Content

I Romania

1.Introduction…………………………………………………………………………..2

2.Women’s costume from region of central Moldavia…………………………………4

3. Women’s costume from region of Muntenia & Dobrogea…………………………..5

4. Women’s costume from region of Oltenia…………………………………………...7

5. Women’s costume from region of Maramureş………………………………………8

6. Women’s costume from region of Banat…………………………………………….9

7. Women’s costume from region of Transylvania…………………………………….10

8. Men’s costume from north Moldavia………………………………………………..11

9. Men’s costume from Muntenia………………………………………………………12

10. Men’s costume from Maramureş……………………………………………………13

11. Men’s costume from Transylvania………………………………………………….14

II Scotland

1.Traditional Scottish Kilts……………………………………………………………...15

2.Scottish Kilts – Origins……………………………………………………………….16

3.Scottish Kilts – History……………………………………………………………….17

4.Scottish Tartan………………………………………………………………………...18

5.The Scottish Kilt Today……………………………………………………………….19

6.Kilt accessories………………………………………………………………………..20

Daywear and evening wear………………………………………………... 20 Headgear…………………………………………………………………... 21

Belts……………………………………………………………………….. .21

Sporran……………………………………………………………………. .22

Jewellery…………………………………………………………………….23

Footwear and hose…………………………………………………………..23

Weapons……………………………………………………………………..24

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Military accessories………………………………………………………....24

Undergarments……………………………………………………………....25

Bibliography…………………………………………………………………………......26

Romanian vs. Scottish traditional costumes

I Romania

1.Introduction

The structure of Romanian traditional clothing has remained unchanged throughout history and can be traced back to the earliest times. The basic garment for both men and women is a shirt or chemise, which is made from hemp, linen or woollen fabric. This was tied round the waist using a fabric belt, narrow for women and wider for men. The cut of this basic chemise is similar for men and women. In the past those worn by women usually reached to the ankles while men's shirts were shorter and worn over trousers or leggings made from strips of fabric. Women always wear an apron over the chemise. This was initially a single piece of cloth wrapped round the lower part of their bodies and secured by a belt at the waist, as is still seen in the east and south east of Romania. In Transylvania and the south west of Romania this became two separate aprons, one worn at the back and one at the front.

Men's traditional clothing throughout Romania comprises a white shirt white trousers, hat, belt, waistcoat and or overcoat. Local differences are indicated by shirt length, type of embroidery, trouser cut, hat shape, or waistcoat decoration. In most areas shirts are worn outside trousers, which is the older style. This is a basic Balkan man's costume largely uninfluenced by fashions from west or east. Hungarian and Saxon men living in Romania wear trousers with a more modern cut often made of dark material rather than white. This reflects their closer ties, and more frequent communication, with the west.

The outer garments worn by both men and women are similar, the main differences being in cut and decoration which depend mainly on the region of provenance. These garments are usually made of sheepskin, or felted woollen fabric, and decorated with leather appliqué and silk embroidery.

Traditional clothing worn on workdays and festivals used to be similar, the main difference being that the festive dress, especially those worn for weddings was more richly embroidered. In the past the headwear worn by the bride was especially ornate with specific local styles.  In poorer areas basic clothing with little or no embroidery has always been worn.

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The various pieces of costume have gone out of use at different times during the 20th century.  The first item to disappear in many areas were leather peasant sandals (opinci), although these could be seen in poorer villages again in the years just after the communist regime fell. In most rural areas men's traditional trousers were replaced by modern factory made trousers by mid century and in the post communism years jeans has become universally common.  Traditional over garments became an expensive luxury, new garments only being purchased by people living in the very wealthy villages. More recently the traditional jacket makers in many areas have died with few new artisans being trainer to carry on their craft.

