The idea for Flock to Frock started with the fabric I already use to make my tartan dresses here in the Scottish Highlands.

At Thistle and Cloth, I work with beautiful Merino wool cloth from Lochcarron of Scotland. I love working with it — the weight, the handle, the way it holds its shape and, of course, the fact that it is made here in Scotland.

But the more I worked with the cloth, the more curious I became about what came before it. Where does the fleece begin? What happens between a sheep being shorn and a finished piece of Scottish wool cloth arriving on my cutting table?

That is where the idea for Flock to Frock came from. A woolly rabbit hole has been opened and, as these things tend to do, the idea has already started becoming a reality.

I already have the beginnings of my little Merino flock, from Balmerino down near Dundee, and they are settling into life here in Sutherland. Among them are two of the boys — Ragnar and Floqui. You can probably see the Viking theme here…

For now, they are simply sheep doing sheep things (and some not-so-sheepy things!), getting to know their new surroundings and growing their fleeces.

But they are also the starting point for a much bigger experiment: seeing whether I can take the fleece from my own Merino sheep through the Scottish textile process and eventually turn it into clothes.

It’s a long way from a sheep in a field to a finished dress, and I have a lot to learn.

But that’s exactly what interests me.

Starting with Merino wool

Merino wool already has a place in my work because of the cloth I use from Lochcarron. So when I started thinking about keeping my own sheep, Merino felt like a natural place to start.

Merino is known for its fine, soft fleece, which makes it particularly suited to clothing.

But before I start thinking about dresses, there are sheep to look after, and they are now part of the family!

The wool is a product of keeping the sheep, not the other way around. Their health and welfare will always be the priority, and shearing will be an important part of their care.

Then I’ll have the fleece.

And that’s where the really interesting part begins.

From Merino fleece to Scottish wool cloth

One of the things I’m discovering already is just how much has to happen between a sheep being shorn and a piece of cloth arriving on the cutting table.

It’s easy to think of it as:

Sheep → fleece → yarn → cloth → garment

There are quite a few steps in between.

After shearing, the fleece needs to be skirted and sorted, removing the less useful parts and separating the wool according to quality.

It then needs to be scoured, essentially washing the fleece to remove dirt, natural grease and other material.

Then comes carding.

Carding teases apart the fibres and begins to align them, turning the washed fleece into an organised mass of fibre that can be prepared for spinning.

Depending on the route we take, particularly if we’re aiming for a fine, smooth Merino cloth, there may then be further processes such as combing and drawing. These progressively straighten and align the fibres and prepare them for spinning into a consistent yarn.

The fibres are then spun into yarn, and the yarn may be plied to give it the strength and character needed for the finished cloth.

Only then do we get to weaving.

And even after the cloth comes off the loom, it may still need finishing — washing, fulling, pressing, brushing or other processes to give it the final weight, handle and appearance.

Then, finally, I get to put a pair of scissors anywhere near it.

I’m already looking forward to that bit.

I’m used to starting with beautiful finished Merino cloth from Lochcarron and turning it into a dress. With Flock to Frock, I want to work backwards and understand everything that happens before the cloth reaches me.

Keeping the journey in Scotland

One of the biggest ambitions for Flock to Frock is to keep as much of the journey as possible here in Scotland.

If I’m going to start with sheep in the Highlands, I’d love to find Scottish people and businesses who can help take that fleece through the different stages — from scouring and carding through to spinning, weaving and finishing.

I know I may not be able to keep every single stage here.

This is going to be a learning process, and the right equipment and expertise aren’t necessarily on the doorstep. But I’d like to see how far I can bring the journey home.

Scotland has such a strong textile heritage, and there are still mills, spinners, weavers and makers carrying that knowledge forward.

I’d like to find them, learn from them and see whether this little flock can become part of that network.

The dream is to be able to follow the journey:

Scottish sheep.
Scottish fleece.
Scottish processing.
Scottish yarn.
Scottish cloth.
Scottish-made garments.

And eventually, hopefully, a dress.

A small part of the wool revival

There is a renewed interest in wool at the moment, and I’m really interested in being part of that.

