A ruff is an item of clothing worn in Western, Central and Northern Europe, as well as Spanish America, from the mid-16th century to the mid-17th century. The round and flat variation is often called a millstone collar after its resemblance to millstones for grinding grain.
The ruff, which was worn by men, women and children, evolved from the small fabric ruffle at the neck of the shirt or chemise. Ruffs served as changeable pieces of cloth that could themselves be laundered separately while keeping the wearer's doublet or gown from becoming soiled at the neckline. The stiffness of the garment forced upright posture, and their impracticality led them to become a symbol of wealth and status. [1]
Ruffs were primarily made from linen cambric, stiffened with starch imported from the Low Countries. Later ruffs were sometimes made entirely from lace, an expensive embellishment that developed in the early sixteenth century. [1]
The size of the ruff increased as the century went on. "Ten yards is enough for the ruffs of the neck and hand" for a New Year's gift made by her ladies for Elizabeth I of England in 1565, [2] but the adoption of starch allowed ruffs to be made wider without losing their shape. Later ruffs were separate garments that could be washed, starched, and set into elaborate figure-of-eight folds by the use of heated, cone-shaped goffering irons. At their most extreme, "cartwheel ruffs" were a foot or more wide; these cartwheel ruffs required a wire frame called a supportasse or underpropper to hold them at the fashionable angle.
By the start of the seventeenth century, ruffs were falling out of fashion in Western Europe, in favour of wing collars and falling bands. The fashion lingered longer in the Dutch Republic, where ruffs can be seen in portraits well into the seventeenth century, and farther east. The ruff remained part of the ceremonial dress of city councillors (Senatoren) in the cities of the Hanseatic league and of Lutheran clergy in Denmark, Norway, the Faroe Islands, Iceland, and Greenland.
The ruff was banned by Philip IV of Spain in 1621 in a symbolic attempt to reduce the inertia and power of the conservative Spanish elite. [3]
Ruffs remain part of the formal attire of bishops and other clergy in the Church of Denmark and the Church of the Faroe Islands and are generally worn for services. The Church of Norway removed the ruff from its clergy uniform in 1980, although some conservative priests, such as Børre Knudsen, continued to wear them. Ruffs are also worn by boy sopranos in some Anglican church choirs. [4]
The most popular and basic colour for ruffs was white, [5] but sometimes the starch used to stiffen the ruff was enhanced with dyes, giving ruffs a range of pastel shades that washed away along with the starch. Dyes of vegetable origin made ruffs pink, light purple, yellow, [6] or green. [7] Light purple could also be achieved using cochineal. [6] Yellow could come from saffron, [8] and pale blue from smalt. [6]
The bluish tint of a ruff was supposed to make the wearer's complexion appear paler, thus more attractive to contemporaries. [9] Elizabeth I took against this colour and issued a royal prerogative: "Her Majesty's pleasure is that no blue starch shall be used or worn by any of her Majesty's subjects, since blue was the colour of the flag of Scotland ...". [10]
Of the dyed ruffs, those in yellow were the most popular throughout Europe. [7] In England, yellow went out of fashion after the trial and execution of convicted murderer Anna Turner, who was considered the inventor of yellow starch. During her trial the yellow-dyed ruffs started to be seen as a symbol of declining morality. According to some of Anne's contemporaries, she wore a yellow ruff to her trial, after which the executioner ironically decided to wear the same colour to carry out her sentence. However, this may only be a rumour of the time, as there are other primary sources that do not mention this detail. [11]
Coloured ruffs are rarely seen in portraits not only because they were overall less popular than the white ones, but also because later restorers repainted them, believing white to be the "correct" colour for ruffs. [6]
A shirt is a cloth garment for the upper body.
A waistcoat or vest is a sleeveless upper-body garment. It is usually worn over a dress shirt and necktie and below a coat as a part of most men's formal wear. It is also sported as the third piece in the traditional three-piece male suit. Any given waistcoat can be simple or ornate, or for leisure or luxury. Historically, the waistcoat can be worn either in the place of, or underneath, a larger coat, dependent upon the weather, wearer, and setting.
1830s fashion in Western and Western-influenced fashion is characterized by an emphasis on breadth, initially at the shoulder and later in the hips, in contrast to the narrower silhouettes that had predominated between 1800 and 1820.
Clerical clothing is non-liturgical clothing worn exclusively by clergy. It is distinct from vestments in that it is not reserved specifically for use in the liturgy. Practices vary: clerical clothing is sometimes worn under vestments, and sometimes as the everyday clothing or street wear of a priest, minister, or other clergy member. Eastern Orthodox clerical clothing is a subset of a monk's habit.