However if you look closely in the more remote areas some older people still wear items of traditional clothing. This can be for women a gathered black skirt or dark wraparound with a blouse of local cut either with or without a leather waistcoat. In Oaş and Maramureş even young girls often wear the local fashion costume on Sundays. This is normally made from brightly coloured material, in Oaş a dress, in Maramureş a skirt.  Added to the local costume is the latest fashion in blouses and footwear such as white lacy blouses in Maramureş and platform shoes or stilettos, in both regions. Men usually have "western " trousers or jeans but may have a local shirt, or local shaped hat, although unfortunately the universal trilby is fast replacing these. Certain items of costume, specific to occupations, are still worn, for example men working in the forestry industry wear the wide leather belts, usually now over a T-shirt and jeans. Men's traditional fur hats are still worn in winter in rural areas, and women usually wear a printed woollen scarf, and often a traditional straw hat over this when working in the fields in the summer.

The costumes that are in existence today, and are recorded on photographs and film, date mainly from 19th and 20th centuries. There is very little evidence, except for a few paintings, showing costume worn outside towns before 19th century. In most countries the wearing of traditional clothing died out by 1900 due to the process of industrialisation, but in Romania folk costume has continued to be worn and to develop through most of the 20th century which is why there is such a wealth of information available today. Although over time the embroidery on Romanian clothing has become very detailed and elaborate the basic garments retains a structure which may date back to Neolithic or Bronze age times, the original characteristics being retained due to the remoteness of large areas of Romanian.

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2.Women's costume from region of central Moldavia

Description

Blouse with gathered neck (with a rectangular strip of black geometric embroidered across the top of the shoulder, with a wide gold strip of geometric embroidery below this, with vertical panels of black embroidery on the front and sleeves, with isolated black motifs on the back and back of the sleeves. The neck is edged with a row of black embroidery and several rows of smocking in gold thred.

Wrap round skirt made of a single width of black woven woollen material with woven decoration in vertical stripes in white, gold and purple thread, with a plain black panel in the centre back and a maroon border on top and base which strengthens the fabric.

Narrow fabric belt woven with maroon, white, blue and green stripes.

3.Women's costume from region of Muntenia & Dobrogea

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Muntenia

Description

Blouse with gathered neck , with traditional embroidered decoration - rectangular strip is embroidered in white across the top of the shoulder, with a narrow yellow strip below this, and vertical stripes in white on the front and sleeves. The back is decorated with isolated embroidered motifs arranged in vertical lines.

Underskirt with a row of co-ordinating embroidery on hem.

Wrap round skirt  made of a single width of black woven woollen material, with a wide woven border on the front with vertical strips in brown and gold black woven motifs and a narrow horizontal border on the hem of brown and gold strips.Narrow woven fabric belt

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Dobrogea

Description

Straight older style chemise

Inset piece worn at neck.

Pleated sleeveless overdress made of heavy felted dark blue woollen fabric, decorated with rows of maroon braiding around the neck, and dark clue braiding on the hem.

Narrow fabric belt decorated with woven motifs.

Gathered apron, made of two widths of heavy woollen fabric, the upper one is navy blue with borders of maroon, gold and silver woven motifs, the lower one is covered with the same woven motifs.

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4.Women's costume from region of Oltenia

Description

Blouse with gathered neck , with sleeves gathered at wrists. It has a  rectangular strip of embroiderd motifs embroidered in yellow, and purple across the top of the shoulder, with vertical stripes of embroidered motifs on the front , back and sleeves. The edge of the neck is decoratedwith a narrow row of purple embroidery.

Narrow front and back apron made of woven silk, with horizontal woven stripes in maroon and black, with interspersed narrow white stripes and geometric  decoration on the black strips, and a band of floral embroidery in pink, pale bleu and green on the lower part. The aprons are edged with a black crochet lace in  scallop patterns.

Narrow fabric belt with woven strips in black, red and white

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5.Women's costume from region of Maramureş

Description

Chemise with yoke and square neck. Sleeves are gathered at the shoulders and wrists, with frilled cuffs and frills on yoke and shoulders. They are decorated with white embroidery and open work, with a narrow row of black, and blue embroidery on the cuff gathers.

Sheepskin edged with appliqué leather decoration and decorated with embroidery in red, blue, yellow and green wool and inset with small pieces of mirrors and studs.

Striped aprons made of a single width of woven wool with horizontal red, blue, green and black stripes.

A beaded necklace made of several rows of small multicoloured beads threaded onto strings.