Britain has an extraordinary wool heritage. Sheep farming, wool and textile making have shaped communities and landscapes for centuries, particularly here in Scotland.

But somewhere along the way, many of us became quite disconnected from the materials in our clothes.

We buy a jumper or a dress and rarely stop to think about where the fibre came from, who processed it or how many stages it went through before reaching the shop.

I think there is a growing desire to understand that again.

The wool revival isn’t about pretending we can go back to some imagined version of the past. For me, it’s about looking at a material that has been part of our landscape for generations and asking what we can do with it now.

Wool isn’t without environmental impact. Sheep farming has an impact, and processing fibre takes energy and resources. I don’t want to pretend otherwise.

But wool is a natural and renewable fibre, and a well-made wool garment can be worn for many years.

That fits much more closely with how I want to make clothes.

Make fewer.
Make them well.
Repair them when they need repairing.
And keep wearing them.

Reconnecting clothes with where they come from

One of the things I love about working with tartan is the sense of place that comes with it.

The cloth has a story before I ever cut into it.

That is what I’d like to create with Flock to Frock too.

I’d like to be able to look at a finished garment one day and know its story.

To know the sheep that produced the fleece.

To know where it was processed.

To know who spun it.

Who wove it.

And how it eventually became the cloth on my cutting table.

I’m not expecting to replace the beautiful Lochcarron cloth I already use. Quite the opposite.

It is the cloth I’ve been working with that has made me curious about the journey in the first place.

Lochcarron has shown me what beautiful Merino cloth can become.

Now I want to go back to the beginning and see how much of that journey I can bring home to the Highlands.

From sheep to dress won’t happen overnight

This isn’t going to happen overnight.

There are sheep to get to know, fleeces to learn about, mills to find, samples to make and probably plenty of things that don’t work the first time.

The first fleece might not become a dress.

It might become a sample.

Or a small piece of cloth that teaches me what to do differently next time.

And that’s okay.

I want to share the process rather than just the finished product — the good bits, the difficult bits and all the things I learn along the way.

For now, Ragnar and Floqui are just getting on with being sheep.

But they might just be the beginning of something quite special.

Flock to Frock is about reconnecting the clothes I make with the material they’re made from.

It starts here in Sutherland, in the Scottish Highlands, with a small flock of Merinos.

The aim is to take their fleece through as much of the process as possible here in Scotland.

And, eventually, to turn that fleece into cloth and that cloth into something I can wear.

A garment with a story that starts much further back than the cutting table.

From flock to fleece.
From fleece to yarn.
From yarn to cloth.
From cloth to frock.

That’s the plan.

Tartan is one of Scotland’s most recognisable textiles. Steeped in history and tradition, it has been worn for generations and remains an important part of Scottish identity. But tartan isn’t something that belongs only to the past, nor is it reserved for kilts and traditional Highland dress.

Today, the tartan dress offers women a wonderful way to wear this distinctive Scottish textile while embracing a more contemporary style.

At Thistle & Cloth, we believe traditional craftsmanship and modern design can sit beautifully alongside one another. Our approach to tartan clothing is about respecting the heritage of the cloth while creating garments that can be worn and enjoyed today.

Tartan Beyond the Kilt

When we think of tartan, the traditional Scottish kilt is often the first garment that comes to mind. Yet tartan has been used in women’s clothing for centuries, appearing in everything from skirts and shawls to jackets and dresses.

Modern tartan dresses continue that tradition but provide far more freedom in how the fabric can be worn.

The incredible variety of tartans available also means that two dresses made in the same style can look completely different. Some tartans are rich and dramatic, while others use softer and more muted colours. This allows the wearer to choose a tartan that reflects their own personality and style.

Choosing a Tartan for Your Dress

For some people, choosing a tartan is deeply personal.

A particular tartan may represent a family or clan connection and provide a meaningful way to celebrate Scottish ancestry. For others, the choice is simply about finding colours and a pattern they love.

And that’s perfectly acceptable.

You don’t necessarily need a clan connection to wear tartan. With thousands of tartans available, choosing one because you love its colours can be just as important as choosing one because of your family history.

