By Liz Smith and Jennifer Hill

Shirley Stapely, wearing Glen Affric tartan, and Peter MacLean wearing MacLean modern tartan. Photo: Liz Smith

Our Scottish Society of Ottawa Tartan Talk webinar on September 20 may have tested both the patience of both tartan enthusiasts and Wi-Fi signals, but it also reminded us why live events are memorable! Where else can you learn about forgotten tartans and discover just how resilient our members are in the face of spinning wheels?

Peter Eslea Macdonald, a renowned tartan historian and head of research for the Scottish Tartans Authority (CTA), beaming in from Edinburgh, Scotland, shared his encyclopedic knowledge of tartan history. Local kilt-makers Shirley Stapley and Tony Ricard from Ottawa provided a hands-on look at how kilts come together, proving that good craftsmanship never glitches!

We learned that while tartan-like patterns date back over 3,000 years in Central Europe, the distinct Scottish tartan tradition began to emerge in the Highlands around the 16th century. By the 17th and 18th centuries, tartans became associated with specific clans. Each pattern—called a sett—served as a visual badge of familial lineage and regional pride and is defined by its thread count and colour sequence. The same pattern can appear dramatically different depending on the hues used. Today, Peter mentioned, there are well over 12,000 tartans in the world.

The word tartan likely derives from the French tiretaine, a type of woven cloth. And while kilts are iconic, the earliest Highland dress was the belted plaid—a large piece of tartan fabric wrapped and belted at the waist.

A note about colours that Peter stressed, was that the fact that the same pattern can look completely different when produced in different colour ranges, and can result in the impression that they are in fact different tartans. the colours of tartan.

Our assembled group of tartan enthusiasts were keen to know about the fascinating investigation, analysis, and reconstruction of these ancient tartans. SSO members had the opportunity after the presentation to ask Peter directly about their own clan tartans, and many were sporting them at the event. The feedback we have received has been very positive.

The genesis of tartan

Peter’s talk included reference to a book and a video, The Genesis of Tartan, which showcases six historic tartans—Glen Affric, Royal Archers, Jacobite Remnant, The Culloden Coat, Lady Borrowdale’s Gift, and The Lost Tartan—revived for modern Highland wear.

The Glen Affric tartan, Scotland’s oldest known specimen (c.1500–1600), was found in a Highland peat bog and analyzed for its original colours: green, brown, black, red, and yellow. Though not linked to any clan, it’s now been faithfully recreated by House of Edgar in collaboration with the Scottish Tartans Authority (STA).

Experts refined the shades to reflect both historical accuracy and contemporary style. Believed to be a status garment, the original may have belonged to someone of rank and worn as a shawl or wrap. Shirley was wearing a Glen Affric kilt at the event.

Tartan as a token for “foundlings”

Peter also mentioned the fascinating history of “foundlings” - a reference to a child, usually a baby, abandoned and then cared for by others. Despite the name, mothers at the Foundling Hospital were required to surrender their child in person.

Between the 1740s and 1760s, mothers often left a small token—such as an amulet, coin, or note—with the hope of reclaiming their child one day. By far, most tokens were textiles: colourful, patterned tartan-like fabrics meant to aid identification. The Foundling Museum in London holds nearly 5,000 of these.

A kilt for a King

In 2023, the STA, with guidance from Peter MacDonald, designed the new King Charles III tartan to mark his coronation and in recognition of the King's passion for preserving the culture and traditions of highland dress.

The design is based on the Balmoral tartan sett which dates from c.1850. The cloth, first woven in 100% Scottish wool by Lochcarron of Scotland in Selkirk, includes a central stripe motif (one broad and two narrow), a feature of royal tartans previously worn by the king, including the Duke of Rothesay, Duke of Rothesay Hunting and Lord of the Isles Hunting tartans

Overseeing tartan design: Peter MacDonald is pictured second to the left. Photo courtesy of STA.

The colours and shades of the King Charles III tartan have been matched to the natural dyes of 18th century specimens in the collection of the STA that have been admired by the king. “We chose colours which he was empathetic with,” said Peter. “He obviously likes the kilt, we see him wearing it a lot.”

King Charles’ approval of the tartan of the King Charles III tartan. Photo courtesy of the STA.

Upcoming tartan opportunities for SSO members

Of note – Peter’s House of Edgar The Genesis of Tartan limited edition book will be featured at the silent auction to be held this coming Hogmanay, donation courtesy of Kilted Cultures (Marshall Bespoke) Kiltmakers. Thanks to the generosity of our community we will also have some fine kilts and highland wear available at the silent auction.

Proceeds from the Tartan Talk were donated to the STA.

As a final note, Peter mentioned that he will be in Canada – in either 2026 or 2027 – with an exhibition about Scottish tartans at Toronto’s Royal Ontario Museum – we’ll keep you posted!

We took away that tartan is more than just a pattern—it's a woven symbol of Scottish identity, heritage, and pride. When you wear your clan’s tartan – or just one that appeals to you – you’re effectively donning centuries of cultural resonance.

Unravelling the Threads: A webinar with tartan historian Peter Eslea MacDonald