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6.Women's costume from region of Banat

Description

Gathered neck silk chemise richly decorated with sequins. (Note this is most likely from Oltenia)

The underskirt has a row of coloured embroidery in diamond shaped motifs above the hem, and vertical rows of the same motifs on the sides.

Front apron made of a single width of fabric woven with gold and silver thread making diamond shaped patterns. It is edged with a row of gold coloured tinsel interspersed with gold coloured sequins.

The fringed apron worn on the back is called an Opreg cu Ciucuri. It is made of a narrow piece of woven fabric which matches the front apron, to which a row of long silk thread fringes in pink and yellow thread are attached.

Narrow woven fabric belt woven in black, silver, white and yellow thread.

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7.Women's costume from region of Transylvania

 Description

Gathered neck linen chemise, decorated with purple and black embroidered motifs making a rectangular strip across the top of the shoulder , with a narrow yellow strip below this , and vertical stripes on the front, and sleeves. The sleeves also have vertical lines of isolated motifs and a row of these motifs round the lower ends, which are also edged with black crochet lace.

White linen underskirt with drawstring at waist.

Black narrow woven aprons made of felted woollen  decorated with black silk embroidery and edged with black crochet lace. The front apron has narrow horizontal woven strips. Both aprons have two horizontal bands of floral embroidery above the hems.

Narrow woven black fabric belt.

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8.Men's costume from north Moldavia

Description 

White linen straight shirt, with collar.

Hip length sheepskin jacket , edged with black wool and decorated with bands of blue , purple and green floral embroidery along edges and around armholes.

Wide fabric belt woven with red, yellow and black strips

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9.Men's costume from Muntenia

Description

White linen straight shirt, with cuffs.

Hip length waistcoat made of heavy brown felted woollen fabric and edged with coloured embroidery in red, green and blue silk thread.

Wide woven fabric belt.

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10.Men's costume from Maramureş

Description 

Short white linen shirt with narrow collar, and cuffed sleeves, decorated with yellow geometric embroidery

Sheepskin edged with appliqué leather decoration and decorated with embroidery in red, blue and green wool and inset with small pieces of mirrors and studs.

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11.Men's costume from Transylvania

Description 

White linen straight shirt with yoke, with a band of black geometric embroidery on the collar.

Hip length sheepskin jacket , decorated with black embroidery and edged with black leather applique round the neck, front opening and pocket edges.

Leather belt decorated with repousse work.

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II Scotland

1.Traditional Scottish Kilts

Scottish Kilts have been proudly worn by the people of Scotland for centuries, and they're recognized around the world as one of Scotlands' most enduring symbols.

The Scottish kilt displays uniqueness of design, construction, and convention which differentiate it from other garments fitting the general description. It is a tailored garment that is wrapped around the wearer's body at the natural waist (between the lowest rib and the hip) starting from one side (usually the wearer's left), around the front and back and across the front again to the opposite side. The fastenings consist of straps and buckles on both ends, the strap on the inside end usually passing through a slit in the waistband to be buckled on the outside; alternatively it may remain inside the waistband and be buckled inside.

A kilt covers the body from the waist down to the centre of the knees. The overlapping layers in front are called "aprons" and are flat; the single layer of fabric around the sides and back is pleated. A kilt pin is fastened to the front apron on the free corner (but is not passed through the layer below, as its function is to add weight). Underwear may or may not be worn, as the wearer prefers, although tradition has it that a "true Scotsman" should wear nothing under his kilt. True Scotsman is a humorous term used in Scotland for a man wearing a kilt without undergarments. Though the tradition originated in the military, it has entered Scottish lore as a rite, an expression of light-hearted curiosity about the custom, even as a subversive gesture.The Scottish Tartans Authority, however, has described the practice as childish and unhygienic.

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Organizations that sanction and grade the competitions in Highland dancing and bagpiping all have rules governing acceptable attire for the competitors. These rules specify that kilts are to be worn (except that in the national dances, the female competitors will be wearing the Aboyne dress).

2.Scottish Kilts – Origins

Did you know that the kilts we're so familiar with today actually bear very little resemblance the original garments worn hundreds of years ago?