When commissioning a ladies tartan dress, we can help explore the options and find a tartan that works beautifully with both the garment and the person who will be wearing it.

A Modern Approach to Scottish Dress

One of the things we love about working with tartan is finding new ways to use such a traditional cloth.

Our Tartan Wrap Dress is a good example. The wrap style creates a contemporary and feminine silhouette while allowing the tartan itself to remain the star of the garment.

Made to order in the Scottish Highlands, each dress reflects the same emphasis on craftsmanship that goes into our traditional kiltmaking.

It is Scottish clothing with a modern outlook, designed not as a costume or something to be brought out only for traditional occasions, but as a garment that can become part of your wardrobe.

When Can You Wear a Tartan Dress?

The beauty of a tartan dress is its versatility.

For weddings and celebrations, tartan provides a subtle way to incorporate Scottish heritage into an outfit. It can also be a lovely choice for Burns Night, Hogmanay, Highland gatherings and other Scottish events.

But tartan doesn’t have to be saved for a special occasion.

Depending on how it is styled, a tartan dress can work equally well for dinner, an event or simply somewhere you want to wear something a little different.

Accessories can completely change the finished look too. Boots can create a more relaxed style, while heels and carefully chosen jewellery can transform the same dress for an evening or formal occasion.

Keeping Scottish Craftsmanship Alive

For us, making tartan clothing is also about something bigger.

Traditional skills survive when they continue to be practised, taught and, importantly, used. Creating contemporary garments from tartan helps ensure those skills remain relevant to another generation.

Thistle & Cloth was founded by Hannah Macfarlane, a military veteran who retrained in traditional kiltmaking before establishing her workshop in the Scottish Highlands. Today, that combination of heritage skills and contemporary design sits at the heart of everything we create.

Whether we’re hand-sewing a traditional kilt or creating a modern tartan dress, the principles remain the same: attention to detail, respect for the cloth and a garment made to be worn and treasured.

Discover Your Tartan

A tartan dress can celebrate your Scottish heritage, represent a family connection or simply give you the opportunity to wear a beautiful textile in a way that feels completely your own.

If you’re looking for a modern take on traditional Scottish style, discover our Tartan Wrap Dress, handmade to order in Scotland and available in a wide choice of tartans.

I’m incredibly honoured to have been shortlisted for the Great British Entrepreneur Awards 2026 in the Veteran Entrepreneur category.

Receiving this recognition has given me the opportunity to pause and reflect on what Thistle & Cloth has become. While the business began with a passion for traditional Scottish textiles and craftsmanship, it has grown into something much bigger than creating handmade kilts. It’s about preserving heritage, sharing skills, supporting communities and inspiring the next generation to discover the value of Scotland’s traditional crafts.

Awards are always wonderful to receive, but for me the greatest reward has been the people I’ve had the privilege to work alongside and the opportunities to make a positive difference through creativity, education and heritage.

Over the past year I’ve been fortunate to work on projects that have brought together heritage, education and community, and one of the highlights has been working with the Developing the Young Workforce (DYW) programme at Golspie High School.

I recently delivered a week-long fashion and textiles course for a group of students, introducing them to the creative process behind design, garment construction and the textile industry. The school already has sewing machines and opportunities for pupils to learn practical skills, so this wasn’t simply about teaching people how to sew. It was about showing where those skills can lead and opening their eyes to the wide range of careers available within the creative industries.

Throughout the week, students worked on their own projects, developed new techniques and gained experience of the process involved in turning an idea into a finished piece. What I enjoyed most was watching their confidence grow as they realised what they were capable of creating.

One student who particularly stood out was Fara, who also plays football for Ross County. Seeing someone pursue their sporting ambitions while embracing a completely different creative challenge perfectly summed up what the week was all about. Creativity isn’t reserved for one type of person. Whether you’re interested in sport, business, design or something else entirely, creative skills help develop confidence, problem-solving and self-belief.

Living and working in the Highlands, I’m passionate about ensuring young people can see opportunities within creative industries without feeling they need to leave their communities to pursue them. Traditional crafts, textiles and design all have a role to play in Scotland’s future, and it’s important that young people have opportunities to explore those pathways.

