SIX OF THE BEST
Rosie Morton speaks with six of the country’s most talented artisan designers who seek to keep their traditional crafts alive
Showcasing Scotland's top artisans who strive to keep their crafts alive
Watching beams of light dance through colourful church windows as a schoolboy was only the beginning for Alec Galloway, who was immediately enthralled by the drama of stained glass. After studying architectural glass at Edinburgh College of Art, he went on to dedicate his entire career to designing, creating and restoring spectacular pieces – and being based in Gourock, Inverclyde, he needn’t look far for creative ideas.
‘I’ve always had an interest in the histories associated with the west of Scotland,’ says Alec. ‘That goes right down to the wildlife and flora on the River Clyde. That’s where most of the inspiration for my more original work comes from.’
From delicate restorations of William Morris and Edward Burne-Jones’ intricate windows, to crafting original windows, harps and totems, Alec’s work has even taken him to Dubai, where he was commissioned to create the Wafi Window, the world’s largest stained glass window in the Middle East, in the Burj Al Arab – a project so vast a hangar was used to lay out the initial design.
‘I have a responsibility as a stained glass artist to share my knowledge,’ he says, musing over the excitable school groups he has been teaching over Zoom during lockdown. ‘We don’t have the education or studios practicising it in the way they were. So, I feel I’m part of something important; I treasure coming to work for that reason.’
Jamie Kunka – Handmade skis
Six years ago Aberdeen-born Jamie Kunka moved to Birnam – the home of Scottish ski-making – on a mission to create a sustainable antidote to modern skis with his Lonely Mountain Skis company. ‘I wanted to solve the paradox of the snowsports industry creating climate change and then destroying itself,’ explains Jamie. ‘I thought I could make a ski that would be more at home in the mountains. It would make more sense than flying over a mountain with plastic all over your feet.’
Using modern and traditional materials and methods, Jamie handcrafts high-performance skis that are sympathetic to the landscape – and sustainability is key. Working with FSC-certified wood from a local sawmill and bio-resin to hold the skis together, 80% of his materials are from grown sources. And they’re built to last – even skis that have been used in Antarctica are still going strong.
‘I like the idea of being a sole craftsman, a real expert who does everything from start to finish. There’s music in the background, tools running, wood getting chopped up – it’s a wee Aladdin’s Cave of tools,’ Jamie tells me, explaining his workshop is run off green energy. Ingrained in Jamie’s work is a desire to protect the mountains for generations – a true celebration of Scotland’s historic ski culture.
‘I wanted to solve the paradox of the snowsports industry creating climate change and then destroying itself’
Caroline Sinclair Stuart – millinery
Ahat is the crowning glory of any outfit, and helping women find their perfect match is what gives Caroline Sinclair Stuart such a thrill. ‘A hat empowers a woman. People are very drawn to you if you’re wearing a hat. It is a celebration,’ she says.
Based in Laurencekirk, Aberdeenshire, Caroline spent years mastering the art of millinery, studying 3D design at Gray’s School of Art before gaining millinery-specific credentials in London and Glasgow. ‘My friends would say, “You’re not going to art school, you’ll never find a job!”, she laughs. ‘It’s a labour of love, but I wouldn’t do anything else. It’s wonderful to do your dream job – it’s a real luxury.’
Promoting Scotland is at the fore of her work, and nature is not only an inspiration but a source of materials – as well as family tartans and Harris Tweeds, feathers from customers’ rolling estates frequently feature in her bespoke designs.
In 2010, her hats were spotted on Paris’ Premiere Classe catwalk, and luxury department store Fortnum & Mason bought a collection of 11 to sell in their London store. ‘I used peachbloom felt in ivory which was teamed up with thistles and pheasant feathers. It was a very feminine collection.’
Looking forward to hosting millinery classes once more, Caroline hopes to pass on her skills to the next generation. ‘There are so few of us that it would be nice to have a thriving millinery industry.’
‘People are drawn to you if you’re wearing a hat – it is a celebration’