A piccadill or pickadill is a large broad collar of cut-work lace that became fashionable in the late 16th century and early 17th century. The term is also used for the stiffened supporter or supportasse used to hold such a collar in place.
1840s fashion in European and European-influenced clothing is characterized by a narrow, natural shoulder line following the exaggerated puffed sleeves of the later 1820s and 1830s. The narrower shoulder was accompanied by a lower waistline for both men and women.
In clothing, a collar is the part of a shirt, dress, coat or blouse that fastens around or frames the neck. Among clothing construction professionals, a collar is differentiated from other necklines such as revers and lapels, by being made from a separate piece of fabric, rather than a folded or cut part of the same piece of fabric used for the main body of the garment.
A tippet is a piece of clothing worn over the shoulders in the shape of a scarf or cape. Tippets evolved in the fourteenth century from long sleeves and typically had one end hanging down to the knees. A tippet could also be the long, narrow, streamer-like strips of fabric - attached with an armband just above the elbow - that hung gracefully to the knee or even to the ground. In later fashion, a tippet is often any scarf-like wrap, usually made of fur, such as the sixteenth-century zibellino or the fur-lined capelets worn in the mid-18th century.
Fashion in the period 1550–1600 in European clothing was characterized by increased opulence. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation remained prominent. The wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders had reached its peak in the 1530s, and by mid-century a tall, narrow line with a V-lined waist was back in fashion. Sleeves and women's skirts then began to widen again, with emphasis at the shoulder that would continue into the next century. The characteristic garment of the period was the ruff, which began as a modest ruffle attached to the neckband of a shirt or smock and grew into a separate garment of fine linen, trimmed with lace, cutwork or embroidery, and shaped into crisp, precise folds with starch and heated irons.
Fashion in the years 1750–1775 in European countries and the colonial Americas was characterised by greater abundance, elaboration and intricacy in clothing designs, loved by the Rococo artistic trends of the period. The French and English styles of fashion were very different from one another. French style was defined by elaborate court dress, colourful and rich in decoration, worn by such iconic fashion figures as Marie Antoinette.
Fashion in the period 1600–1650 in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches.
During the 1820s in European and European-influenced countries, fashionable women's clothing styles transitioned away from the classically influenced "Empire"/"Regency" styles of c. 1795–1820 and re-adopted elements that had been characteristic of most of the 18th century, such as full skirts and clearly visible corseting of the natural waist.
Fashion in the period 1650–1700 in Western clothing is characterized by rapid change. The style of this era is known as Baroque. Following the end of the Thirty Years' War and the Restoration of England's Charles II, military influences in men's clothing were replaced by a brief period of decorative exuberance which then sobered into the coat, waistcoat and breeches costume that would reign for the next century and a half. In the normal cycle of fashion, the broad, high-waisted silhouette of the previous period was replaced by a long, lean line with a low waist for both men and women. This period also marked the rise of the periwig as an essential item of men's fashion.
Bands are a form of formal neckwear, worn by some clergy and lawyers, and with some forms of academic dress. They take the form of two oblong pieces of cloth, usually though not invariably white, which are tied to the neck. When worn by clergy, they typically are attached to a clerical collar. The word bands is usually plural because they require two similar parts and did not come as one piece of cloth. Those worn by clergy are often called preaching bands or Geneva bands; those worn by lawyers are called barrister's bands or, more usually in Ireland and Canada, tabs.
Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
Fashion in 15th-century Europe was characterized by a surge of experimentation and regional variety, from the voluminous robes called houppelandes with their sweeping floor-length sleeves to the revealing giornea of Renaissance Italy. Hats, hoods, and other headdresses assumed increasing importance, and were draped, jeweled, and feathered.
The World Tossed at Tennis is a Jacobean era masque composed by Thomas Middleton and William Rowley, first published in 1620. It was likely acted on 4 March 1620 at Denmark House.
Fashion in the twenty years between 1775 and 1795 in Western culture became simpler and less elaborate. These changes were a result of emerging modern ideals of selfhood, the declining fashionability of highly elaborate Rococo styles, and the widespread embrace of the rationalistic or "classical" ideals of Enlightenment philosophes.
Portrait of Catharina Brugman is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1634 and now in a private collection. It is considered a pendant to the portrait of Catharina's husband Tieleman Roosterman.
Portrait of a Woman, probably a Member of the Van Beresteyn Family is a 1632 oil-on-canvas portrait painting by Rembrandt. A depiction of a woman with an unusually large millstone collar, it is a pendant to Portrait of a Man, probably a Member of the Van Beresteyn Family. Both portraits are in the collection of the Metropolitan Museum of Art.
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