The structural fashions of the early modern period in Europe reached a peak at the turn of the seventeenth century. Women wore farthingales, whaleboned bodies and wired sleeves, whilst men donned puffy hose and peascod-bellied doublets. Whilst the ruff, a gathered and starched linen frill that was worn around the neck, was still widely worn, at the beginning of the seventeenth century a new type of standing linen collar became fashionable. Like the ruff before them, these accessories forced the wearers, both male and female, to keep their head held high as they slightly impeded normal neck and head movement. These standing collars also halo-ed the head with bright white, sometimes translucent, linen or silk that was often trimmed with expensive bobbin lace. As a result, early modern neck wear such as ruffs and standing collars projected aristocratic ideas of wealth, power and prestige.
The rebato, also known as a piccadill and underproper (in England) and a suportasse (in France) was a stiffened support for a standing ruff or collar. These accessories were often made from wire or pasteboard that was covered in silk. Although “piccadills” or “piccadilly collars” appear commonly in English sources, it seems that “rebato”, an Italian term, was most commonly used in England to refer to those collar supports that were made from wire. Unlike the structures made from board and silk, the rebato, with its intricate wire motifs, loops and scallops was both a collar support and a decorative neck ornament.
There are well preserved examples of these stiffened collar supports in many museums in Europe. For example, the Victoria and Albert Museum in London has three examples of piccadills and supportasses made from pasteboard or cardboard.
Tutorials on how to recreate two of these collar supports, the piaccdill in figure 1 and the supportasse in figure 2, are featured in Seventeenth-Century Women’s Dress Patterns: Book Two for anyone who is interested in constructing these particular types of collar support.
At least three examples of the wired rebato exist in European and American collections:
As no patterns for these wire frames exist (as far as I’m aware) my rebato is based on a pattern drafted by myself using the rebato from the Musée national de la Renaissance-Chateau d’Écouen in Paris (fig. 5) as inspiration.
The linen standing collar was based primarily on a portrait of a young French woman by an Unknown painter (if you know who painted this and where it currently held please let me know!).
Rebatos in museum collections are made from varying types of metal wire, including iron wrapped in silver gilt or gilded copper wire. So, for the outer frame of my rebato I decided to use a relatively thick galvanised tie wire that I picked up from my local hardware store. This was to make sure that the rebato would be sturdy and keep its shape. For the intricate loops and inner frame I chose to use two sizes of copper jewellery wire, as this was easy to bend and mould into any desired shape.
Ruffs, standing collars, and later, falling bands, were usually made from fine linen or silk. So for the collar I chose to use a lightweight linen fabric. As I was making this for an event I didn’t have enough time to buy period accurate lace from the somewhere like the Tudor Tailor Shop. Instead I found some period-looking 3cm wide guipure lace, which is a type of bobbin lace and was known as Genoese lace in the sixteenth and seventeenth centuries, and used this instead.
Additional tools needed were: pliers and a wire-cutter, as well as thread (I used a cotton thread; silk or linen would be more period accurate). As I was pushed for time I also cheated a little on the linen collar and machined sewed parts where a straight running or back stitch would have been used.
Make sure to stay tuned for my next blog post as I’ll be outlining how I constructed the metal rebato frame.
 Susan North and Jenny Tiramani, eds., Seventeenth-Century Women’s Dress Patterns: Book Two (London, V&A Publishing, 2012), p. 100.
 Denis Bruna, ed., La Mécanique des Dessous: Une Histoire indiscrete de la Silhouette (Paris: Les Arts Décoratifs, 2013), pp. 75-78.