Alongside my work with young people, I’ve continued delivering traditional kiltmaking workshops for veterans at the Argyll and Sutherland Highlanders Museum within Stirling Castle supporting the LamHan Charity.

The museum itself provides a strong connection to Scotland’s military heritage, making it a fitting place to bring veterans together through traditional craft. What makes the project particularly special is that participants aren’t simply learning kiltmaking techniques – they are creating kilts for the newly formed Scots Veteran Pipe Band.

Every kilt being made represents not only the preservation of an endangered craft but also the creation of something that will be worn with pride by fellow veterans. Alongside the project, I also had the privilege of designing a new tartan for the Scots Veteran Pipe Band in collaboration with Lochcarron of Scotland, helping to create a lasting identity for the organisation.

Although these projects involve different groups of people, they share the same goal. Whether working with veterans or young people, traditional skills have the power to bring people together, build confidence, create opportunities and strengthen communities.

Kiltmaking is recognised as an endangered craft, and unless these skills are actively passed on there is a real risk that an important part of Scotland’s cultural heritage could be lost. That’s why I’m passionate about creating opportunities for people of all ages to engage with traditional skills, whether through community projects, educational programmes or vocational training.

Looking ahead, I’d love to expand this work further across the Highlands, creating more opportunities for people to learn traditional crafts, explore creative careers and connect with their heritage. Projects like those at Golspie High School and Stirling Castle have shown just how much can be achieved when skills, creativity and community come together.

Being shortlisted for the Great British Entrepreneur Awards is a huge honour, but what makes me proudest is the people I’ve had the privilege of working with along the way.

I’d like to thank the DYW team, the staff and students at Golspie High School, the veterans involved in the Stirling Castle programme, the Argyll and Sutherland Highlanders Museum, the Scots Veteran Pipe Band, Lochcarron of Scotland, my customers, friends and family for their continued support.

This recognition belongs to all of you as much as it does to me, and I’m excited to see where the journey takes Thistle and Cloth next.

This version feels more personal and grounded, with the emphasis on young people, creative careers in the Highlands, and community impact, while still showcasing the veterans project and your tartan design work as part of the wider story.

The Edinburgh Tartan Parade was such an amazing celebration of Scottish culture, creativity and identity — the kind of day that reminds you just how special tartan and Highland craftsmanship really are. Everywhere you looked, there was music, colour, tradition, and so much pride, but it also felt incredibly modern and full of life at the same time.

For Thistle & Cloth, it was such a special experience to see some of my handmade designs out on the streets of Edinburgh. One of my favourite moments was seeing our beautiful Princess Merida (thank you, Ellis!) wearing a flowing Black Watch tartan dress as part of the parade. We also introduced the Outlandish tartan, which I designed alongside Eric Murdoch, with two fantastic kilts making their debut.

Another huge highlight for me was creating a bespoke dress for the parade Chief Marshal Eilish McColgan in the World Fair Trade tartan. Although she wore it later at the after-show street party rather than during the parade itself, seeing her in the dress honestly felt surreal. Eilish represents Scotland with so much strength and pride, so being asked to create something for her was a real honour. Watching her enjoy the evening wearing something I had made by hand was one of those moments that makes all the long hours and hard work completely worth it.

I also had the absolute pleasure of creating a dress for the star of the evening, bagpiper Ally the Piper, using the most incredible Dark Douglas tartan woven by Lochcarron of Scotland. Seeing Ally performing in the dress, surrounded by music and celebration, was such a proud moment. Both Ally and Eilish looked spectacular, and I had to pinch myself that this was real. Never did I think I’d be making dresses for rock stars and Olympians!

That’s what makes tartan so special to me. It always changes depending on who’s wearing it, how it moves and the setting around it. Every piece tells its own story

There’s something deeply satisfying about creating with your hands, especially when what you’re making carries as much history and meaning as a traditional Scottish kilt.

That is exactly what makes this traditional kiltmaking course for veterans feel so important. The first two courses were run with the support of Argyll and Sutherland Highlanders Museum, the course gives veterans the opportunity to learn the art of traditional kiltmaking within a supportive and practical environment.

