The Artisan Changing How We Think About Custom Furniture

Sometimes the most revealing design stories aren’t about style at all. They’re about what happens when someone decides to make something slowly, on purpose, and with their hands.

I wanted to share Christopher Dean of the Handhold Studio, because his work sits at the intersection of craft, restraint, and relationship, the kind of furniture that doesn’t try to impress a room, but helps a room feel anchored.

What follows is a conversation about how a maker learns their language over time: where inspiration actually comes from, how process shapes integrity, and why the experience of commissioning a piece can matter as much as the piece itself.

Image | the handholdstudio-The Cascade

the Handhold Studio Story

Every craft business has a beginning, but not always a clean origin story. Christopher’s started with restlessness, persistence, and a willingness to keep going before it felt “ready.”

Dean: I formed my little handcrafted woodworking biz in Richmond, Virginia in 2015, but went full time in 2016. There wasn’t a major idea or a crazy awesome story like some people have. I’m a serial hobbyist, and I absolutely hated the work I was doing before this. I decided to pursue my self-employment + creativity and just dumped everything I had into it.

Woodworking just stuck as the thing that I could do for a paycheck! At the time, it just didn’t seem feasible to build my next closest dream at the moment, which was a Mercantile I’d name “Foraged + Fermented”, and it’d be filled with food, ingredients, and alcohol all foraged for and processed in-house. It’s still not fully off-the-table, hah!

In 2016 or so, most of the woodworking I was doing was rudimentary, with no joinery or complex design. Just the type of work that required me to do farmers markets, craft fairs, etc. It was fun while it lasted, but didn’t feel sustainable for my personality type. Just before moving away from Richmond, one of the last major events I got to be a consumer at was the Craft + Design show in Main Street Station. I saw a local furniture maker’s work that just absolutely blew me away — in his booth I felt I’d walked into my dream, that someone else was already living. That maker was Daniel Rickey, of Daniel Rickey Furniture.

In 2019, I packed up my shop and followed a job opportunity my wife had landed, which moved us to Eugene, Oregon. Once I was on this coast, things shifted for me as I became more interested in furniture + design. After DRF, makers like The Roaring Woodwork, Beauty & Bread Woodshop, TomFoolery Wood Co, Hambuilt, and proximity to material suppliers like Goby Walnut & GL Veneer — my mind just began going wild on the creativity and possibilities in finely handcrafted furniture.

It’s been a long journey to executing the place I’ve taken this thing to, now. It’s been slow at times and fast at others. It’s had its bumps & potholes, but it started as a dream and I’ve built it with my own two hands (+ the support of many people coming in to be my proverbial “village”).

I’m just a guy out here, still a serial hobbyist, and playing with ideas and creation within my realm now.

Image | thehandholdstudio-The Palisade Cabinet

Custom Furniture Collection

His pieces carry a personal geography, nature, memory, and place, without turning the work into nostalgia. The details come from what he notices and returns to.

Dean: The first thing that most would notice about my furniture is that they almost all bear names of National Parks or prominent natural structures within them; the Shenandoah Liquor + Wine Cabinet, the Rainier Cabinet, and so on. Most of my work is inspired by the things that I see while I’m out in nature (I’m an avid National Park-er), mixed with a lot of the design styles that I see within the creatives who I respect.

The Shenandoah, as an example; is strongly inspired by softer rolling mountains, the top of the cabinet features a soft curved profile that makes me think of the Blue Ridge Mountains that I grew up around. The tapered feet on that cabinet are a design decision I made after a hike in Shenandoah National Park — there was a rock scramble and I had thought “Huh, nature just put this big rock on top of these little skinny, tapering boulders and that works??” It stuck.

There are a lot of nuanced details and personal life experiences like that built into my works. A big difference in my furniture compared to some others I see is how I encourage (and don’t charge extra) for customization. Almost every piece I have ever built has been customized because of it, too.

I know that my pricing can cause accessibility issues just due to its handcrafted nature and needing to pay us a living wage for a premium product, but it doesn’t change the fact that I don’t come from money and I want my work to be as accessible as I can make it. I’m not upcharging for changes to designs, and after paying my (small) design fee, I take it off the final cost of the custom piece, not in addition.

