The curated UK alternative to Etsy.

Ask the makers who have left and the same complaints come up every time. The fees stack, listing fees, transaction fees, payment fees, ad fees, until close to a quarter of every sale is gone. The site is flooding with AI-generated and mass-produced listings that compete directly with real handmade work, under disclosure rules makers say go unenforced. Automated moderation wrongly flags genuine craft, with no human to appeal to. And visibility increasingly has to be bought: if you do not pay for ads, you are buried.

None of this is anecdote. Etsy's own figures show sales shrinking and sellers leaving in their hundreds of thousands. Good makers are not failing on Etsy; Etsy is failing them.

Because The Haud was built to fix exactly those things. Every maker is vetted by hand, so there is nothing AI-generated or mass-produced to be buried under; your work sits alongside fifty makers, not fifty thousand listings. There are no listing fees and no ad spend: joining and listing are free, and we take a commission only when a piece sells. If nothing sells, you owe nothing.

And the work of selling is shared. We draft your listings, edit your photographs, and write editorial where the work earns it, with a magazine that pulls buyers towards the shop. When something goes wrong, you talk to a person who knows your name, not an algorithm.

For a maker in heritage craft, yes, and the difference is bigger than it first looks. Folksy has a warm community, but its own makers say the traffic is thin: shop stats full of impressions, hardly any views, and no one marketing on your behalf. You list your work and the rest is down to you.

The Haud works alongside you: we draft your listings and edit your photographs, write editorial, run pop-ups, and open whole ways of selling that Folksy does not have, like bespoke commissions with staged payments and workshop places sold beside your work.

The other difference is trust. Every maker here is vetted by hand, so your work sits beside work of the same standard, and that quality lifts every shop on the site. And because there is always a person on hand when you are in difficulty, makers and buyers alike trust the process. On an open marketplace you are one of thousands; on The Haud you are known.

Not On The High Street charges a joining fee of around two hundred pounds before you have sold a thing, takes roughly a quarter of each sale, and its rules reach into how you price elsewhere. Its own sellers say the site increasingly favours high-volume gift brands, which leaves individual makers anonymous under someone else's branding.

The Haud is free to join and free to list, takes a commission only when a piece sells, and is built around the craft itself: the tradition is named, the maker is the story, and conservation status from the Heritage Crafts Red List is declared on every relevant piece. You are the brand here, not the supplier.

Galleries typically take around half of every sale, usually on sale or return. That means your stock sits in someone else's window at your risk, you keep the inventory lists, you chase what has not sold, and you wait to be paid. Wonderful for an exhibition; hard as a way to sell week to week.

On The Haud your work stays with you until it sells, the payout moves automatically when it does, and your name and tradition travel with every piece. You keep more of each sale and carry less of the risk.