Kilt

Contents

1. Overview
2. Etymology
3. Cultural Impact

A kilt is a garment that looks remarkably like a skirt, specifically one that wraps around the wearer and falls to the knee. It’s traditionally crafted from heavy, twill-woven worsted wool , distinguished by its pronounced pleats at the sides and back. The most iconic feature, of course, is the tartan pattern, a complex weave of intersecting coloured stripes. Its origins are deeply rooted in Scottish Highland dress for men , with the earliest documented form, the “great kilt,” appearing in the 16th century. This earlier iteration was a full-length garment, ingeniously designed so its upper portion could be unfurled and worn as a cloak. The more familiar “small kilt,” or modern kilt, emerged in the 18th century, essentially a distillation of the lower half of its voluminous predecessor. By the 19th century, the kilt had transcended its practical beginnings to become a powerful symbol, inextricably linked with the wider culture of Scotland and, by extension, Gaelic and Celtic heritage.

While the kilt is most often seen adorning men on formal occasions, at the vigorous Highland games , and other sporting events, its journey hasn’t ended there. It has also found its way back to its more informal, everyday roots, re-emerging as a practical garment for casual wear, now fashioned from a variety of materials. Modern adaptations often include alternative fastenings and, crucially, pockets, thereby negating the traditional need for a sporran . Intriguingly, the kilt has also been embraced by women, particularly in certain sporting contexts.

History

Main article: History of the kilt

The kilt’s lineage begins with the “great kilt,” a garment known as the breacan or belted plaid , which first graced the Scottish scene in the 16th century. This fèileadh mòr, or great kilt, was a substantial piece of cloth, its length allowing the upper section to be draped over the shoulder like a cloak, or even pulled up over the head for protection from the elements. The fèileadh beag, or small kilt (also referred to as the walking kilt), the precursor to the kilt we recognize today, is attributed to one Thomas Rawlinson , an English Quaker from Lancashire, sometime in the 1720s. Rawlinson apparently found the belted plaid rather “cumbrous and unwieldy.” His innovative solution was to detach the skirt portion and transform it into a distinct garment, complete with pre-sewn pleats. He began producing these himself, and his associate, Iain MacDonnell, chief of the MacDonnells of Inverness, soon followed suit. When the clansmen employed in logging, charcoal production, and iron smelting witnessed their chief sporting this new apparel, they readily adopted it themselves. The adoption spread with remarkable speed, “in the shortest space,” not only among the Highlanders but also among some of the Northern Lowlanders . There’s also a suggestion that evidence points to the existence of the philibeg with unsewn pleats dating back to the 1690s. The kilt’s design, naturally, continued to evolve over the ensuing centuries, adapting to the changing practicalities of life.

Variants

The term “kilt” is now applied to a spectrum of garments:

The traditional kilt, whether in its historical form or the modern adaptation commonly seen in Scotland today (refer to History of the kilt for details). This is almost invariably in a tartan pattern.
Kilts worn by Irish pipe bands, which, while based on the traditional Scottish kilt, are now typically made in a single, solid color. [5] The most prevalent colors are saffron or green.
Variations of the Scottish kilt that have been adopted by other Celtic nations , such as the Welsh cilt and the Cornish cilt.

According to both the Dictionary of the Scots Language and the Oxford English Dictionary , the word “kilt” originates from a verb, “to kilt,” which initially meant “to gird up; to tuck up (the skirts) round the body.” This term is believed to have Scandinavian roots.

Scotland

General William Gordon , depicted in a painting by Pompeo Batoni (1765–66), is shown wearing a kilt, which was part of the uniform for the short-lived 105th Regiment of Foot .

The modern Scottish kilt, as worn with formal evening wear in 2009, is often accompanied by a highly decorative sporran suspended from the waist.