For many participants, the course offers more than simply learning a new skill. It provides structure, focus and connection through one of Scotland’s most iconic heritage crafts. Best of all, the programme is completely free to take part in, making it accessible to veterans who may otherwise never have had the opportunity to experience traditional kiltmaking first-hand.

There’s something about the Scottish Highlands that never quite feels ordinary. Maybe it’s the way the light changes without warning, or how you can experience four seasons in a single afternoon. Perhaps it’s the landscape itself — dramatic, quiet and filled with stories that feel woven into the land.

When my photographer Niamh and I planned this photoshoot at Dunrobin Castle, we didn’t want to create a fairytale from scratch. We wanted to capture something that already existed naturally within the Highlands: atmosphere, heritage and a quiet kind of magic.

As the founder of Thistle & Cloth, based in Sutherland in the Northern Highlands, my work has always been deeply connected to place. Part of my vision is not only to create handmade Highland wear, but also to showcase this often overlooked corner of Scotland. The landscapes here seem to complement tartan naturally — the colours, textures and movement of the cloth all feel tied to the surrounding hills, coastline and changing skies

As a kilt maker in the Scottish Highlands, there’s a certain kind of quiet in the house when I’m working on a new kilt. Not complete silence, but the steady rhythm of the cloth being measured, the sound of thread being pulled tight, and the heat of the iron waiting nearby. It is slow, careful work where every millimetre matters, and where “attention to detail” becomes more than just a phrase.

At Thistle & Cloth, every handmade kilt begins as a length of tartan with its own character and story. Before the first stitch is made, there are decisions to consider carefully — the tartan itself, whether to pleat to the sett or stripe, how the pattern will fall and how the finished kilt will sit on the body. Personally, I’ve always loved pleating to stripe. It creates movement and depth that feels uniquely alive when worn.

Traditional hand-stitched kiltmaking is not fast work, nor should it be. A single bespoke kilt can take well over 30 hours to complete properly, with every pleat stitched by hand and every detail shaped with precision. There are no shortcuts that do not reveal themselves eventually.

Scotland Fashion Week came to a heartfelt close this year with a celebration of Scottish creativity, and we were proud and delighted to be part of it. Thistle & Cloth made its runway debut with a fashion collection that created a bit of a stir. Our collection was noted for its wearability and style, with a distinctive tartan theme running throughout! It certainly did turn a few heads for its style, wearability, and unmistakably Highland flair.

Taking part in Scotland Fashion Week was a milestone moment for Thistle & Cloth, marking our official debut in the world of sustainable Scottish fashion.

The Scottish Great Kilt has experienced a notable resurgence in popularity over the past decade, and I suspect the hit TV series Outlander may have played a part in that, with people falling in love with the flowing folds, deep pleats, and heritage-rich style of this iconic garment. But what many don’t see is the careful craftsmanship involved in creating a traditional Highland kilt from scratch.

At Thistle & Cloth, each Scottish Great Kilt made is a celebration of Highland tradition, created by hand, using time-honoured methods and beautiful wool tartans. Here’s a closer look at what’s involved in making one of Scotland’s most recognisable pieces of Highland clothing.

Choosing the Fabric for a Scottish Great Kilt

A Scottish Great Kilt typically starts with four metres of double-width wool tartan, measuring around 150cm across. The choice of fabric is important. While thick tweeds can look impressive, they’re not always that easy to work with. A medium-weight wool or wool blend offers the best combination of structure, softness, and flow, perfect for achieving the traditional drape and swing of the great kilt.

We work closely with Scottish mills to source tartans that reflect both clan heritage and contemporary style. Each bolt of cloth carries its own story, and that’s part of what makes the kilt so special.

Measuring, Marking and Pleating

Once the fabric is chosen, measurements are taken to figure out how the kilt will sit on the wearer, which is usually just above the waist. That waist measurement is used to divide the cloth into three key areas:

• The front apron
• The back apron
• The central pleated section

The pleating process is where much of the artistry comes in. The fabric is folded by hand, with careful attention to depth and spacing. If the pleats are too deep, the fabric becomes bulky and difficult to wear. Too shallow, and the final look loses its volume and shape. Every pleat contributes to the overall balance of the Scottish Great Kilt, and no two kilts are ever the same.

