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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.

History

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]

Today

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]

Colours

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]

Joan Alleyn wearing a green ruff trimmed with lace, England, 1596.^[12]
Christian Cavendish, Countess of Devonshire wearing a saffron yellow lace ruff, 1619.^[13]
Marchesa Elena Grimaldi Cattaneo wearing a blue ruff, 1623.^[14]
Lady Anne Clifford wearing a saffron yellow ruff, 1618.^[15]

Gallery

Philip III of Spain c. 1615. Detail from a portrait by Velázquez
The wife of the burgomaster of Lübeck, 1642
Sir Francis Drake
Robert Dudley, 1st Earl of Leicester
George Talbot, 6th Earl of Shrewsbury
Itō Mancio, 1585
Study of a Man with a Ruff Collar by Adolph Menzel, ca 1850
Pedro II of Brazil, 1872. Detail from a portrait by Pedro Américo

References

^ ^a ^b xxxxx. "The Fashion Historian: Ruffs". The Fashion Historian. Retrieved 22 May 2017.
^ Mary S. Lovell, Bess of Hardwick, Empire Builder 2005:184.
^ Pennington, D. H. (1989). Europe in the Seventeenth Century (2nd ed.). Harlow: Pearson. p. 382. ISBN 0-582-49388-9.
^ Wenlock Chalice and Paten set. "croftdesignshop". croftdesignshop. Retrieved 24 August 2012.
^ Vicki (22 July 2013), Elizabethan Ruffs, Historical Britain, retrieved 27 May 2020
^ ^a ^b ^c ^d Elizabeth's London: Everyday Life in Elizabethan London (2014), Liza Picard
^ ^a ^b Ruth Turner Wilcox (1979), The Dictionary of Costume
^ Vivian Thomas, Nicki Faircloth (2014), Shakespeare's Plants and Gardens: A Dictionary
^ Christopher Breward (1994), The Culture of Fashion
^ Forbes, T. R. Chronicle from Aldgate (1971)
^ Ann Rosalind Jones, Peter Stallybrass (2000), Renaissance Clothing and the Materials of Memory
^ "Joan Alleyn | Dulwich Picture Gallery". www.dulwichpicturegallery.org.uk. Retrieved 30 December 2024.
^ "Christian, Lady Cavendish, Later Countess of Devonshire (1598–1675), and Her Daughter". North Carolina Museum of Art. 11 March 2021. Retrieved 30 December 2024.
^ Dyck, Sir Anthony van (1623), Marchesa Elena Grimaldi Cattaneo, retrieved 30 December 2024
^ "Lost portrait of Britain's wealthiest woman aquired by National Portrait Gallery". The Telegraph. 2 October 2013. Retrieved 30 December 2024.