Organizations that oversee and grade competitions in Highland dancing and piping all have specific rules governing the acceptable attire for competitors. These regulations stipulate that kilts are to be worn, with the notable exception that female competitors in national dances will wear the Aboyne dress . [6] [7]

Design and Construction

The Scottish kilt possesses a distinctiveness in its design, construction, and the conventions surrounding its wear, setting it apart from other garments that might broadly fit the description of a skirt. It is a tailored garment, meticulously wrapped around the wearer’s body at the natural waistline – the space between the lowest rib and the hip. The process begins on one side (typically the wearer’s left), encircles the front and back, and then crosses the front again to meet the opposite side. Fastenings are achieved through straps and buckles, located at both ends. The strap on the inside end usually passes through a slit in the waistband to be secured by a buckle on the outside; alternatively, it can be fastened internally.

A kilt extends from the waist down to approximately the center of the knees. The front of the kilt features overlapping layers known as “aprons,” which are kept flat. The sides and back, in contrast, are composed of a single layer of fabric that is pleated. A kilt pin may be affixed to the front apron on the free corner, serving primarily as a weight to help the apron hang correctly. Its function is not to pass through the underlying layers. The matter of whether or not to wear underwear beneath a kilt is a personal choice, though tradition dictates that a “true Scotsman ” goes bare. [8] [9] [10] However, the Scottish Tartans Authority has cautioned that, in certain circumstances, this practice can be considered “childish and unhygienic” and “in the face of decency.” [11] [12] [13]

Fabrics

The kilt commonly seen at contemporary Highland games events is constructed from a twill -woven worsted wool . The specific twill weave employed for kilts is a “2–2 type,” meaning each weft thread passes over and under two warp threads. This technique results in a characteristic diagonal pattern within the fabric, known as the twill line. When this type of twill is woven according to a particular sett, or a written colour pattern, it becomes a tartan. In stark contrast, kilts worn by Irish pipers are fashioned from solid-colored cloth, with saffron or green being the most frequently used hues. [5]

Kilting fabric weights are measured in ounces per yard. They range from the exceptionally heavy, regimental worsted at approximately 18–22 ounces (510–620 g), down to a lightweight worsted of about 10–11 ounces (280–310 g). The most common weights for kilts are 13 ounces (370 g) and 16 ounces (450 g). The heavier weights are more suitable for colder weather, while lighter weights are typically chosen for warmer conditions or for more active pursuits, such as Highland dancing. Some tartan patterns are only available in a limited selection of weights.

A modern kilt for an average adult typically requires about 6–8 yards of single-width (approximately 26–30 inches) or about 3–4 yards of double-width (approximately 54–60 inches) tartan fabric. Double-width fabric is woven in such a way that the pattern aligns perfectly at the selvage . Kilts are generally made without a hem , as a hem would add bulk and disrupt the garment’s drape. The precise quantity of fabric needed is influenced by several factors, including the size of the sett, the number of pleats incorporated into the garment, and the wearer’s dimensions. For a full kilt, 8 yards of fabric are typically used regardless of the wearer’s size; the number and depth of pleats are then adjusted accordingly. For individuals with a very large waist, it may be necessary to use up to 9 yards of cloth.

Setts

One of the most defining characteristics of an authentic Scottish kilt is the tartan pattern, known as the sett, which it displays. The association of specific patterns with individual clans and families can be traced back perhaps one or two centuries. It was only during the 19th-century Victorian era that the system of named tartans, as we know it today, began to be systematically recorded and formalized, largely by weaving companies for commercial purposes. Prior to this period, Highland tartans were more closely linked to geographical regions rather than specific clans.

Currently, there are also tartans designated for districts, counties, societies, and corporations. Setts exist for states and provinces, schools and universities, sporting activities, individuals, and commemorative or generic patterns intended for anyone to wear (consult the History of the kilt for a detailed explanation of how these associations developed).

Setts are always structured horizontally and vertically, never diagonally, unless adapted for women’s skirts. They are defined by their thread counts, which specify the sequence of colors and their units of width. For instance, the Wallace tartan has a thread count of “K/4 R32 K32 Y/4,” where K represents black, R represents red, and Y represents yellow. This notation indicates that 4 units of black thread are followed by 32 units of red, and so on, in both the warp and the weft. Typically, these units correspond to the actual number of threads, but as long as the proportions are maintained, the resulting pattern remains consistent. This thread count also includes a pivot point, denoted by the slash between the color and thread number. The weaver is expected to reverse the weaving sequence at this pivot point to create a mirror image of the pattern, resulting in a symmetrical tartan. Some tartans, such as Buchanan , are asymmetrical, meaning they lack a pivot point. In such cases, the weaver completes the sequence and then restarts from the beginning for the next sett.