The work 'kilt' likely comes from the Nordic word 'kjalta', which is first recorded back in the 9th century. However, there's some confusion over exactly how this piece of clothing evolved and from the dress of which culture, or mixture of cultures, it first grew.

Centuries before the first 'Great Kilt' was seen, tribes from what is now Northern Ireland wore a tunic/shirt and a cloak. The Vikings and Romans also wore tunic type garments and robes. It's thought that the kilt may have evolved from this style of dress, being modified over time to suit the climate and lifestyle of the hardy, warlike inhabitants of the Scottish Highlands.

The first Scottish Kilts were known as 'Feileigh Mor' or 'Feile-breacan' (meaning 'Great Kilt'), and are also referred to now as the 'belted plaid'.

These garments were first seen during the 16th Century (but not as early as the 13th Century as shown in the movie Braveheart). The Feileigh Mor was a practical and versatile piece of clothing in most circumstances, but it could be awkward and heavy (particularly when wet).

Historians believe that Highlanders often took off their kilts before charging into battle, as the tunic (or 'leine') that they wore underneath was much lighter and allowed them ease of movement.

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3.Scottish Kilts – History

Traditionally the belted plaid was made from one length of a thick, wool cloth known as 'breacan' (a Gaelic word meaning speckled or partly colored). This cloth was usually about 5ft wide and could be up to 21ft long.

Several feet of the fabric was folded into loose pleats and wrapped around he wearers' waist, then fastened in place with a thick, leather belt. The rest of the breacan was thrown over the shoulder, and tucked into the belt at the back. This 'extra' cloth could also be pulled up over the head and shoulders to protect whoever was wearing it from cold winds, and heavy rain or snow. The whole thing was worn over a long sleeved tunic, which reached the knees.

The material itself was as versatile as the design, and a Highlander who wanted to keep warm at night could wet the cloth and (because it was made from wool) the fibers would swell, effectively making it windproof.

Over a hundred years later, around the middle of the 17th Century this early, and rather cumbersome, version of the kilt began to be replaced by the 'Feileadh Beag' (also known as the 'Philabeg').

This was basically the lower portion of the Feileigh Mor and consisted of a single (shorter) length of breacan, loosely folded, wrapped around the waist and again secured by a thick belt. It didn't feature the 'extra' cloth which was thrown over the shoulder or used as a cloak, and became known as the 'Walking Kilt'.

In the 18th Century, the loose folds were widely being replaced by pleats that were sewn into the fabric, making the whole outfit much easier to wear. For a while both styles were worn by Highlanders, but over time the older Great Kilt disappeared as the Walking Kilt gained in popularity. The Scottish kilt of the era was now much more recognizable as the ancestor of todays kilt.

To the proud and patriotic Highlanders, the kilt was much more than a versatile piece of clothing, it was a symbol of their heritage. Because of this, the humble kilt was outlawed by the 'Dress Act' (part of the 'Act of Proscription') imposed by King George II in 1746.

This Act was passed as part of the long-standing (and generally ineffective) attempts of the British government to subdue the independent inhabitants of the Scottish Highlands. Needless to say, some Scots chose to simply ignore the ban and wore the kilt in protest. Ironically it seems that the Dress Act actually caused the Kilt to be seen as a symbol of Scottish culture and national pride, rather than just the traditional Scottish clothing worn by Highland clans.

Almost 40 years later, in 1782, the visit of King George IV to Scotland gave the Scottish kilt a new lease of life. The pageantry surrounding his

Highland Soldier circa

1744

King George IV

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visit included much kilt-wearing, and the King himself was seen wearing a beautiful kilt during his visit.

Between this, and the great love his successor Queen Victoria had for Scotland in general, and the Highlands in particular, the English played another positive role in increasing this garments popularity!

Between 1746 and 1782, although it was against the law for your average Scot to wear a kilt, armored regiments in the military were actually encouraged to do so. Their exemption from the rules of the Dress Act was used by the British Government as an incentive to get the fearless and war-like Highlanders to join the Kings' armies.

These 'Highland Regiments' were then sent overseas to fight in places as far away as India and North America - effectively 'taking them out of the equation' and hopefully making Scotland (and the Scottish people) easier to control.

