If you are new to the project and want to understand who DomiDo is being built for, this page is the place to start. It pulls together two complementary views — the market research view, which sets each persona inside the United Kingdom garden and outdoor-living economy with sizing, demographics, and channels; and the user-experience view, which goes deeper into mental models, technology comfort, decision psychology, accessibility needs, emotional arcs, and the functional, emotional, and social jobs each persona hires DomiDo to do. Together they answer who, why, and how. The jobs-to-be-done framework that underpins the second view comes from Christensen's work on innovation: people don't buy products, they hire them to do a job, and understanding the job — including its emotional and social dimensions, not only the functional one — is what lets a product team design solutions people actually want.
Each persona profile covers who they are (age, location, income, family, property, and market context), their mental models for design and building and technology, their technology comfort and gesture vocabulary, their decision psychology and the loss-aversion or social-proof patterns that shape it, their accessibility needs across vision, motor, cognitive, and outdoor-use considerations, the shape of their emotional journey, the functional, emotional, and social jobs they hire DomiDo to do, and the channels and triggers that bring them in along with the objection patterns that hold them back. Where two source documents disagree on a detail, this page favours the user-experience version because it incorporates the market view and adds the behavioural depth that product, design, and marketing teams need.
The United Kingdom garden and outdoor-living market is large and resilient. Roughly nine billion pounds is spent each year on garden retail; the broader environmental-horticulture sector contributes tens of billions of pounds to gross domestic product; landscaping services are growing at around four percent compound annually. Around eighty-seven percent of United Kingdom households have access to a private garden, with around fifteen to sixteen million owner-occupied households that fit DomiDo's addressable base. The market is highly seasonal — late winter through early summer is peak — and increasingly digital, with click-and-collect and online sales rising every year. Sustainability, personalisation, and the "garden as outdoor living room" trend all favour a customisable, modular outdoor-construction product like DomiDo.
Age 55–70, rural or suburban England, GBP 200–800 per project, iPad as primary device. Geoff owns his three- or four-bedroom detached home outright. He is retired or semi-retired from a professional career and uses his garden as both a hobby and an identity signal. He watches the Friday-evening gardening show, follows the high-profile garden writers and presenters, holds a Royal Horticultural Society membership, and visits the major flower shows. His budget is moderate but considered — he will spend on something he believes will last and impress.
Geoff thinks about design as a conversation with a craftsman, not a parameter form. He pictures weight, texture, mortar joints, and seasoned wood — physical references rather than digital ones. Mode B (describing what you want and trusting the artificial intelligence to interpret) is his natural entry; a parameter-heavy interface drives him out. Building is a positive, meaningful activity that anchors his identity as capable and active; he wants visible progress every session and a permanent result. Technology is a tool, not an experience — he opens an application to do a thing and closes it again. He uses Google Maps' satellite view but has never controlled a 3D scene; his gesture vocabulary is tap, scroll, pinch-to-zoom — not two-finger rotate. His primary device is an iPad (tenth-generation or Air); he shops on Amazon, reads on the BBC weather app, uses WhatsApp and Facebook and his banking app. He types slowly and prefers tapping suggestions. He buys online from Amazon and eBay and garden-centre websites; he may not have Apple Pay set up. When something fails he tends to close and restart rather than troubleshoot — and if blocked he will call customer service.
Geoff is highly loss-averse: he needs to believe the upside is roughly three times the downside before committing. He processes information through narratives and examples — photos of finished structures in real gardens, customer reviews, neighbour endorsements, mentions in trusted titles. He anchors price perception to the cost of traditional alternatives. The endowment effect kicks in once he has invested fifteen to thirty minutes in a Mode B design — making the design process enjoyable and quickly producing a first preview is critical. Presbyopia is universal at this age and some users have early cataracts or macular degeneration, so the design implications are real: a sixteen-pixel minimum body text, high-contrast mode, no information conveyed by colour alone, touch targets of at least forty-eight pixels for reduced fine motor precision, visible options limited to five to seven per screen for cognitive load, and never relying on audio feedback alone because forty percent of over-fifties have some hearing loss. Outdoor use means glare-resistant contrast and an outdoor mode in the assembly viewer.
