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Bands (neckwear)
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Two pairs of starched bands, as made by Shepherd & Woodward and Ede & Ravenscroft

Bands[a] are a form of formal neckwear, worn by some clergy and lawyers, and with some forms of academic dress. They take the form of two oblong pieces of cloth, usually though not invariably white, which are tied to the neck. When worn by clergy, they typically are attached to a clerical collar. The word bands is usually plural because they require two similar parts and did not come as one piece of cloth.[b] Those worn by clergy are often called preaching bands or Geneva bands;[c] those worn by lawyers are called barrister's bands or, more usually in Ireland and Canada, tabs.

Ruffs were popular in the sixteenth century, and remained so until the late 1640s, alongside the more fashionable standing and falling bands. Ruffs, like bands, were sewn to a fairly deep neck-band. They could be either standing or falling ruffs.[1] Standing ruffs were common with legal, and official dress till comparatively late. Falling ruffs were popular c. 1615 – c. 1640s.[1]

Origin

[edit]
John Witherspoon, an 18th-century Presbyterian minister, wearing preaching bands
The 18th-century jurist William Blackstone, depicted here wearing a long, square drop collar

In the early sixteenth century bands referred to the shirt neck-band under a ruff. For the rest of the century, when ruffs were still worn, and in the seventeenth century, bands referred to all the variations of this neckwear. All bands or collars arose from a standing neck-band of varying heights. They were tied at the throat with band-strings ending in tiny tassels or crochet-covered balls.

Bands were adopted in England for legal, official, ecclesiastical, and academical use in the mid-seventeenth century. They varied from those worn by priests (very long, of cambric[d] or linen, and reaching over the chest), to the much shorter ecclesiastical bands of black gauze with white hem showing on the outside. Both were developments of the seventeenth century lay collar.[2]

[edit]

Bands varied from small white turn-down collars and ruffs to point lace bands, depending upon fashion, until the mid-seventeenth century, when plain white bands came to be the invariable neck-wear of all judges, serjeants, barristers, students, clergy, and academics.[e]

The bands are two strips of bleached holland[f] or similar material, falling down the front from the collar. Plain linen 'falling bands', developed from the falling collar, replaced the ruff about 1640.[g] By 1650 they were universal. Originally in the form of a wide collar, tied with a lace in front, by the 1680s they had diminished to the traditional form of two rectangles of linen tied at the throat.

Jean-Baptiste de La Salle, a Roman Catholic priest, wearing preaching bands

Bands did not become academically significant until they were abandoned as an ordinary lay fashion after the Restoration in 1660. They became identified as specifically applicable to clerical, legal and academic individuals in the early eighteenth century, when they became longer and narrower in form.

For a time from the eighteenth century judges and King's Counsel took to wearing lace jabots at courts and leveés. Bands are now worn as court dress by judges, King's Counsel, barristers, solicitor advocates, court officials, and as ceremonial/formal dress by certain public officials, university officials and less frequently also by graduands (for example, they are compulsory for male Cambridge graduands, worn with a white bow tie, and optional for women). These specifically form part of the full dress of circuit judges, Court of Appeal judges and the Lord Chief Justice.[h] Mourning bands, which have a double pleat running down the middle of each wing or tongue, are still used by some barristers, clergy and officials.

By the end of the seventeenth century King's Counsel wore richly laced cravats. From the later part of the eighteenth century they wore bands instead of the cravat as undress.[6] In the eighteenth century a lace fall was often used as an alternative to the bands by judges in full dress.[3]

Both falling and standing bands were usually white, lace or lace-edged cambric or silk, but both might be plain.[7]

The standing bands, a semi-circular collar, the curved edge standing up round the back of the head. While the straight horizontal edges in front met under the chin and were tied by band-strings, the collar occasionally was worn turned down. It was supported on a wire frame attached to the neck of the doublet behind. The starched collar rested on this. It was usually of linen, but also lawn[i] and lace.[8][page needed] They were popular for a quarter of a century.

