like that for someone is simply an honour.”
Inspired by the farm
“Since moving to the farm, I’ve built my own log cabin studio and have established my own studio garden to grow all my own flowers to use in my jewellery. I also forage on the farm every day for hidden botanicals in the hedgerows, and along lanes, which I wouldn’t have had access to before. I’ve found a new world to discover, and I’m learning more about native flowers I’ve never seen or used before.
“Nature definitely slows down during this time of year. However, there is still a plentiful supply of autumn-rich botanicals, such as mosses, tiny fungi and berries, all of which I use often. I do gather the majority of my botanicals in the spring and summer months, as there is a larger variety to choose from. I preserve each and every one and amass a collection that will last me over the winter.
“I don’t usually forage from late October to January. This is a nice time of year to just relax and unwind and observe the changing seasons. It keeps me very in tune with my surroundings and I feel that Mother Nature and I have a very symbiotic and respectful working relationship.” CL
For further information, visit www.lost-forest.com or follow on Instagram @lostforestjeweller
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