I like to work with new homeowners, and people from all walks of life who are investing in their first handcrafted item made exclusively for them. A lot of what makes my furniture different is in the experience — from design to consultation, to my willingness to hand deliver nearly anywhere in the country (if my queue is slim, I’ll drive it clear across the country, truly).

I’m here for the connection between people and things, and I don’t think there’s a lot of traction just yet in that thinking. There’s the “anti-fast furniture” ideological movement, but I’m trying to go deeper and connect you to something that you can cherish.

Image | the Handhold Studio - The Shasta

Design Process

What stood out to me is how much of his process is built around steadiness, making room for uncertainty, helping clients articulate what they can’t name yet, and refusing to rush the design into closure.

Dean: This is a very fluid answer, and it’ll change based on each client; some are so ready to go, some are anxious/nervous about the process and pricing, and some truly do not know what they want. It all starts with a consultation, though. Booking my consultation (which is go-at-your-own pace), I’ll bust out the ‘ol stopwatch, and we’ll dedicate two whole hours over the course of a day, days, and weeks, to talk design + sketch + I’ll get material options and pricing together.

I have a great habit of really handholding my clients through their creative thoughts, even if they’re struggling to articulate them. For design, I lean heavily into the pieces that my client is most attracted to. Even if you don’t know if it’ll fit the aesthetic of your space or the particular use, I want to know if you’re attracted to beading, tapered details, brass, and so on. It gives me an idea of what’s going to feel warm and invite you to interact with it.

From there, I’ll sketch out a couple of options, and we’ll see what you like from them (I’m no artist, they’re fairly rudimentary, but I’m always trying to practice to have that architect/engineer level of pencil sketching, ha!).

After we feel we’re on the right track to your design, there are revisions to details until it’s just perfect. I’ve got a personality type that screams “buy once, cry once”, and I treat my business the same. I recognize that my client’s money and time are incredibly valuable and in some cases limited, and I really will dedicate myself to making a design absolutely perfect for their needs before we get started on the build.

After design, it’s pretty seamless. Purchase or finance a custom listing, or we’ll agree on payment terms of some sort (I can work within a lot of circumstances), and then I begin. I’m making everything by hand, one at a time, so it is slower than a multi-employee company, but I also benefit from having the same eyes and hands on each project. Once completed, I’ll either hand deliver or have it freighted with a white glove service to your home.

Image | thehandholdstudio - The Revisionist Teton Credenza

What Inspires you?

His influences aren’t a moodboard. They’re materials, techniques, and other makers whose execution raises his own standards.

Dean: I really recently prefer working with thick veneers, I resaw my own here in-house and have a full veneering setup to make insanely high-quality panels for projects. Otherwise, I enjoy walnut, as most do, and I love the warmth and tactile experience of incorporating brass or nickel into my work. I’m influenced by a lot of makers whose creativity and execution are top-notch; Daniel Rickey, Phil Morley, MediumSmall, J.Rusten Studio, Brockway Ayres. I’m also really inspired by the people whose designs and/or mediums are different than my own, but they’re very supportive and encouraging of my work. It reinforces that I’m doing something cool, and it pushes me forward in just tinkering around sometimes. People like Robby Simon (@play.room), as an example.

Image | the Handhold Studio - The Teton

Sustainable and Ethical Practices

Sustainability shows up here as practice, not branding, labor choices, material choices, shipping choices, and the tradeoffs of staying small.

Dean: Environmental consciousness is pretty visible in my periphery, I’m always on the lookout for more sustainable wood sources, or cutting my hardwood veneers and putting in the extra labor to attach them to a more eco-friendly and superior-made substrate. My shop doesn’t do epoxy pours, at all, and I’m using natural + plant-based finishes. I try and ship my pieces in batches/deliver in batches, to reduce the carbon footprint of long trips for one thing. A lot of eco-conscious practices also are budget-friendly practices. Less trips = less fuel costs, and so on. I’m a little shop, so doing my part and also helping my budget are important.

Image | the handholdstudio - The Santa Elena Fridge + Dry Bar Cabinet

Collaborations and Partnerships

For him, collaboration isn’t a marketing move, it’s part of the mission. Community is the long game.

