Part 4: Ruffs

This is Part 4 of a series on the various layers in Renaissance clothing. The focus is on European clothing, specifically English, French and Spanish dress. If you have not read Part 1: Underwear or Part 2: Corsets or Part 3: Farthingales, you may want to read them first.

Perhaps no other accessory so exemplifies the Elizabethan era than the Ruff. What began as a small, pleated ruffle on the shirt collars of the very early 16th century, ended as massive, engineered wheel-like collars, requiring specialized tools to keep them pleated. Only the very rich could afford the huge expense in lace, materials and upkeep. Additionally, as the ruff became larger, towards the latter part of the 16th century, supports for these monsters became a matter of necessity. Called 'rebatos' or 'supportasses', these were generally half-moon shaped and were placed at the back of the collar to keep it at a fashionable, upright angle.

For those of us who recreate this era, the Ruff presents a specialized challenge. In period, ruffs were heavily starched and then sewn to the neckband. They soiled easily and had to be laundered often, requiring that they be unpleated, washed, restarched, and repleated back on to the neckband before they could be worn again.

The partlet (a kind of dickie) evolved during this era to alleviate the problem of staining from wearing the ruff next to the face. The partlet collar extended over the ruff, lying between the ruff and the neck and face. Eventually, when the Ruff fell out of fashion, the collar of the partlet became the falling collar of the early 17th century.

Period ruffs were stiffened with starch which meant, when they became damp or the weather was humid, the ruff often lost its shape. One of the ways that I get around this particular problem is to insert horsehair braid between two layers of organza and pleat from there. I've found that this method produces ruffs that are machine washable and last quite a few years.

SOME IDEAS TO PONDER BEFORE YOU GET STARTED

Silk organza comes in both black and white at most upscale fabric stores. It washes up beautifully and wears extremely well. However, polyester and cotton organza will also work. Always prewash the organza, no matter what type is used.

Historically, ruffs were not always white. Fashion plates of the period often had their laundresses add tints to the starch so that the ruff could be pale yellow, pink, baby blue or any other pale shade. There is evidence, from a portrait of Marie de Medici, that ruffs could also be scarlet. Black ruffs were rare, but were made and worn.

The types of lace used to trim ruffs in period were stiff and pointy. Most upscale fabric stores will carry a variety of nice laces that can be used. In general, the stiffer the lace, the better. Avoid cellulosic laces and any soft, cheesy lace. These usually won't hold up to washing and are mostly unperiod in look. Metallic lace, lace with points, or reticella-looking type laces work the best.

Make the neckband for your ruff by using cotton and interlining with a stiff canvas. The neckband, especially for larger varieties of ruffs, takes some stress. It is important that it be very stiff. In period, the neckband was often embroidered, with the embroidery stitches also acting to quilt the layers together. White on white embroidery and black work were both common. To help keep the ruff in place, a pair of eyelet holes was often sewn at the very back of the neckband so that ties from the collar of the outer garment could be threaded through to secure the ruff.

Closures for ruffs could be anything from hooks and eyes, ties, to brooches. All were used. Whatever method works best for you...

For a closer look at the methods by which I construct my ruffs, visit http://www.vertetsable.com/ruffs.htm For more costuming tips, visit http://www.vertetsable.com and look at the section entitled Clothing Construction in the Period Style.

About Author
Laurellen de Brandevin, also known as Tammie L. Dupuis, has been sewing since she was six years old. She holds a degree in Archaeology from Montana State University in Bozeman, MT., where she discovered the S.C.A. Laurellen's first love is Elizabethan clothing, but current projects include a survey of rectangular construction methods encompassing the Eurasian continent and writing her magnum opus, The Renaissance Tailor; Recreating Clothing from the 16th and 17th Centuries. She lives in Seattle, WA with her son (who is already showing an interest in fine clothing) and works mundanely as a graphic designer for a downtown advertising firm.

Laurellen's website, www.vertetsable.com is an ongoing project connected to her book. She can be contacted at laurellen@vertetsable.com.