His emotional shape begins with curiosity at discovery, intrigue mixed with scepticism on first visit, growing excitement during design creation, an evaluative pause at the price reveal, committed optimism at pre-order, anticipation through delivery, a small spike of excitement at unboxing, determination at assembly start, either flow or frustration at midpoint, real pride at completion, and satisfaction and expansion desire afterwards. Functionally, he hires DomiDo to create a unique garden feature that he designed, build it without heavy tools or specialist skills, maintain it without annual treatment, and see the result before committing money. Emotionally, he wants to feel capable, accomplished, creative, physically engaged, and that he has made a wise financial decision. Socially, he wants to impress neighbours and visitors, have something to talk about with family and friends, and contribute to the garden community. Discovery comes through editorial coverage in broadsheet gardening sections, gardening television features, Facebook gardening groups, and the catalogue pages of garden suppliers — the pull starts with a credible third-party voice, and the push has to give him observable evidence of quality. The common objections ("it's just plastic", "will it survive a British winter", "I'm not good with technology", "expensive compared to a bag of compost") are met with concrete material specs, weather data, video tutorials, and a comparison to professional landscaping prices.
Age 28–38, urban or suburban, GBP 150–500 per project, iPhone as primary device with a MacBook secondary. Sophie owns a three-bedroom semi-detached property with a mortgage and a small-to-medium garden. She is in a creative or knowledge-worker role, often with a young child, and curates her home aesthetic through Instagram and Pinterest. She values sustainability, unique design, and experience over possessions.
Sophie thinks of design as visual composition and narrative coherence: a garden tells a story about who she is. She works from mood boards, not specifications. Mode B with reference-image upload is essential — she wants the artificial intelligence to grasp aesthetic intent, not just structural requirements. Building is a lifestyle activity, an Instagram-story series, a couples' weekend; she expects photogenic intermediate states. Technology is a seamless extension of daily life: she switches between many applications a day and expects modern interaction conventions. Her primary device is the latest iPhone Pro and her secondary is a MacBook Air. She uses Apple Pay reflexively, lives in Instagram and TikTok, has tried virtual try-on and augmented-reality previews in retail applications, and her gesture vocabulary is complete.
She has lower loss aversion than Geoff but high social-validation anxiety. The decision moment shifts from "is this worth it" to "what will my partner think" — Tom's reaction to a share preview matters more than the price tag. Anchoring works against generic garden-centre alternatives, and endowment kicks in early during iteration. She has few visual-acuity issues, but content design must accommodate small touch targets used on the go (notifications, one-handed operation), and a content-first design ethos means every visible screen should be screenshottable. Her emotional shape rises pleasantly from awareness through design (especially when iteration starts working), takes a brief dip at the partner-share moment, recovers fast on approval, sails smoothly through purchase via Apple Pay, builds anticipation through delivery (with countdown content on Instagram), peaks at finishing during golden hour, and ends at social validation.
Functionally she hires DomiDo to design a custom outdoor feature that fits her aesthetic and to build it in a weekend rather than weeks. Emotionally she wants to feel creative and identity-expressive and to share a "we made it together" experience with her partner. Socially she wants to signal taste to her audience, generate Instagram-worthy content, and receive direct messages and referrals. Discovery comes through Instagram reels and Pinterest pins, and influencer partnerships in the interiors and garden niche carry weight — DomiDo's grid must feel curated before influencer campaigns run. Her objections ("will it look cheap in photos", "is the plastic safe for my child", "I don't have time for a big project", "my partner will think it's silly") are met with gallery imagery, material safety credentials, smaller-design options, and a partner-share framing that reframes the spend as a weekend activity.
Age 35–50, home counties or commuter belt, GBP 500–3,000 per project (business-to-business), Samsung Android phone primary and a laptop secondary. Ben runs a small landscaping or garden-design business — sole trader or limited company with two to five employees. His income is roughly GBP 40,000–65,000 and he is constantly squeezed by rising materials costs, skilled-labour shortages, and clients arriving with Pinterest expectations. He values durability, reliability, and word-of-mouth above all.
Ben thinks about design as quoting and execution. Every feature is evaluated through the lens of "does this make me money and protect my reputation?". He needs technical data referenced against United Kingdom and European standards — marketing copy is not enough. Building is his job, where speed, accuracy, and tidy delivery matter more than aesthetic delight. Technology is acceptable when it saves time; he will adopt it grudgingly if the workflow is clearly faster. He is Android-first, often Samsung Galaxy, so the assembly viewer must be rigorously tested on Android — disproportionate use of Android in the trades means a viewer optimised only for iPhone is a market alienation. He uses SketchUp on the laptop and expects direct import of common Computer-Aided Design file formats.