A Methodist minister wearing a cassock, vested with a surplice and stole, with preaching bands attached to his clerical collar

The soft, unstiffened collar draped over the shoulders of the doublet were called falling-bands. Until the Civil War barristers wore falling bands, also known as a rabat, with about six tabs arranged one upon the other, and having the appearance of ruffs rather than bands. They differed from the bands of the clergy of that period in that they were not poked as the latter were. Lawyers took to modern bands about the middle of the seventeenth century.[9] They continued in ecclesiastical use well into the nineteenth century in the smaller, linen strip or tab form- short-bands. These are retained by some priests of the Church of England, academics, lawyers, and ministers of the Church of Scotland, the Presbyterian Church in Ireland, and the English Nonconformist churches, such as the Methodist tradition. In a religious context, the two bands are sometimes said to symbolize the two tablets of the Ten Commandments given by God to Moses.[10][dubious – discuss]

Bands were adopted early in the eighteenth century by parish clerks and many dissenting ministers, as well as in Western Europe by junior Catholic clergymen/readers and those of many Protestant churches, soon followed by those in the lands governed/co-governed and settled overseas. The bands were fairly wide, set close together. The outer white edge is the hemmed linen fabric which, being turned over onto itself three times, is opaque.[11]

A Lutheran pastor wearing preaching bands while administering confirmation to youth

The falling bands, worn 1540s to 1670s, could take three forms. Firstly, a small turned-down collar from a high neck-band, with an inverted v-or pyramidal-shaped spread under the chin and tied by band-strings sometimes visible but usually concealed.[j] They were plain, or lace edged. These were popular 1590 to 1605, especially in military or Puritan circles, reappearing 1620–1650, when they were usually larger. Secondly, they could take the form of a wide collar, spreading horizontally from side to side across the shoulder, with the band-strings as formerly. These were popular 1630s to 1640s. Thirdly, a deep collar or bib, square-cut, spreading down the chest, the front borders meeting edge to edge flat, or with an inverted box-pleat. The corners were square or frequently rounded after 1660. Broad lace borders were usual. With the band-strings as formerly, these were popular 1640s to 1670s.[8][page needed]

Relation to neckties

[edit]

The cravat or neckcloth was popular 1665–1730.[7] It was a large square or triangle of linen, lawn, silk, or muslin,[k] often starched, with the ends usually bordered with lace, or decorated with tasselled beads, and tied loosely beneath the chin. Formal cravats were always plain white, otherwise they could be coloured or patterned. Tying the cravat in a bow was popular circa 1665. Fastening with a cravat-string was popular circa 1671. By 1680–1690 the cravat was worn falling over a stiffened ornamental cravat-string. The years 1695–1700 saw the Steinkirk style, with the front ends twisted and the terminals either passed through a buttonhole or attached with a brooch to one side of the coat. The cravat was popular until the 1740s, and with the elderly thereafter.

In the 1840s several types of cravat were in use, the most traditional being a large bow with pointed ends. The variety of neckwear became very much greater in the 1890s. The scarf, formerly known as the kerchief, was also worn. In the 1890s neckties became popular, commonly in a butterfly- or batswing-shape bow.[l] By the 1850s separate, starched, collars were standard, these reaching three inches in height by the 1890s.

Until about 1950, apart from short-sleeved, open-necked sports wear, day shirts always had a long sleeve with cuffs, closed by links or buttons, and with a neck-band with separate collar fastened by studs, or an attached collar. The attached collar is now dominant.[14] The result is that bands are rarely used by graduates, who prefer the contemporary down turn collar and neck tie.

Notes

[edit]

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bands (neckwear)

