Tartans of Scottish Clans

It's common knowledge that Scotsmen are macho enough to pull off wearing a skirt - perhaps it's all that caber-tossing. This disarmingly simple film concentrates on the tartan cloths of various clans rather than the men who wore them, and is an early filmic reminder of their huge importance to both Scottish national identity and the thriving tourist industry north of the border. The film's unique selling point was that pioneering filmmaker G. A. Smith showed off the vibrant designs in Kinemacolor, among the earliest colour film processes that didn't involve meticulous hand-painting. And no dangly bits in sight. It's common knowledge that Scotsmen are macho enough to pull off wearing a skirt - perhaps it's all that caber-tossing. This disarmingly simple film concentrates on the tartan cloths of various clans rather than the men who wore them, and is an early filmic reminder of their huge importance to both Scottish national identity and the thriving tourist industry north of the border. The film's unique selling point was that pioneering filmmaker G. A. Smith showed off the vibrant designs in Kinemacolor, among the earliest colour film processes that didn't involve meticulous hand-painting. And no dangly bits in sight. It's common knowledge that Scotsmen are macho enough to pull off wearing a skirt - perhaps it's all that caber-tossing. This disarmingly simple film concentrates on the tartan cloths of various clans rather than the men who wore them, and is an early filmic reminder of their huge importance to both Scottish national identity and the thriving tourist industry north of the border. The film's unique selling point was that pioneering filmmaker G. A. Smith showed off the vibrant designs in Kinemacolor, among the earliest colour film processes that didn't involve meticulous hand-painting. And no dangly bits in sight. It's common knowledge that Scotsmen are macho enough to pull off wearing a skirt - perhaps it's all that caber-tossing. This disarmingly simple film concentrates on the tartan cloths of various clans rather than the men who wore them, and is an early filmic reminder of their huge importance to both Scottish national identity and the thriving tourist industry north of the border. The film's unique selling point was that pioneering filmmaker G. A. Smith showed off the vibrant designs in Kinemacolor, among the earliest colour film processes that didn't involve meticulous hand-painting. And no dangly bits in sight.