Wrapping and Securing the Scottish Great Kilt

Traditionally, a Scottish Great Kilt is pleated flat on the ground, then wrapped around the wearer’s body while lying down. The unpleated sections of tartan are folded over the front, and a belt is passed underneath the back before being fastened at the waist. When the wearer stands, the pleats should fall naturally into place, creating the structured, iconic shape and drape of the great kilt.

Styling the Upper Section of a Great Kilt

Next is the slightly tricky bit, as there are several options. One of these is the old-fashioned “Highland way” favoured by Highlanders centuries ago to keep the harsh Scottish weather at bay. This can be achieved by simply lifting the top layer up over the shoulders and wearing it rather like a shawl!

The other option, more commonly worn these days, is created by taking the top layer from each side and carefully folding it, first back on itself, and then around to the back and tucked in!

If you’re up for a challenge, you can create pockets by folding the front sections back. It might take a couple of tries to get it just right, but don’t be discouraged, practice truly does make perfect!

Sneak Preview

I’ll be sharing more soon, but here’s a little peek of me prepping some cloth to get started. All of these images are taken locally in the Highlands of Scotland. I am so blessed to have such scenery on my doorstep! I’d love to see your attempts as well. If you’ve made a Great Kilt before, feel free to share your photos in the comments.

Let’s keep the tradition alive together!

We recently had a great time at the Scottish Game Fair at Scone Palace in Perth, where we had a stall. While there, we found ourselves discussing the Stone of Destiny—something that, to be honest, I’ve always been aware of, but I realised I didn’t know much about in detail.

As fate would have it, Hannah is currently making a kilt using the Stone of Destiny Tartan, woven by The House of Edgar. Given this connection between the legendary stone and our current project, I felt it was particularly worth writing about it.

The Stone of Destiny is one of Scotland’s most revered symbols of sovereignty. For centuries, the ancient, rectangular block of red sandstone has been at the centre of Scottish coronations, symbolising the legitimacy and continuity of Scottish kingship. Its history is filled with drama and intrigue, reflecting the complex relationship between Scotland and England and highlighting Scottish identity’s enduring spirit.

There are various tails associated with the stone. For example (my favourite), one has biblical origins, with some claiming it is the very stone upon which Jacob rested his head in the Book of Genesis. It is said to have travelled from the Holy Land to Egypt, Spain, and Ireland before finally arriving in Scotland, where it was housed at Scone Abbey in Perthshire. Here, it became the coronation stone for Scottish kings, a practice believed to have started in the 9th century.

The Stone’s significance was so profound that when England’s King Edward I invaded Scotland in 1296, he seized it and took it to Westminster Abbey in London as a symbol of England’s dominion over Scotland. It was placed beneath the Coronation Chair, where it remained for over 700 years, used in the coronation of English and later British monarchs. This act was a potent symbol of the English crown’s claim to sovereignty over Scotland and deeply embedded the Stone into the story of Scottish resistance and identity.

Then, though and behold, the Stone’s journey took a dramatic turn on Christmas Day in 1950 when four Scottish students covertly removed it from Westminster Abbey and returned it to Scotland! The act was celebrated as a bold assertion of Scottish nationalism. After several months, the Stone was recovered and returned to Westminster Abbey, but the event reignited Scottish pride and a growing movement for greater autonomy.

On 30^th November 1996 (St. Andrews Day), in a gesture of goodwill, the British government returned the Stone of Destiny to Scotland, to Edinburgh Castle, where it resided until 2019 when it was relocated to Perth Museum, and this is where it is currently. However, it temporarily made its way back to Westminster Abbey for the Coronation of Charles
III in April 2023.

The Stone of Destiny is not just a relic from the past but a powerful symbol of Scotland’s enduring quest for self-determination. Its history is a testament to the Scottish people’s resilience and ongoing struggle to preserve their national identity within the United Kingdom. The Stone’s legacy continues to inspire, reminding us of the deep roots of Scottish sovereignty and the pride of a nation that has fought to maintain its unique place in history.

Contact us for more details regarding the kilts we can supply.