He is highly evidence-driven, sceptical until he has held a sample block, tested it for weeks against the weather, and seen credible certifications. Word-of-mouth in the trades carries extreme weight — one peer's recommendation outweighs ten marketing posts. Delivery reliability is existential: a missed delivery on a job ruins his schedule, his crew booking, and his client relationship. Outdoor visibility matters for accessibility — high-contrast viewer, large text, support for gloved hands. His emotional shape runs from flat scepticism through awareness, rising through sample evaluation, plateauing at design and quote generation, sharp anxiety at the delivery commitment, relief at on-time arrival, satisfaction during build, a peak at client delight, and an end at trade word-of-mouth.
Functionally he hires DomiDo to quote and deliver garden features faster than traditional construction, reduce labour costs, and offer clients something competitors don't. Emotionally he wants to protect his professional reputation and feel in control of materials and schedule. Socially he wants to be the landscaper who introduces something new to his peers and earns referrals. Channels are trade word-of-mouth, trade press, trade-show booths, and a dedicated trade landing page reachable via a search engine; sample kits in trade-grade packaging are the entry point. Objections ("clients want real stone", "structural guarantees", "competitors will copy", "how do I price this") are met with stone-effect finishes, certified load and weather data, first-mover positioning, and a margin calculator.
Age 25–40, any United Kingdom city, GBP 0 spend (earns royalties), MacBook primary and iPhone for monitoring. Clare is a freelance 3D designer, architect, or industrial designer — already selling on platforms like Etsy or asset marketplaces. She approaches DomiDo as a potential revenue channel rather than a consumer product. Her budget is zero; her earning potential is the question. She is one of the millions in the United Kingdom's broad creator economy.
Clare thinks about design as parametric, computational, generative, with expertise in Blender or comparable tools. She thinks in polygons, manifold meshes, mesh quality, voxelisation. Building isn't her experience — she licenses designs and watches royalties accrue. Technology is a daily professional tool; she expects deep transparency from any platform she relies on. Her technology comfort is the highest of any persona: a Blender plugin would deeply embed DomiDo in her workflow, and she wants Application Programming Interface access and Comma-Separated Values exports for accounting. She is sceptical of platform stability — she has seen marketplaces shut down — reads agreement terms carefully, and walks away from "in perpetuity" licensing. She wants concrete platform-status numbers: active customers, kits sold, designer count, average monthly earnings. Daily summary emails during her first publishing week are her antidote to the silence between publish and first sale.
Her emotional shape is cautious at discovery, evaluative through onboarding and technical-requirement review, falling slightly during the wait for first sale, rising on first-sale notification, steady as monthly royalties accrue, and peaking at featured-designer status or collection launch. Functionally she hires DomiDo to earn passive income from creative work, see designs realised physically, and track and forecast revenue. Emotionally she wants to feel respected as a creative professional and safe about intellectual-property ownership. Socially she wants to build a personal brand, refer other designers, and appear on the platform's promoted lists. Channels are designer-programme posts shared by creators she follows, community forums, and dedicated designer landing pages. Objections ("revenue share is too low", "will anyone buy", "I don't know structural engineering", "what if someone copies") are met with concrete comparative rates, view-and-save analytics from day one, automatic structural validation by the platform, and clear intellectual-property policies.
Age 28–45, London or a major United Kingdom city, GBP 1,000–5,000 per event installation, MacBook primary and iPhone on site. Emma works for an event agency or freelances on brand experiences and festivals. She always operates under extreme time pressure. Her budget is approved by the client; her reputation depends on flawless delivery. She is sustainability-aware because her clients are.
Emma thinks about design as a branded spatial experience — an installation is "the centrepiece", "the photo opportunity", "the hero moment". Building isn't her job (a crew does it on her behalf), but coordination, sign-off, and on-site management are. Technology is essential for client decks and supplier coordination; she lives in slide decks and shared calendars. Her technology comfort is high, and she expects portfolio websites, downloadable risk-assessment templates, and presentation-quality renders that drop into a client deck without further work. Three things drive her decision: timeline confidence, compliance pack quality (United Kingdom fire safety BS EN 13501-1, load assessment, method statement, public liability), and turnkey supply (one price, one invoice, one supplier). Once those are in place, price is rarely the blocker. Accessibility-wise she has standard professional needs and uses an iPhone on site under variable lighting.
