In a converted chicken shed on a family farm in Scotland's remote Orkney Islands, craftsman Kevin Gauld operates what has become an unlikely international headquarters. From this humble workspace, modern interpretations of the traditional straw-backed, wood-framed Orkney chair are shipped worldwide to an elite clientele that includes Hollywood star Brad Pitt. "It's all become more than I ever imagined," says Gauld, reflecting on his unexpected success. "I didn't really set out with any big ambitions – I just wanted to go to the workshop every day and make furniture and be myself."
The Orkney chair tradition dates back to the 1700s, born from the practical needs of island life. With virtually no trees growing on the archipelago, local crofters had to rely on driftwood – often timber salvaged from shipwrecks – to construct their furniture. They ingeniously used straw for the chair backs, not only to conserve precious wood but also to provide insulation against the harsh island climate. "An old Orkney croft was quite cold in the wintertime," explains Gauld. "Some chairs were made with hoods to stop soot and dripping water from landing on you."
These original chairs were marvels of functional design, often featuring unique elements like under-seat drawers where residents could store knitting supplies, fishing hooks, Bibles, or even whisky bottles. No two chairs were identical, with varying shapes and heights that gave each piece an improvised, distinctly personal character. This tradition of resourceful craftsmanship reflected the islanders' philosophy of making do with available materials rather than purchasing manufactured goods.
Gauld's journey into this ancient craft began when he left school at 16 to apprentice with a local chairmaker. By 2007, he had established himself as The Orkney Furniture Maker, becoming one of only a handful of practitioners keeping this endangered heritage craft alive. His interpretations of traditional designs – including rockers, fan backs, and gents chairs – range from stocky, commode-like pieces to refined, throne-like creations that honor the original spirit of Orkney craftsmanship.
Beyond recreating historical designs, Gauld has expanded his repertoire to include original furniture pieces: earthy yet elegant tables, stools, and mirrors that blend traditional techniques with contemporary aesthetics. The demand for his work has grown so significantly that by 2020, he was forced to double his workshop space and hire additional artisans to meet orders. His creations have been featured in prestigious exhibitions, including shows at the Pier Arts Centre in Stromness on Orkney, the London Design Festival, and Homo Faber in Venice.
Today's Orkney chairs find homes in environments vastly different from their original crofter houses, yet Gauld notes that his clientele maintains a deep emotional connection to the islands. "Many are people who've come to Orkney on holiday and just fallen in love," he explains. "They often see an Orkney chair as a piece of the place they can take home with them." This sentiment has helped transform a local craft tradition into a global luxury market.
Gauld's commitment to authenticity extends to his choice of materials. For the frames, he primarily uses sycamore and elm, sourcing wood from local tree surgeons, Scottish hardwood suppliers, and occasionally imported timber. He personally seasons the wood before weaving and stitching the straw backs with sisal string. The straw itself comes from black oats, a nearly extinct local variety that Gauld has taken upon himself to preserve.
The story of the black oats illustrates Gauld's dedication to maintaining traditional methods. "There was only one man left growing the traditional black oat crop, and he's in his seventies," Gauld recalls. "I was honored when he asked me to take over." Now growing the grain on land his family has farmed for four generations, Gauld embodies the same resourcefulness that characterized the original crofters. He feeds leftover oats to his chickens, uses unsuitable straw as bedding, passes sawdust from his workshop to local butchers and fishmongers for their smokehouses, and burns small wood cuttings in his winter heating stove.
This sustainable, waste-free approach reflects the historical context that shaped Orkney furniture making. "These crofters lived in a time where if you needed something, you didn't go to a shop and buy it," Gauld observes. "You made things, and you made them from materials that you had." This philosophy of self-reliance and environmental consciousness has found new relevance in today's world of mass production and environmental awareness.
The cultural significance of Orkney chairs has gained recognition in prestigious institutions. A 19th-century Orkney chair now sits in London's Victoria and Albert Museum alongside a contemporary Brodgar chair created by Gauld in collaboration with designer Gareth Neal. This pairing demonstrates how the traditional craft has evolved while maintaining its essential character and cultural importance.
From its humble beginnings as a necessity born of isolation and scarcity, the Orkney chair has traveled far beyond its island origins. Gauld's work, with prices starting from £230 and commission times ranging from two weeks to one month, represents both the preservation of an ancient craft and its successful adaptation to contemporary markets. His success story illustrates how traditional craftsmanship can find new life and global appreciation while remaining true to its historical roots and cultural significance.