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from Grokipedia
Bands are a form of formal neckwear consisting of two oblong pieces of white cloth, typically made from or , tied at the back of the neck with strings and hanging vertically in front to frame the chest. They are primarily worn by in non-liturgical settings, barristers and other legal s during court proceedings, and participants in certain academic ceremonies, serving as a of professional or institutional authority. This distinctive attire evolved from earlier elaborate collars and remains a staple in specific ceremonial and professional contexts today. The origins of bands trace back to the in , where they developed as a practical and understated alternative to the voluminous ruffs and standing collars popular in the late 16th and early 17th centuries. As ruffs—stiff, frilled circles—fell out of favor by the 1620s due to their complexity and discomfort, they were replaced by falling bands: wide, flat collars of sheer , often lace-edged, that lay flat on the shoulders and were removable for easy laundering. By the mid-, these had simplified into the narrower, rectangular form known as bands, first noted in everyday use around 1662, as recorded by diarist who described wearing a new lace band. Initially popular primarily among men and occasionally women, bands became associated with learned professions, reflecting a shift toward more restrained and symbolic attire amid changing trends. In clerical use, bands—often called preaching bands or Geneva bands—are fixed with thin ties and made from fine cotton, dating back to at least the 18th century as seen in artifacts owned by Methodist founder from 1750–1800. They are worn by Protestant in non-liturgical settings, such as sermons or daily duties, particularly in Anglican and Methodist s. For legal professionals, barristers' bands emerged in the mid-17th century as plain white neckwear for judges, barristers, and students, symbolizing and in courtrooms, especially in British-influenced systems like those in , , , and . In , bands are paired with white bow ties during ceremonies, adjustable to fit various neck sizes and underscoring scholarly formality. Despite the dominance of modern ties and collars in everyday , bands persist as a vestige of historical neckwear, valued for their simplicity and enduring role in rituals of . Their —typically unstarched for comfort yet crisp in appearance—allows for versatility across contexts, though they require careful maintenance to retain shape. Variations include tuck-in styles for and slightly wider legal versions, but the core design has remained largely unchanged since the , highlighting their timeless significance in professional identity.

History

Origins in Sixteenth-Century Fashion

Bands (neckwear), also known as falling bands, originated as a neck-band tied around the , initially functioning as a simple band designed to support and secure the elaborate ruffs that were a hallmark of sixteenth-century attire. These bands were typically made of fine and served a practical purpose by forming a stable base at the 's , from which the detachable ruff could be attached and pleated. The term "bands" specifically denoted this foundational neck-band in the early sixteenth century, evolving from the small fabric ruffles at the or that had been common in prior decades. In and across , these linen bands emerged as essential undergarments during the 1550s, worn beneath starched ruffs to protect outer garments from body oils and soil while maintaining the overall hygiene of layered clothing ensembles. The ruffs themselves, popular from the 1550s to the 1590s, were independent accessories often crafted from cambric or lace, but they relied on the bands for attachment via band-strings—tasseled ties that fastened at the throat. This combination allowed for easy removal and laundering of the decorative ruff, while the plain bands provided a clean, unobtrusive layer directly against the skin, reflecting the era's emphasis on detachable elements in elite to facilitate maintenance amid heavy starching and pleating processes. By the late sixteenth century, as ruffs grew increasingly cumbersome due to their size, stiffness, and the labor-intensive starching required, fashion began shifting toward simpler alternatives, culminating in the transition to falling bands in the early seventeenth century. These falling bands represented a more subdued and practical evolution, draping flatly over the shoulders without the upright support of ruffs, offering a cleaner silhouette that aligned with emerging preferences for less restrictive neckwear. Portraits from the period, such as those of in his later depictions and Queen Elizabeth I in her elaborate state portraits, illustrate proto-bands as the subtle supports beneath ruffs, highlighting their role in civilian and courtly attire before broader adoption in the seventeenth century. This foundational form laid the groundwork for bands' later professional uses.

Adoption and Evolution in the Seventeenth Century

In the mid-seventeenth century, bands emerged as standardized formal neckwear in England, particularly within legal, ecclesiastical, and academic circles, evolving from the elaborate lace-edged falling bands of earlier decades. By the 1680s, these had become nearly universal in professional settings, supplanting the ornate lace versions that had been fashionable among the elite since the 1620s. The shift reflected a broader move toward simplicity, with plain white linen bands adopted by judges, barristers, clergy, and scholars as markers of authority and restraint. Puritan influences in the seventeenth century emphasized austerity in , rejecting extravagant ruffs and collars in favor of plain attire as a symbol of moral purity, contributing to the decline of decorative neckwear. This cultural pressure laid the groundwork for bands to solidify as professional staples. Following the Restoration in , plain bands became entrenched within professional spheres by the late seventeenth century, distinguishing them as symbols of institutional gravitas. By the late seventeenth century, bands had spread regionally to , where Presbyterian ministers adopted them alongside gowns and wigs as standard clerical attire. In colonial America, Puritan clergy such as those in communities embraced plain bands, exemplified by figures like , who wore them during sermons to embody the austere ethos of the faith. By the 1680s, these had evolved into the narrower, two-rectangular-tab form still used today.

