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The valance, the lechuguilla and the collar are distinguished by how they frame the neck: the valance can fall on the shoulders, the lechuguilla stands out for its folds and the collar provides rigid support to the fabric. Recognizing these differences helps to interpret a portrait and build a coherent characterization.
Although sometimes it is referred to as "medieval Walloon", the examples discussed here correspond to the fashion of the late 16th and 17th centuries, within the Modern Age. To identify a garment, it is advisable to observe its shape, its placement and the outfit that accompanies it.
Three details to recognize each neck
Start with the silhouette. Does the fabric rest on the shoulders, form a succession of folds around the throat, or is it held up on a base? Next look at the edge and the front opening. The lace, by itself, does not identify the type of neck.
- Valona: in its dropped version, it is a turtleneck that extends over the clothes and shoulders. There are simple shapes and others with ornaments; Its amplitude is not always the same.
- Lechuguilla: The most recognizable feature is the fabric organized in repeated gathers and folds. Its outline can be very voluminous, although there were also discreet versions.
- Flat collar: the rigid base supports the white fabric and gives it a defined silhouette. The support and the textile piece form a set; They should not be confused with a dropped flange.
This comparison is a visual aid. Historical names and their uses require context, and a front photograph may obscure the construction of the back or support.
Why the valance does not have a single shape
The history of these collars is not reduced to a sequence in which one immediately replaces the previous one. Carmen Bernis documents female walloons in Spain at the end of the 16th century, when large lechuguilla collars were still worn. It also distinguishes turned male collars from certain female collars that are raised and supported with wire.
Therefore, describing all valances as a circular fabric that falls to the middle of the chest leaves out part of their variety. The name may appear associated with different contours, supports and openings. In a recreation, those details matter as much as the color.
The two photographs preserved from the article show current reproductions: a dark piece with a lace edge and a light one with a straighter outline. They serve to compare the presence of the collar on the clothing, but they are not photographs of original garments from the 17th century.
The names “flamenco” and “cariñena” come from the original material of these reproductions. They are not enough, on their own, to establish a date, an origin or the fidelity of the pattern: to do so, each model would have to be contrasted with a specific historical reference.
The collar and the valance could be worn together
A common confusion consists of treating the collar and the valance as incompatible garments. The Costume Museum describes Nils Nilsson Brahe's outfit, made in 1655 for presentation at the Spanish court, with a collar and a white valance that matches the cuffs. The costume was preserved in Skokloster Palace, Sweden.
This example allows you to understand the relationship between the two: the golilla organises the shape of the neck and the valone constitutes the visible textile part. The annotated edition of For the basement and the torno, available at the Miguel de Cervantes Virtual Library, also explains that the valone could be mounted on carton.
When looking at a portrait, notice whether the canvas appears to be lying freely or held in a stable position. It is an initial clue, not sufficient evidence to reconstruct a garment solely from an image.
How to interpret a portrait before recreating its costume
A statement collar may attract all the attention, but the historical reading depends on the entire outfit. To use a portrait as a reference, follow this order:
- Check the date and place. A portrait from the end of the 16th century and another from the mid-17th century do not necessarily offer the same model of clothing.
- Identify the context. A court representation, a hunting outfit, and a theatrical character can show different solutions.
- Look at the construction. Look for pleats, off-the-shoulder drapes, lace, support, and opening. If a detail is not seen, keep it as a doubt.
- Relate the collar to the other garments. Check sleeves, cuffs, torso closure and proportions before combining pieces.
When browsing shirts for historical clothing, compare the collar and closure of each model with your reference. A fantasy shirt may work for a made-up character, but its appearance does not demonstrate that it replicates a period garment.
The same check applies to historically inspired doublets: the pattern must correspond to the period you want to represent. Just because two pieces share a general label such as "medieval" or "renaissance" does not guarantee that they will fit together.
The criterion that avoids epoch mixtures
For a documented characterization, start with a dated reference and build the set from it. For theater or fantasy, you can combine shapes more freely, making that intention clear. In both cases, distinguishing the dropped collar, the pleated fabric and the rigid support allows for more conscious decisions.