4.Scottish Tartan

Although todays' Scottish Kilts are always made from tartan fabric, and each tartan is closely identified with a particular Scottish Clan, this wasn't the case until well into the 18th Century.

Again, it was the English that began the trend towards giving different tartans specific identities and names, beginning within the army where each Highland Regiment was allocated a different tartan.

So, exactly what is a Scottish Tartan, or Scottish Plaid?

It's a woollen fabric that evolved from the original 'breacan', and is made up of an orderly checkered

pattern, usually involving several different colors.

The checkered pattern consists of colored vertical and horizontal lines, woven into the fabric to form a very distinctive pattern of lines and squares - this is known as the 'sett'.

Historically, any relationship between a particular color or pattern was generally a connection to a particular geographical area or district, rather than to an individual family

or Clan.

However, in the 18th Century this began to change and certain guidelines and policies were set up which enabled a Clan to take 'ownership' of a specific tartan pattern/sett. In the early 19th Century (in 1815 to be exact) the first Clan tartan was registered.

Although most tartans are owned by a particular Clan, there aren't really any laws or rules about who can (or can't) wear a tartan kilt. Those of us with Scottish ancestors or family may

Tartan of the Cawder Campbells

Traditional Scottish Kilt

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have more than one Clan tartan to choose from, as it's perfectly okay to wear your fathers', mothers' or even another family members' tartan.

If you don't have Scottish roots, or they're too convoluted for you to follow, there are plenty of more 'generic' patterns you can wear.... or you can choose absolutely any tartan that you want.

You don't have to be a legally recognized 'Campbell' to wear a Campbell tartan for example.

5.The Scottish Kilt TodayAlthough the kilt is considered to be the national costume of Scotland, you won't see it being worn on a daily basis at the office.

It's most often worn on occasions that could be considered 'ceremonial', including weddings, funerals, family parties, festivals and more. It's also worn by Highland Bands, Highland Dancers, and participants in the traditional Scottish Highland Games. Some Army regiments (and not just the British Army) also have the kilt as part of their 'dress uniform'.

The last time that kilts were worn in active combat was in 1940 (early in World War II), when the Royal Highland Regiment fought against the German army.

A real Scottish kilt should be tailor made to fit YOU, not bought 'off the rack'. Because of the way they fasten and fit, a kilt that isn't exactly the right size won't hang correctly - spoiling the 'look'.

6.Kilt accessories

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An example of the eclectic style often seen at modern-day Highland Games gatherings

The modern, tailored kilt which is ubiquitous at Highland games gatherings around the world has associated with it an evolving style of wear. This style includes the accessories and other accoutrements which are typically worn with it. In this sense, it is very much like other items of the fashion world.

Daywear and evening wear

Traditionalists insist that unornamented brown leather belts, sporrans, and shoes should be worn for daywear. Black leather and silver ornamentation are reserved for evening wear. A gentleman's Argyll Jacket in tweed or solid color is suitable for daywear for those occasions that would usually require a sports jacket or lounge suit, while an Argyll Jacket in black or a Prince Charlie Jacket are suitable for evening wear. With some ensembles, a fly plaid is added in the form of a pleated cloth in the same tartan as the kilt, cast over the shoulder and fastened below the shoulder with a plaid brooch.

In addition, many kilt wearers have opted for a jacketless approach, especially at hot summer Highland Games gatherings. One style of shirt which is quite common at Highland gatherings is the grandfather shirt, or the Jacobite shirt. These are modern reproductions (or at least reasonably close facsimiles) of the older, pre-Culloden style of

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shirt. These are full cut shirts with an open, lace-up collar and come in at least a small variety of colors.

Headgear

At modern Highland gatherings, participants in Highland attire can be seen wearing a wide variety of headgear, or even going without any headgear at all. But there are two types in particular in widespread usage which are most distinctly Scottish, the Balmoral and the Glengarry.

The Balmoral (named after Balmoral Castle, near Aberdeen, Scotland) is a round, brimless cap, flat on top, with trailing ribbons, and with a ball on top called a toorie. It is often worn with a hackle and a clan crest badge.