Design and Materials

Basic Components and Construction

Bands, also known as falling bands or preaching bands, consist of two rectangular strips of fabric that hang vertically from the wearer's collar, connected at the back by a concealed neckband or adjustable ties. These strips are typically 2 to 3 inches (5 to 7.6 cm) wide and 5 to 8.5 inches (13 to 22 cm) long, with the length allowing them to extend down the front of the chest while maintaining balance and symmetry. The core design derives from 17th-century patterns, where the bands evolved from the stiff, pleated ruffs of the previous era into simpler, flat forms for practicality. Construction begins with cutting the rectangular strips from lightweight fabric, ensuring precise proportions for even hanging. Edges are finished with hand-sewn or machine-stitched hems, often 5/8 inch (1.6 cm) wide, to prevent fraying and achieve a crisp appearance. The strips attach to a narrow neckband—formed by pleating or gauging a strip of fabric to fit the neck circumference—which is secured via ties, buttons, or studs to the collar of an underlying garment like a or . Modern variants often use elastic straps or for adjustability. Emphasis is placed on symmetry during assembly, with the neckband darted or pleated to curve smoothly around the neck without bunching. To wear, the neckband is positioned around the , and the ties—usually tasseled strings or elastic bands—are knotted or looped in a simple to hold the assembly in place, ensuring the strips lie flat against the chest without twisting or overlapping unevenly. This tying technique, rooted in historical fastening methods using pins or strings, prioritizes a neat, vertical fall that frames the professionally. Modern variations may include hidden clips for quick attachment, but the fundamental at the remains standard for adjustability and security. Standard modern dimensions, such as 13 to 22 cm per band length, reflect adaptations from 17th-century originals, where bands measured approximately 3 1/4 inches (8.3 cm) wide and 6 to 7 1/2 inches (15 to 19 cm) long for the hanging portions, though early falling bands were broader and draped over the shoulders before evolving to narrower tabs. Descriptive diagrams in historical pattern books illustrate the layout: the band spans the full neck girth (typically 14 to 18 inches or 35 to 46 cm when pleated), with the two strips extending equidistantly from its front edges. This structured anatomy ensures durability and aesthetic uniformity across uses.

Materials and Variations

Bands, as formal neckwear, have traditionally been crafted from fine or fabrics such as or holland cloth, which provide a smooth, lightweight texture suitable for the garment's structured form. These materials may be starched in historical or certain modern legal contexts for stiffness, though contemporary clerical bands are often unstarched for comfort while retaining a crisp appearance. Over time, the design of bands evolved from the wide falling bands of the early seventeenth century, which draped broadly over the shoulders, to narrower tab styles prevalent in modern legal contexts, reflecting a trend toward more compact and practical silhouettes. Mourning bands represent a specialized variation, often featuring double-width construction or pleated edges to denote solemnity during funerals. Regional adaptations highlight stylistic diversity; in seventeenth- and eighteenth-century , bands frequently incorporated lace trimming along the edges for ornamental effect, contrasting with the plain white versions dominant in Anglo-American traditions that emphasized simplicity and uniformity. Color variations occasionally depart from the standard white, with black bands used in certain denominations or for specific liturgical occasions to convey gravity. In the twentieth century, materials shifted toward synthetic blends like or permanent-press for enhanced durability and ease of care, reducing reliance on frequent ing. practices for traditional bands involve gentle washing to remove soils, application of where needed for rigidity, and careful to preserve shape and edges. By the nineteenth century, the availability of pre-made versions began to streamline production and for wearers.