Her emotional shape spikes with recognition at awareness (often at a competitor's event), runs through focused engagement during exploration and design, holds controlled tension through purchase and delivery, hits sharp anxiety on load-in day, finds relief at successful build, peaks at event night when attendees queue for photos, and ends at repeat booking. Functionally she hires DomiDo to deliver a unique branded installation on time, on site, fully compliant. Emotionally she wants to protect her professional reputation under extreme time pressure. Socially she wants to be the planner who consistently delivers wow-factor pieces and earns agency referrals. Channels are trade publications, LinkedIn, encountering installations at other events, and the event-industry trade-show circuit. Objections ("is it safe for public events", "can it go up in a day", "custom colours will take too long", "more expensive than a marquee") are met with documented load ratings and fire ratings, four-to-six-hour medium-build feasibility, ex-stock standard colours with realistic lead times for custom, and a comparison to like-for-like custom installations rather than generic marquees.
Age 25–35, midlands, north of England, or Wales, GBP 100–300 per purchase, phone primary, TikTok-native. Alex has just bought his first home — a two- or three-bedroom semi-detached or terraced property with a small garden. Budget is tight after the deposit; he is price-sensitive but willing to invest where he cares. He is a digital native who researches everything online before buying and is heavily influenced by short-form video content.
Alex thinks of design as transformation: before-and-after content. Building is a project that should look fun on social media, and technology is the air he breathes — the entire experience must be phone-first. His technology comfort is very high on phone with low patience for friction; he wants checkout in a few taps. Price-sensitivity dominates the first purchase, and cost-per-use framing helps justify spending. He is competitive with peers and wants his home to photograph as well as his friends'. Accessibility-wise he has standard mobile needs plus bright outdoor screen use during build content.
His emotional shape is curious at discovery (the TikTok video), playful through exploration, satisfied at design completion, slightly anxious at the price reveal, relieved at quick checkout, engaged through delivery anticipation, energetic during build (especially if filming with a partner), peaks at the finished build photographed, and ends at TikTok views and direct messages. Functionally he hires DomiDo to make a bare garden functional and attractive on a tight budget and start adding equity through property improvements. Emotionally he wants to feel competent in a first-owned space and feel modern and current. Socially he wants to generate content that ranks well in his peer group and collect referrals. Channels are TikTok transformation accounts, Reddit home-improvement subreddits, YouTube garden-makeover videos, and money-saving review sites. Objections ("more expensive than the high-street equivalent", "will it look professional", "I'll move in three years", "do I need tools") are met with cost-per-use framing, gallery imagery of finished builds, the disassemble-and-move advantage, and a "no tools required" reassurance.
The core six above carry the MVP. Three additional personas are recognised in the market sizing for later phases. Teacher Tom is the school and education buyer — a primary-school teacher, head teacher, or science-technology-engineering-mathematics coordinator with school discretionary or Parent Teacher Association budget, who hires DomiDo for hands-on outdoor learning, reconfigurable structures for events, and engaging activity-based teaching aligned with curriculum. Commercial Chris is the small-and-medium-enterprise facilities or property manager — pub owner, restaurant owner, office facilities manager — who hires DomiDo for beer-garden partitions, branded outdoor areas, and courtyard breakouts in planning-permission-light forms. The other commercial buyers (garden centres for in-store displays, pop-up retail and trade-show buyers, hospitality operators experimenting with outdoor capacity) round out the segment.
Three patterns recur across all personas and shape product, design, and content decisions. Trust is built incrementally and physically: every persona benefits from a physical sample, a weather-resistance demonstration, or an in-person installation visit, and the cost of a sample programme is modest compared with the conversion lift it generates. Social proof beats marketing copy: real customer photographs, real designer names, and real installations at real events do work that anonymous reviews and stock imagery cannot do. And the assembly viewer is the product's moment of truth: it must run on three-year-old hardware, in sunlight, with gloves on, across multiple sessions, without losing progress.