Queen Elizabeth’s ruffs

 

Looking at images of Queen Elizabeth I of England reveals the development of lace ruffs throughout the sixteenth century. The fashion for ruffs began in the 1530s with a small ruffle on the neckband of the smock. As the century progressed the ruffles became box pleated and fuller, often with an edging of simple needlelace, embroidery, or cording. They tended to be full at the back and sides of the head but were shallower at the chin.

By the 1570, the ruff had become a uniform size around the head and was formed of figure-of-eight shaped pleats often 3-4 inches in height. Wide lengths of lace were used to edge the ruff often incorporating spangles, or sequins, which would have sparkled as they caught the light. These ruffs were separate items of clothing and no longer attached to the smock. This made them easier to launder and starch into their stiffened shape.

The 1580s saw the development of much wider and more ornate ruffs, which appeared to be made entirely of lace, or were embroidered and edged with a wide lace edging. These ruffs required a support behind them to maintain their shape and the effect was quite stunning, as we can see in this miniature by Nicholas Hilliard.

By the 1590s necklines were lower and ruffs were often worn open with their edges pinned to the corners of the bodice. These ruffs tended to be more delicate than the solid styles of the previous decade. They also needed a support, known as a rebato, to maintain their height and shape. These supports were finer than the earlier ones and were made of wire covered with thin gauze or cotton, some also had an edging of lace. This detail of the Rainbow portrait by Isaac Oliver also shows the Queen’s delicate wired head rail. We are very fortunate that painting styles of the time depicted clothing so accurately, providing a beautiful record of these changing fashions.