When thinking of Scottish design, minimalism is probably not the first word that springs to mind. Compared to Scotland’s better-known luxury hotels that lean into tartan and thistles—like the Hauser & Wirth-owned The Fife Arms, or the velvet-and-tassels-adorned Gleneagles—the stone-clad walls and sleek furniture at Lundies House and Killiehuntly Farmhouse might feel a little unexpected. These guest houses are part of the properties owned by Wildland that dot the Scottish Highlands across three estates, all with simple and distinctly natural interiors. They’re so pared-back that, at first glance, one might wonder if they truly belong somewhere on the other side of the North Sea.
While the style has been coined “Scandi-Scot,” it’s about more than just placing Scandinavian furniture in Scotland. Rooted in the shared history and design principles between both cultures, these properties have conservation, beauty, and sustainability at the forefront—and the origins of this movement are just as much Scottish as they are Scandinavian.
Scottish-born architect Gunnar Groves-Raines, director of the architecture and design studio GRAS and founder of the Custom Lane creative hub in Edinburgh, has worked closely with Wildland on many of their projects. “It was very deliberately a combination of Scottish traditions and materials, combined with Danish oak and Danish craftsmanship,” he says of the style. “It’s a lovely combination of something which is international, but also very much of its place.”
Take, for example, Lundies House: a 19th-century clergy-house-turned-hotel in the northwesternmost tip of Scotland, that joined Condé Nast Traveler’s Gold List of best hotels in the world this year. The property is thoughtfully curated with antique and custom-made furniture by Wildland’s head of design, Ruth Kramer, who works closely with Wildland’s owners, Anne and Anders Holch Povlsen. (If the name sounds familiar, it’s because Anders is the largest shareholder in ASOS.) “Anne is very good at finding vintage pieces, so we have lived-in things merged with new things, which gives a homey feeling,” Kramer says.
Collaborating with local artisans is about more than just making beautiful spaces, however. “One of the important things about Wildland collaborating with or showcasing the work of local makers is that it’s the whole story of the land,” says Dieny Itoe, who serves as the creative director of Custom Lane. “The work is invariably connected to where it’s come from, so there’s an associated feeling and an aesthetic which is born from existing in Scotland or being born in Scotland or studying in Scotland.” Wildland is also launching retreats with local Scottish artisans: its first will take place in March with Wild Gorse, a florist from the Highlands.
And the buildings’ exteriors are just as important as the interiors, if not more so. The properties are restored to an impeccable standard, using the original techniques and materials they were created with. “On the conservation side, [Wildland] is very focused on doing things right,” says Groves-Raines, whose architecture firm specializes in restoring historical period buildings. “You have to be working with very skilled, traditional craftsmen with skills that are dying out. Stonemasons, people working in slate, lead work, woodwork, lath, and plaster—all of these trades that are finding it harder and harder to survive.”
Perhaps the rise of Scandi-Scot is only the beginning. “Hopefully, it’s a growth phase for cultural identity and design here, and it helps us to find our way. A copy-paste of Scandinavia is not what anybody wants. But it’s useful to see that it is possible to take design seriously in all aspects of life,” says Groves-Raines. It’s a shared sentiment across the board. “Rather than just being Scandi-Scot, when does the Scottish part become its own thing—the contemporary version of Scottish design?” asks Ross.
I’d say that it’s happening now. Scotland is in the process of stepping onto the global stage for its unique contemporary culture of craft and design, with help from budding design communities in Glasgow, Edinburgh, and the Highlands. One of those is Custom Lane: With hotly-demanded studio space for makers, a tool library, regular exhibitions, robust programming, and a welcoming cafe, it’s made Leith a destination for design since its launch in 2016, though it’s slowly but surely become more widely known. Just last month, Uniqlo hosted its spring 2024 collection preview at the gallery ahead of opening its first Scottish store in the spring. (It’s also worth noting that Bard, the Scottish interior design hotstop with a cult following, is Custom Lane’s neighbor.)
Clearly, as international interest in Scottish design only continues to rise—in part due to spaces like Wildland’s properties, that introduce people to its unique culture and craft—the sky’s the limit. As Groves-Raines puts it: ”I think the Scandinavian influence has helped us get there, but I think we’ll find our own identity beyond that.” I’m sure of it.
Source: Vogue