Hutton traces the eightfold scheme to a specific and datable act of synthesis rather than to an unbroken folk tradition. The four Gaelic fire festivals, Imbolc, Beltane, Lughnasadh and Samhain, were genuinely old calendar observances in Ireland and Scotland, and the solstices and equinoxes were genuinely tracked by prehistoric monument builders, but nobody before the mid twentieth century combined the two sets into one eightfold cycle treated as a single working calendar. Hutton locates the combination in correspondence and collaboration between Gerald Gardner's Wiccan circle and Ross Nichols, a Druid revivalist, in the later 1950s, with the full eight point scheme appearing in published Wiccan and Druid material shortly after.
The synthetic origin does not make the cycle arbitrary to the people who use it now. Decades of Druid orders and Wiccan covens keeping the same eight points, writing liturgy for them and holding public rites at solstices and equinoxes at sites such as Stonehenge, have given the Wheel a working coherence and a real ritual calendar function whatever its assembled history. Hutton's own point, made repeatedly across his scholarship on modern Paganism, is that a tradition's recency does not diminish what practitioners are actually doing with it, and the Wheel of the Year is one of his clearest worked examples of a modern construction that has become genuinely traditional in the only sense that matters to a living community.