The Glengarry is another type of cap, somewhat wedge-shaped, longer than wider, creased lengthwise on the top, and with trailing ribbons. It is named after Glengarry valley in Inverness-shire in Scotland. An example can be seen in the Wiktionary entry on the Glengarry.

Both types come in a variety of colors, but black is most usual. And in both cases, there can be "dicing" around the band of the cap. Both styles will also come with a place on the side of the cap for affixing a clan crest badge.

Belts

A modern, tailored kilt, with its tapered pleats (tapered from seat to waist) is fastened about the body securely enough with the buckles and straps which are provided for that purpose. The kilt belt worn with such kilts is purely decorative during ceremonial use. They are typically fairly wide - between 2 - 1/2 and 3 inches or so - and come in black or brown leather.

Historically, before the advent of the tailored kilt in the late-18th century, some type of belt was necessary in order to secure the kilt about the person and keep it from falling down. It also provided a handy place from which to hang sword, dirk, or pistols. Today the belt, and associated loops on the kilt modern, remains useful for those wearing the kilt in work environments of all kinds.

Sporran

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Sporran.

As a kilt was traditionally manufactured without pockets for carrying such things as car keys or wallet, it is still worn with a type of pouch called a sporran, which is just the Gaelic word for pouch or purse. Sporrans are usually made from either brown or black leather.

Sporrans come in a very wide range of styles, from simple leather sporrans to those with fur fronts or fur-trimmed and faced with silver or some other metal. Often, the kilt wearer will choose a type of sporran depending on the occasion, with the more elaborate ones being considered suitable for evening wear and the others for casual or all-purpose wear.

The older style bag sporrans (often called "Rob Roy" sporrans) are also frequently seen as they tend to be a bit roomier than some of the more modern varieties. The long sporrans are called "military sporrans".

The sporran is typically suspended from a sporran belt which is a narrow belt (separate from the kilt belt) made of leather or chain. This sporran belt is sometimes run through a pair of small loops provided for that purpose on the back of the kilt. Occasionally the sporran is suspended from special leather belt loops which enable the sporran to be hung directly from the kilt belt. This is often done when a chain is used as the chain might otherwise chafe the kilt.

It is not unheard of for individuals to sew small pockets on the front of the kilt, underneath the apron, to keep necessities such as wallet or keys in.

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Jewellery

Two types of kilt pins

A small knife called a sgian-dubh is often worn tucked into the top of the kilt hose which is commonly worn with the kilt. This item has its historical origins as a utility knife. Again, as with most items of traditional Scottish apparel and accessories, they come in a very wide variety, from fairly plain to quite elaborate silver and gem ornamented designs. A longer knife, called a dirk is sometimes worn hung from the kilt belt.

On the front apron of a kilt, near the selvedge and the open, fringed part of the apron, you will often see a kilt pin, often topped with a small decorative clan crest or other similar design. Typically, the rule for the placement of the kilt pin is such that it must be two pattern squares over and up from the edge of the kilt fabric.

Two styles of kilt pins can be seen in the accompanying photo. (Note the kilt damage resulting from using the thick-shanked version, however.) This is a decorative item meant to be pinned through the outer apron only. It is not heavy enough to prevent the kilt apron from blowing open in a breeze. It should never be pinned through both aprons, since this would result in distorting the proper hang and action of the kilt and at worst could result in tearing the kilt. Of course, Highland dancers do not wear the pin through both aprons (when they wear one at all) since the action of the kilt is an essential part of the dance.

Often, a clan crest badge will be pinned to the left side of the Balmoral or Glengarry.

Footwear and hose

Ghillies, or ghillie brogues, are a modern development of the brogue used by highlanders. They were made with hide punctured with holes to let water out (as well as in) and this helped feet and footwear to dry out more quickly in the wet/damp/ boggy conditions. These shoes are laced through leather tangs and do not have the tongue which covers the bridge of the foot in normal shoes. The high lacing helped prevent the shoe from being sucked off by mud. Though the ghillie brogue is now considered the normal style of Scottish dress footwear, most of the population probably more often wore the buckled shoe.

Members of pipe bands often wear Ghillie brogues, and many other kilt wearers wear the same type of footgear. As always, there is a great variety in style, with many kilt wearers using black dress shoes or casual footwear. Highland dancers wear a much lighter type of

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footgear specially adapted to the active requirements of the dancer called dancing ghillies.

