Tartan and identity: whose is it?

As the colder months approach, scarves have returned as a saving grace to many of our otherwise bland outfits. With each year new styles are worn, but over time I’ve noticed one pattern continuously worn as a favourite: tartan. 

Whilst closely associated with the Scottish Highlands, the pattern’s history does not lie only there. The earliest tartan-like samples date back to ancient China approximately 3000 years ago, following their discovery in the ‘Qizilchoqua tombs’ containing mummified remains wrapped in tartan-like cloth. It is suggested by some historians to be a branch of Indo-Europeans, a population carrying European physical characteristics who lived in this region up to around 4000 years ago, however there is no direct link to Celtic heritage from this group.

Tartan designs were also found in Celtic regions in Europe, migrating to a denser usage in Scotland. The earliest surviving Scottish sample of tartan dates back to the 16th century. 

The pattern is understood to represent specific clans in Scotland, however this was not their initial image. Originally a local cloth, with patterns and colours dictated by the available dyes and techniques in a region, choice of the design was based on availability and affordability. 

The modern-day concept of clan identity was solidified in the 19th century as a result of general romanticism of Highland culture and lifestyle largely in literature and royal influence (Queen Victoria’s fondness of Balmoral Castle). But legislatively confirmed following the Highland Society of London’s actions towards officially naming and registering tartan styles in 1815.

So what does it represent? 

Aside from a pretty cover on a shortbread tin, tartan represents Scottish identity and rebellion. Its rebellious connotations are largely attributed to the 1745 Jacobite uprising — an attempt to overthrow the reign of the House of Hanover and restore the House of Stuart to the British throne following their exile of 1688. Tartan was worn as a symbol of support for the Stuart dynasty and Scottish identity. It was subsequently banned by the British government in 1746 until 1782, still recognised today as a symbol of resistance. 

Though arguably its image of rebellion has expanded to a wider market, with Tartan also cropping up in punk or gothic styles — in another form of rebellion to wider society. This imagery is largely credited to fashion designer Vivienne Westwood, a political campaigner in her designs, with tartan often being at the front lines. 

Westwood’s brand has been frequently questioned on the terms of cultural appropriation for her consistent use of tartan. Whilst having no direct Scottish heritage, Westwood was an advocate for Scottish independence, demonstrating her love and support for Scotland. This was exemplified in her public support for the ‘Yes’ campaign leading up to the 2014 Scottish independence referendum, sending models down the runway wearing ‘yes’ badges and advocating for an independent Scotland to ensure a more democratic governance. The tartan that Westwood is most often associated to, is the ‘MacAndreas’. Where working alongside Scottish weavers, she created her own registered design for her Autumn-Winter 1993 ‘Anglomania’ collection.   

I hadn’t known of tartan’s significance and history until I was given insight by a family friend, who explained the controversy that Vivienne Westwood had previously come under for her use of it. For such a popular design, I was amazed at how overlooked its backstory has become. So hopefully this piece gave some insight into a cultural piece for you, let me know if you have any suggestions for future ones you want to be discussed by reaching out to @edomalfashion on instagram. 

Thank you for your support and feedback for the blog so far, see you next year!