Professional and Ceremonial Uses

Clerical Attire

In Protestant traditions such as Anglican, Methodist, and Presbyterian, bands serve primarily as preaching bands or Geneva bands, worn with tab collars since their adoption in the seventeenth century. These are typically paired with cassocks or surplices in non-liturgical settings to maintain a simple, distinctive clerical appearance. The symbolic significance of bands lies in their representation of —by minimizing personal style and adornment—and clerical , emphasizing the minister's office and role in proclaiming the Word. This symbolism aligns with Reformation-era emphases on in worship leadership, distinguishing from while avoiding ostentation. In modern practice, bands continue to be worn daily by ministers in the , , and countries, particularly during preaching or pastoral duties in these denominations. Adaptations emerged in the post-1970s era with the in many Protestant churches, including shorter bands or modified tab styles designed for comfort and fit with contemporary clerical shirts. Notable historical examples include the preaching bands worn by in the eighteenth century, which were standard for Methodist founders and reflected the era's evangelical preaching culture. For Catholic equivalents, current Vatican guidelines, as implemented through , prescribe the Roman collar as the standard neckwear for clerics outside liturgical functions, symbolizing similar dedication to sacred office while paired with a black suit or . In the context of legal dress, bands—also known as barrister's bands or tabs—serve as a traditional form of neckwear essential to the professional attire of barristers, judges, and King's Counsel in the United Kingdom. These garments consist of two rectangular strips of starched fabric, typically linen or cotton, attached to a winged collar and tied at the throat, symbolizing simplicity, purity, and impartiality in judicial proceedings. The adoption of bands occurred during the Restoration period following the monarchy's return in 1660, under Charles II, when plain linen bands replaced elaborate ruffs to promote a sense of decorum and neutrality among legal professionals. This shift emphasized impartiality by favoring unadorned, austere attire that distanced advocates from personal or social distinctions, aligning with the era's efforts to restore institutional stability in the courts. By the mid-17th century, bands had become a mandatory element of for barristers, judges, and Queen's Counsel (now ), enforced through longstanding customs of the rather than formal legislation. The have historically enforced customs for attire, including bands, through longstanding traditions dating to the . Bands are invariably plain white, crafted from starched or for a crisp, formal look. Today, bands retain their prominence in English jurisdictions, including and , where they continue as standard for barristers and judges to preserve traditions of solemnity and . Alternatives like collarettes are available for women barristers to enhance comfort and gender inclusivity. However, since the 2000s, debates have emerged regarding reforms to court attire for greater , with critics arguing that elements like winged collars and bands, designed for traditional male silhouettes, may disadvantage women barristers in terms of comfort and accessibility, prompting calls for more inclusive alternatives while maintaining professional decorum.

Academic Regalia

In academic regalia, bands serve as a key element of formal neckwear, particularly in university and ceremonies at institutions like the and the , where they have been compulsory for male graduands since their adoption in the mid-17th century as part of undress or subfusc attire. This requirement, formalized in university regulations by the late , typically pairs bands with a white , white collar, and dark beneath the , emphasizing a standardized appearance during processions and degree conferrals. The style derives from traditions, evolving into academic use to denote formal scholarly participation. Bands integrate with hoods and gowns to convey scholarly through their plain, unadorned white linen form, contrasting with more elaborate neckwear and underscoring the wearer's commitment to intellectual discipline rather than ostentation. Variations exist by degree level; for instance, doctors may wear longer bands or those styled in full patterns with scarlet robes, while bachelors and masters use standard lengths in black gowns. These elements together form a cohesive ensemble, where the bands frame the hood's colors signifying the field of study and the gown's cut indicating rank. In modern usage, bands remain a required component of ceremonial attire at UK universities such as and , where participants in congregations, degree ceremonies, and Encaenia must wear them as part of subfusc, with regulations gender-neutral since 2012. They are retained in some and institutions influenced by British traditions, like certain Ivy League or Anglican-affiliated universities during formal academic events, though overall adoption has declined among graduates since the 1890s in favor of conventional neckties for everyday formality. This shift reflects broader fashion changes, yet bands persist in high ceremonial contexts to maintain ritual uniformity. Culturally, bands symbolize academic lineage, linking contemporary ceremonies to statutes that regulated dress to denote scholarly status and communal identity, evolving through 17th-century influences into symbols of enduring intellectual heritage. At , for example, this tradition traces to 12th- and 13th-century European roots, where attire like bands' precursors marked rank and humility in emerging communities.

