Opinion: Is Scotland realising its fashion potential?

Scotland and its iconography have attracted a wealth of recent media attention. In the summer Dior presented their 2025 Cruise Collection in the Renaissance Gardens at Drummond Castle; media hype has surrounded BBC hit television show Traitors; and the BBC has recently commissioned Icons of Style, a production to delve into the social history of Scotland’s fashion.

In the examples of both Dior and Traitors, the Highland vision is strong where Scotland is presented as a place of isolation and intrigue. However, as interest surrounding Scotland and its fashion history continues to gather momentum, so has criticism surrounding its portrayal where, for example, Traitors has been criticised for a lack of Scottish representation in its production team.

The Dior show was received very positively in and outside of Scotland as an example of genuine cultural appreciation and a celebration of Scottish French relations, but we have since seen a wave of tartan spin offs from fast fashion brands.

Scotland was described by Harper’s Bazaar as “having a moment” and other media headlines centre around how to “get” Traitors presenter Claudia Winkleman’s “gothic Highland” look. These headings are interesting to me, as a fashion researcher who has spent extensive time researching Scottish fashion and highlighting the need for a more open and inclusive vision of Scotland’s fashion future.

I became interested in Scottish identity, particularly the narratives surrounding Scottish fashion, whilst undertaking my PhD which explored the construction of national identity amongst Scottish fashion influencers at a time where visual social media platforms like Instagram were gaining popularity. This was in the aftermath of the Scottish independence referendum, where there were animated and lengthy discussions around what it means to be Scottish.

In my research I quickly discovered that Scotland was felt to be easily recognised globally due to its many visual symbols and that a Scottish identity was also felt to be perceived positively in on and offline spaces. However, some of Scotland’s most recognisable symbols are constructed around an idealised and romanticised heritage and not necessarily representative of a modern Scotland.

The Highland vision of Scotland has come under criticism for its historical accuracy and for masking other cultural identities that have existed and continue to exist within Scotland. Many leading national identity and Scottish identity scholars, agree that there is little value in dissecting the authenticity of Scottish heritage and rather argue we should explore why these narratives remain visible today and periodically review, reflect upon and, where appropriate, readdress cultural stereotypes.

My colleague Dr Karen Cross, an Associate Dean at Gray’s School of Art, and I are leading a project that explores Scottish fashion’s identity, influence and impact. So far, we have organised five networking events with fashion academics and practitioners across Scotland and are developing an edited collection book proposal exploring contemporary Scottish fashion, which we hope to publish next year.

Network event discussions uncovered pockets of excellence in Scottish fashion that are diverse but also disparate. Scotland is felt to have a profound sense of community, artisan capabilities and a strong track record for producing timeless and iconic textiles that contribute substantially to global fashion - where textile mills like Johnstons of Elgin have a long history of supplying to influential luxury brands. There are also many exciting new fashion initiatives and businesses in Scotland outside of the more traditional textiles industries for which Scottish fashion is most strongly recognised. 

Scotland is very well placed to play a significant role in the sustainability agenda for fashion and the UK’s next phase of economic growth. However, there is a recognised need for a platform for information sharing, that will champion the sector and for this to be open and accessible to all who are involved in the fashion and textile industries in Scotland.

It is exciting to see some spotlight and media attention directed Scottish fashion. So how do we make the most of Scotland’s “moment” to ensure it becomes a more lasting effect and that it brings positive and sustained impact to Scotland’s fashion industries? This is an important question and one that we continue to explore as we move forward with our research.

By Dr Madeleine Marcella-Hood, Senior Lecturer and Research Degrees Coordinator at Gray’s School of Art.