The Oliver tartan kilt, pictured in 2006.

Setts are further characterized by their size, measured in inches (or centimeters) for one full repeat. The size of a given sett is determined not only by the number of threads in the repeat but also by the weight of the fabric. Heavier fabrics utilize thicker threads, meaning the same number of threads in a heavier-weight fabric will occupy more space. The colors specified in the thread count are presented in a manner analogous to heraldry , though tartan patterns themselves are not heraldic. The exact shade employed is a matter of artistic interpretation and can vary between fabric mills and even between different dye lots within the same mill.

Tartans are commercially woven in four standard color variations that define the overall tone. “Ancient” or “Old” colors are characterized by a slightly faded appearance, intended to evoke the vegetable dyes once used. In some instances, “Old” simply signifies a tartan that predates the current version. Ancient greens and blues tend to be lighter, while reds appear more orange. “Modern” colors are vibrant, showcasing contemporary aniline dyeing techniques. These typically feature bright red, dark hunter green, and navy blue. “Weathered” or “Reproduction” colors aim to simulate the look of older cloth that has been weathered by the elements. Greens shift towards light brown, blues become grey, and reds take on a deeper wine hue. The final color variation is “Muted,” which leans towards earth tones . Greens are olive, blues are slate blue, and red is a deeper wine color. Consequently, of the approximately 3500 registered tartans available in the Scottish Tartans Authority database as of 2004, [14] there are four possible color variations for each, resulting in around 14,000 recognized tartan choices.

Setts were registered with the International Tartan Index (ITI) of the charitable organization Scottish Tartans Authority (STA) until 2008. The STA maintained a free collection of fabric samples, identified by name and thread count. This register, combined with others, formed the Scottish Register of Tartans (SRT) under the statutory body the National Archives of Scotland (NAS), provided the tartan met the SRT’s criteria, for a fee of £70 as of 2010. While new tartans are added annually, the majority of registered patterns available today were created from the 19th century onwards by commercial weavers who utilized a wide array of colors. The surge in Highland romanticism and the increasing Anglicisation of Scottish culture by the Victorians during that era contributed to the practice of registering tartans with clan names. Before this period, most patterns were more closely associated with geographical regions than with specific clans. Therefore, there is no inherent symbolism in the colors, nor do the patterns reflect the wearer’s status.

Measurements

The stitching on the fell of a kilt (Robertson Red Modern).

While ready-to-wear kilts are available in standard sizes, a custom kilt is tailored precisely to the wearer’s individual proportions. Typically, at least three measurements are required: the waist, hips, and the desired length of the kilt. In some cases, the rise (the distance from the waist to the waistband) or the fell (the distance from the waistline to the widest part of the hips) may also be requested.

A properly constructed kilt, when fastened at the tightest holes of the straps, should not be so loose that the wearer can easily twist it around their body. Conversely, it should not be so tight that it causes “scalloping” of the fabric where the buckles are fastened. Furthermore, the length of the kilt, when worn at the waist, should fall no lower than the midpoint of the kneecap and no higher than about an inch above it.

Pleating and Stitching

Pleating to the stripe (2005).

Pleating to the sett.

A kilt can be pleated using either box or knife pleats . A knife pleat is a simple fold, whereas a box pleat is more substantial, formed by two knife pleats placed back-to-back. Knife pleats are the most common style found in modern civilian kilts. Regimental traditions, however, vary. The Argyll and Sutherland Highlanders traditionally employ box pleats, while the Black Watch make their kilts from the same tartan but use knife pleats. These traditions were also passed down to affiliated regiments within the Commonwealth and were retained in the successor battalions of these regiments within the amalgamated Royal Regiment of Scotland .