Comparisons with Other Neckwear

Relation to Cravats and Neckties

Bands (neckwear) share historical roots with cravats, both emerging as alternatives to the elaborate ruffs of the late . Falling bands, wide flat collars of or that draped over the shoulders, became widespread in the early , replacing the stiff ruff around 1620–1630 for their and reduced fabric use. By the mid-, these evolved into the plainer, oblong bands fastened at the , serving as a restrained, professional alternative to more decorative neckwear. In contrast, cravats were introduced around 1660 during the , when Croatian mercenaries ("Cravats" deriving from "Hrvat") brought knotted scarves to the French court under , popularizing them as a fashionable among by 1665. While falling bands and early cravats coexisted as open or loosely tied neck coverings, bands quickly became the preferred plain option for , lawyers, and academics seeking formality without ostentation. In the 18th and 19th centuries, cravats and their descendants diverged sharply from the static form of bands. Cravats evolved into rigid stocks—high, stiffened collars of linen or leather, often buckled at the back—by the early 18th century (circa 1710–1720), favored for military and formal wear due to their structured support and ease of donning. These persisted until around 1800, when softer cravats regained popularity among dandies like Beau Brummell, who tied them simply for refined elegance. By the 1850s, colored neckties emerged for everyday business attire, and the modern four-in-hand necktie, knotted and enclosing the neck, became standard by the 1890s, driven by industrialization and the need for practical, versatile menswear. Bands, however, remained unchanged as dangling, open tabs of white linen, retaining their mid-17th-century design for ceremonial and professional contexts, as their symbolic austerity suited institutional roles without adapting to casual trends. This timeline underscores bands' niche persistence: established universally by 1650 as professional attire, they yielded to neckties' rise in broader business culture by the late , limiting bands to specialized fields. Functionally, bands' open, bilateral strips symbolize openness and , hanging freely over vestments or robes, whereas cravats and neckties enclose the in a tied loop, prioritizing security and style for daily use. This distinction preserved bands as a vestige of 17th-century formality amid neckties' .

Similar Garments in Other Traditions

In East Asian traditions, detachable collars served functions analogous to Western bands, providing a formal, removable neck framing for scholarly and official attire. During the (1644–1912), Chinese scholar-officials and court elites wore detachable formal collars (pi ling), often stiffened and made from or metallic-thread , laid over the shoulders of their robes to denote status and facilitate easy adjustment in formal settings. These collars, typically white or plain, echoed the modesty and professionalism of bands while allowing for seasonal variations in undergarments. In Japanese formal wear, stiffened collars appear in historical and modern contexts, though not as separate dangling elements like bands. The eri collar on ensembles, often stiffened to maintain shape during layering, emphasizes uniformity in ceremonial dress, including educational uniforms influenced by Western styles in the (1868–1912). Colonial legacies introduced bands directly into South Asian legal traditions, where they blended with indigenous materials under British influence in the 19th century. In , barristers adopted white or bands as essential court neckwear by the mid-1800s, paired with black coats to signify authority in colonial courts, often using locally woven fabrics like for practicality in tropical climates. This adaptation persisted post-independence, symbolizing continuity in judicial formality while incorporating regional textiles for comfort and cultural resonance. In contemporary cross-cultural settings, bands appear in adapted forms within Anglican and academic contexts influenced by global migration and since the 1960s. African Anglican clergy, particularly in churches across and established during British expansions, wear preaching bands as standard vestments to evoke ecclesiastical tradition amid local liturgical practices. , post-1960s multicultural academic has integrated bands with diverse elements, such as in historically Black colleges where they pair with stoles to honor African heritage during commencements, fostering inclusivity in higher education ceremonies. As of 2025, these adaptations continue in global institutions, reflecting bands' enduring role in hybrid ceremonial attire.

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  53. https://moderndiplomacy.eu/2020/05/16/post-colonial-india-and-legal-dress-code/
  54. https://anglicancompass.com/what-are-the-anglican-vestments/
  55. https://www.aaihs.org/the-history-and-significance-of-kente-cloth-in-the-black-diaspora/
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