With the historical great kilt (or belted plaid), a type of medieval bag shoe was worn. This was a shoe made from a single piece of leather which was cut to a pattern and folded up and around the foot, being secured with a length of leather.

Kilt hose are long stockings normally worn knee-high with the upper part of the hose folded back down to create a thicker cuff just below the knee. They are made of wool or Acrylic or some combination thereof and are available in a variety of solid colors so as to match any tartan colour. They can also be found in diced patterns, which are required wear for Highland dancers. The most common colour of hose however, is the cream, or 'off-white' hose, the colour of unbleached wool. Pipers often wear brilliant white 'pipers hose' made of entirely synthetic fibre. Piper hose differs also in that the top of the hose has a 'built-in' cuff with a raised texture. The "Lassie" and "Laddie" characters from WeeSing's Grandpa's Magical Toys wear white hose as part of their fictionalized Scottish costumes.

Garter flashes are elasticated straps worn inside the cuff of the hose to hold them in place. The flashes are short strips of fabric hanging from the garter, mostly matching the tartan or complementary in colour to the kilt fabric.

Weapons

The use of traditional Scottish weapons as part of Highland dress is common, including the sgian dubh worn in a hosetop on the leg corresponding to the dominant hand, and the ceremonial dirk suspended from the waistbelt. At one time worn as secondary armament by a clansman going into battle, both items are today ornamental and often worn by civilians and soldiers alike, subject to the dress regulations of any organization they may belong to.

Military accessories

Highland and Scottish regiments that have adopted kilts as their dress uniform typically wear spats, webbing belts, and kilts with pleating to the line. Spats are canvas coverings that cover the wearer's boot, and were originally intended for keeping mud off of one's ghillies and hose, although spats are now white and purely for visual use. A white web belt with a regimental clasp is often worn as well. During World War I kilts were worn into battle by British and Canadian regiments, usually with a fabric cover or apron to hide the bright colours of the tartan, and to keep the kilt from getting dirty if the soldier had to crawl.

Undergarments

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While not strictly an "accessory" of Highland or Scottish dress, the subject of undergarments has been of long standing interest to observers.

To go without underwear is often referred to as "going regimental", "military practice" or being a "True Scotsman", though some prefer to use the simpler term "dressing traditionally" in the name of Scottish national pride, since the former terms are associated with the British military. There is, in fact, no evidence of official policy regarding undergarments in military forces that wear the kilt.

Highland dancers and athletes, however, are bound by the nature of their competitions to appropriately and modestly clad themselves. In Highland Dance competitions and exhibitions, the regulations of the Scottish Official Board of Highland Dancing(SOBHD) state regarding underwear: "dark or toning with the kilt should be worn but not white."

Bibliography

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Pavel, E. (1976), Portul Popular Moldovenesc, Editura Junimea, România, Pavel, E (1975), Portul Popular din zona Iaşi,  Editura Meridane, România

Petrescu, P. and Stoica, G. (1981) Arta Populară Românească, Editura Meridiane, România

Stoica, G. (1976), Podoabe Populare Româneşti,  Editura Meridiane, România

Florescu, F.B. and Stahl, P. and Petrescu, P. (1967), Arta Populară din Zonele Argeş

şi Muscel,Editura Academiei, România

Florescu, F.B. (1957), Portul Popular din Muscel,  Editura Arta, România

Florescu, F.B. (1957) Portul Popular din Moldova de Nord, Editura Arta, România

Irimie, C. (1956), Portul Popular din Ţara Oltului, zona Făgăraşului, Editura Arta, România

"Scots Tradition Hit by Cover-Up Ruling". The Times. 2 August 2004.

The Telegraph - a kilt need underwear "Rules of the British Columbia Pipers Association". BC Pipers' Association. 11

October 2007. Retrieved 10 June 2009 Matthew Allen C. (12 June 2008). "The Early History of the Kilt" Hobsbawm, Eric; Ranger, Terence, eds. (1983). "The Invention of Tradition" Teall, Gordon; and Smith, Jr., Philip D. (1992) District Tartans.

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