Pleats can be arranged in relation to the tartan pattern in two distinct ways. In pleating to the stripe, a specific vertical stripe within the tartan is chosen, and the fabric is then folded so that this stripe is centered in each pleat. The effect is that along the pleated sections of the kilt (the back and sides), the pattern appears different from the unpleated front, often emphasizing the horizontal bands rather than creating a balanced interplay between horizontal and vertical elements. This method is frequently referred to as military pleating, as it is the style adopted by many military regiments. It is also widely used by pipe bands.

In pleating to the sett, the fabric is folded in such a way that the pattern of the sett is preserved and repeated uniformly around the entire kilt. This is achieved by incorporating one full sett into each pleat, or two full setts if the setts are small. This ensures that the pleated sections display the same pattern as the unpleated front.

The depth and width characterize any pleat. The portion of the pleat that lies beneath the overlying pleat is referred to as the size or width. The pleat width is selected based on the dimensions of the tartan sett and the amount of fabric used in the kilt’s construction, generally ranging from about 1/2 inch to about 3/4 inch.

The depth of the pleat, the part that is folded under the next pleat, depends solely on the size of the tartan sett, even when pleating to the stripe, as the sett dictates the spacing of the stripes.

The number of pleats in a kilt is determined by the total amount of material used in its construction and the size of the sett.

The pleats at the fell are tapered slightly, reflecting the fact that a wearer’s waist is typically narrower than their hips. These pleats are usually secured either by machine or by hand stitching.

In Highland dancing, the effect of the stitching on the kilt’s movement is readily apparent. The kilt clings to the dancer’s body from the waist down to the hipline and then, in response to the dancer’s movements, it flares out sharply. The way the kilt moves in conjunction with the dance steps is a crucial element of the performance. If the pleats were not stitched down in this section of the kilt, the resulting motion would be significantly different. Kilts intended for Highland dancing are typically pleated to the sett, as opposed to the stripe.

Accessories

Main article: Kilt accessories

A Highland dancer is shown revealing the dynamic movement of a kilt, worn here with a velvet waistcoat.

The Scottish kilt is traditionally worn with kilt hose (woollen socks), which are turned down at the knee. These are often accompanied by garters and flashes. A sporran (from the Gaelic word for “purse”), a type of pouch, hangs around the waist from a chain or leather strap. Sporrans can be plain or embossed leather, or elaborately decorated with sealskin, fur, or polished metal plating.

Depending on the formality of the occasion, other common accessories include:

A belt, usually featuring an embossed buckle.
A jacket, available in various traditional designs.
A kilt pin .
A sgian-dubh (Gaelic for “black knife”): a small, sheathed knife worn tucked into the top of the hose.
Ghillie brogues .
Occasionally, a ghillie shirt is worn. However, this is a more casual item and, being a relatively recent invention, should not be confused with actual historical garments.

Styles of Kilt Wear

Ireland

Irish Defence Force pipers are shown wearing saffron kilts.

While the precise origins of the Irish kilt remain a subject of historical debate, current evidence suggests that kilts originated in the Scottish Highlands and Isles . They were adopted by Irish nationalists from at least the 1850s onwards and became firmly established as a symbol of Gaelic identity by the early 1900s. [19]

A garment often mistaken for kilts in early depictions is the Irish léine croich, or ‘saffron shirt’. This was traditionally a long tunic made from yellow cloth, though it was also found in other solid colors (such as black, green, red, or brown) or stripes. Solid-colored kilts were first adopted by Irish nationalists and subsequently by Irish regiments serving in the British Army. However, they were frequently visible in late 19th and early 20th-century photographs taken in Ireland, particularly at political and musical gatherings, as the kilt was re-embraced as a symbol of Gaelic nationalism during this period. [19] Tartan was less common in Irish kilts due to its higher manufacturing cost. It was mostly reserved for sashes, trews, and shawls. Wealthier Irish individuals, such as Gaelic chieftains and high-ranking soldiers, could afford tartan kilts.