Dean: I’ve worked with a handful of small businesses + brands in the past, most recently Parlour & Palm, an interior design service in Portland, Oregon. I was brought in on a custom Santa Elena Wine Cabinet for a rad client. 10/10 would recommend. This April I launched a rebrand for my company, and the mission this year + moving forward is community + creativity, looking for small businesses and people in my local community + broader, to find ways to work together, publish together, and succeed together. I’d love to develop more of a local community here in Eugene the way I’ve been able to elsewhere, but I’m in this for the connection + and travel and would love to make friends and collaborative partners everywhere.

Design Mission and Inspirations

His idea of “slow living” isn’t aesthetic. It’s rooted in family history, memory, and the desire to carry a quieter pace into a louder world.

Dean: This is something I’m still figuring out for myself, or where I fit in, honestly. I come from very deep Appalachian family roots — I grew up with stories of my dad + family in coal mines and life in “hollers”, over biscuits and fried apples. In my late teenage years, when I left home and started exploring the country as deeply as I could, I found that I was always looking to bring that little piece of quiet, slower life with me to cities, other cultural areas of the country, and so on. Now, in my 30s, I think I’m just getting to a point of realizing that I can take those slow-down ways of life with me into my faster-paced world, and build a community around my own little metaphorical “front porch”. In my designs, I have long called some of my work “Mountain-Modern”, like, for years now. Some of my works have been directly inspired by old pieces I’d seen in old mountain homes, where practicality and pragmatism mattered more to people than embellishment or frivolity.

Image | the handholdstudio-Shenandoah Liquor Cabinet

Customer Experience

The work doesn’t end at the object. He treats the relationship: customization, conversation, follow-through—as part of what makes a piece worth keeping.

Dean: It’s everything. I’m the Handhold Studio, after all. I want this to be a lifelong and permanent connection between you, your work, and myself. A never-ending collaboration, in a sense. I do offer customization options; material options, finish options (for color/stains sometimes I bring in outside, more expert help), pricing structures, dimensional changes, and so on. The possibilities for customization are truly endless.

Future Aspirations

What he wants next is not scale for the sake of scale. It’s stability, pride in the work, and growth that still feels human.

Dean: My future aspirations would be just to thrive within the means that I aim for. I want to make a stable living wage doing what I love, nothing else matters. I’ve no lofty goals of hitting the 7 figure years like influencers push, and I’ve got no goals to compete or surpass others. I want to work with people, be happy at the end of my day, and feel proud of the work that I do.

I’ve got a few exciting designs in the queue this year, particularly a new line of plywood-centric furniture (so you can paint it yourself), as well as completely new designs to be added to my permanent rotation of works. I see my brand evolving to fit into this mentality more with time. The rebrand I just went through helped to immediately shift the message and my goals, and I see things growing toward that. More collaboration, more quality, more client-collaborative pieces, deeper relationships.

Image | the handholdstudio-Shenandoah Liquor Cabinet (Quarter Sawn White Oak)

Advice for Aspiring Entrepreneurs

He speaks about making as something built over time—through community, asking for help, and staying close to the parts of the work that feel honest.

Dean: For woodworkers, look to people whose work you love, and identify the parts that you love. *No one* is making new/original things with wood, at this point, we’re all just combining and evolving the things that we love to make something authentic to our styles. Don’t be afraid to ask questions, find help, etc. I’m always here to help problem solve or support design or execution for up-and-comers. Motivation can be hard. For some businesses, it seems very easy. My work has been lonely, and tiring at times. For me, always looking for my community has helped me keep my head in the right place. Tracy (@hellodaisymade) is a great example of someone I rely on for a little kick when I’m just in a rut — when I’m just really in a funk, I think all business owners and creatives need a network of people, (or in atleast one person) that can read that downward mental/motivation trajectory and help realign them to their goals. Find yourself that person, and make sure you tell them you appreciate them. Some days people like that are the only coals keeping your fire going.

A maker’s work always carries more than design choices. It carries pace. Attention. Standards. A relationship to materials and time that most of us don’t get to witness up close.

Christopher’s work reflects a level of care that shows up over time, through material choices, process, and the relationships he builds around each piece.

If you’d like to see more of what he’s creating, you can find the Handhold Studio at @thehandholdstudio.

For those who choose to reach out or collaborate, he shared a courtesy code: ARDISENO10