Within the realm of Irish dancing, boys’ kilts have largely fallen out of favor, especially since the global phenomenon of Riverdance and the general revival and increased interest in Irish dancing. [20]

The Irish continue to wear kilts, but their use is now largely confined to formal events and weddings. Irish marching bands frequently dress in kilts as well.

Other Celtic Nations

Although not traditionally a part of the national dress outside of Scotland and Ireland, kilts have recently gained popularity in other Celtic nations as a marker of Celtic identity. [21] Consequently, kilts and tartans can now be seen in Wales , Cornwall, the Isle of Man , Brittany, and Galicia . Kilts in border tartan have also been adopted in Northumbria .

There are currently sixteen Breton tartans officially registered in the Scottish tartan registries. These include Brittany National (Breton National), [22] Brittany Walking, [23] Lead it Of, and nine additional county tartans: Kerne, [24] Leon, [25] Tregor, [26] Gwened , [27] Dol, [28] St. Malo, [29] Rennes, [30] Nantes, [31] and St. Brieuc. [32] More recently, tartans have been created for smaller regions within Brittany, such as Ushent, Bro Vigoudenn, and Menez Du (“Black Mountain”). [33] [34]

Three Galician tartans are recorded in the Scottish registries: Galicia, [35] “Gallaecia – Galician National,” [36] and Bombeiros Voluntarios De Galicia. [37] Historical evidence indicates the use of tartan and kilts in Galicia dating back to the 18th century. [38]

Kilts are also traditionally worn by some individuals in [Austria], particularly in Carinthia and Upper Austria , owing to their Celtic heritage. [39]

Contemporary Designs

An example of a contemporary kilt.

Kilts and other men’s skirts experienced a revival as a fashion trend during the 1980s. Stephen Sprouse introduced a black denim mini-skirt worn over black denim jeans in 1983. The following year, in 1984, Jean Paul Gaultier made a significant impact on the fashion industry by reintroducing mini skirts and kilts for men. [40]

Beginning in the late 1990s, contemporary kilts, also known as modern kilts, fashion kilts, and particularly in the United States as utility kilts, began appearing in the clothing market in Scotland, [41] the US, and Canada. They are made from a variety of fabrics, including leather, denim , corduroy , and cotton. [42] These kilts can be designed for formal or casual wear, for use in sports or outdoor recreation, or as workwear for both white-collar and blue-collar professions. Some closely emulate the design of traditional Scottish kilts, while others bear only a superficial resemblance, being essentially knee-length skirt-like garments for men. They may feature box pleats, symmetrical knife pleats, and fastenings such as snaps, studs, or Velcro instead of buckles. Many are designed for wear without a sporran and may incorporate pockets or tool belts.

In Canada, kilts are commonly worn as part of female school uniforms in institutions with dress code policies. Furthermore, given the country’s rich Scottish heritage, kilts are frequently seen at weddings and formal events. In Nova Scotia , they may even be worn as everyday attire.

A contemporary hybrid kilt.

In 2008, Dean Peterson, a USPS letter carrier, submitted a formal proposal advocating for the kilt to be approved as an acceptable postal uniform, citing comfort as the primary reason. [43] [44] The proposal was decisively rejected at the convention of the 220,000-member National Association of Letter Carriers in 2008. [44]

5.11 Tactical initially produced a “tactical duty kilt” as an April Fools’ joke but has continued its production. [45] [46] These contemporary hybrid kilts are constructed from tartan -woven fabric material. [47] [48]

Female athletes, particularly in lacrosse and field hockey , often wear lacrosse kilts, a simplified form of the contemporary kilt. They typically wear compression shorts or spandex underneath. Such kilts are popular across many levels of lacrosse, from youth leagues to collegiate competitions, although some teams are transitioning to the more streamlined athletic skirt.

Men’s kilts are frequently featured in popular contemporary media. For instance, in the Syfy series Tin Man , background characters are shown wearing kilts as peasant working attire. Emerging trends in everyday fashion, especially within the Gothic subculture, have contributed to the popularization of the kilt as an alternative to more conventional menswear. Some of these kilts are made from PVC or cotton-polyester blends.