The Spanish mantilla

During Passion Week, numerous women wear the Spanish mantilla, which covers their head and shoulders as a religious tradition. This type of veil has its origins outside of Christian customs. Throughout this article, we will review the history of this garment, its importance as a political and social weapon, and the various uses up to the present day. 

Historical Evolution

According to Bárbara Rosillo (2012), the Spanish mantilla could have its genesis in Iberian culture. Sculptures associated with this culture carry a fabric that would cover part of their body, dating back to around 6th century BC. Other researchers like Slivchikova Yu (2014), argue it might originate from the typical clothing of North African Muslim women. This use was imported during the Andalusian period, continuing through the expulsion of the Nazari rulers. Due to this, the Spanish mantilla has a popular rooting in southern Spain. However, there are unique traditions like the mantellina in the Canary Islands (Pérez, 1993, p. 15). 

During the 16th century, it spread to all social classes, reaching its peak in the 17th century during the reign of Charles III (1711-1788) as a result of manufacturing development (industrial, economic and technological transformations), evolving into delicate lace for decorating women's clothing. In the 18th century, it conquered high society due to the Frenchification that Spain had been experiencing since the arrival of the Bourbons to the Spanish throne. This is evident in the preponderance iconographic presence of the mantilla in portraits (figure 1), fashion albums, plates and popular engravings (Corujo, 2017, pp. 29-32).

Political-Social Role

Fashion became an active agent (though indirectly) in the process of Frenchification, experiencing changes. In the context of political intrigues of the 18th and 19th centuries, a series of events occurred such as the Motin de Esquilache (1766), protesting against the prohibition to wear cloaks with hats and by the measures taken by Charles III's minister (Velasco, 2021, p. 105).

It was not until the 19th century that this garment acquired a sense of national unity in a context of political instability following the French invasion and subsequent War of Independence (1808-1814), which accentuated the crisis of national identity. Through it, Spanish women saw a way to demonstrate their rejection against the French (Corujo, 2017, p. 32). 

This patriotic exaltation was promoted by Isabel II. During her reign, a crisis of the mantilla reflected in magazines and press was detected. The debate about its replacement with a hat brought to light the problem of national identity. In 1835, the Dame's Courier declared itself in favor of using this garment, encouraging women to wear it. It promoted the renewal of customs against French influence associated with modernity (Pena, 2007, p. 103). Wearing Parisian fashion was considered an unpatriotic act by Antonio María de Segovia (Velasco, 2021, p. 114). This criticism addressed the dual ideology of a country. On one hand, old Spain with the mantilla and conservative mentality. On the other, young modern and free Spain that assimilates new European influences (Corujo, 2017, p. 36). 

After Isabel's abdication in 1870, its presence diminished although it maintains a strong rooting in the central-southern peninsula (another reason for its continuity in these areas to this day). During the reign of Amadeo of Savoy (1870-1873) (figure  2), it became an emblem of national identity against foreign power. A milestone was The Conspiracy of the Mantillas (1871), led by Sofia Sergeïevna Troubetzkoy, wife of Duke of Sesto and a prominent supporter of the Bourbons. During this rebellion, Madrid's ladies dressed in this garment and the peineta; and paraded down Paseo del Prado with the purpose of showing their opposition to the 'usurper king' and Queen Maria Victoria, who was an observer (Slivchikova, 2014 207; Corujo, 2017, p. 38; Pena, 2017, p. 103). The government's response of Manuel Ruiz Zorrilla, Minister of Development, and Sagasta, Minister of the Interior, was to use the Partida de la Porra. This group dressed prostitutes in mantillas and peinetas and made them mingle with the aristocracy on Paseo causing them to stop using these garments and ending the Conspiracy (Velasco, 2021, p. 121). 

As a curiosity, writers were inspired by the mantilla for their works such as Benito Pérez Galdós (1843-1920) in his novel The Disinherited (1881), and Emilia Pardo Bazán (1851- 1921) with Sunstroke (1899). In addition to being an element for manifesting their political position, it can be a weapon for the free development of ladies in certain places as reflected by these authors (Corujo, 2017, pp.  38, 40).

Current Situation

Since the 20th century, the mantilla has gradually lost popularity and is now limited to certain events with a strong traditional flavor such as Easter Week, Gloria processions, weddings, festivals, fairs, bullfights and as an accessory in ceremonies and decoration (figure 3). Depending on the event, the mantilla follows specific rules of etiquette. However, some older women continue to wear it to mass out of habit although it is rarely seen (Pérez, 1993:, p. 18).  

Mantillas present different types depending on several aspects such as embroidery technique, shape, size, materials, place of manufacture and decorative design. Always in off-white or black color. According to the embroidery we differentiate two types: the blonde mantillas (with very marked edges) and the chantilly mantillas. The latter has the nickname of the French town where it was developed and popularized. Other notable ones are silk, bolillos, madroños, tulle, and gauze. In addition to France, many manufactures came from Catalonia and Almagro (Ciudad Real) (Pérez, 1993 pp. 15-18; Slivchikova, 2014, p. 208). 

Conclusions

In summary, the Spanish mantilla is a garment with a long tradition and history. Used by many women, it went beyond being a simple ornamental piece of clothing, through which its wearers could manifest their political stance. Furthermore, it became a symbol of cultural and national identity producing a strong link between its use and Spanishness and patriotism, reaching moral connotations due to its religious association. Its ceremonial usage has diminished over time but without causing significant defining changes. 

Bibliography

Corujo Martín, I. (2017): The mantilla between tradition and modernity: fashion, gender and material culture in 18th and 19th century Spain. Letras Femeninas, 43(1), 28–45. https://www.jstor.org/stable/10.14321/letrfeme.43.1.0028

Pérez Navarro, D. (1993): The mantilla. Revista Aguayro. Nº 201, 15-18. La Caja de Canarias. https://mdc.ulpgc.es/files/original/962c00b33fd3b2589f6ddaf04051b35842b9486c.pdf 

Pena González, J. P. (2007). Fashion in the Middle Ages: Elements and meanings. Nº. 0, 95-106 https://dialnet.unirioja.es/servlet/articulo?codigo=2672201  

Rosillo, B. (2012): The Spanish mantilla. Web Barbara Rosillo. https://barbararosillo.com/2012/03/15/la-mantilla-espanola/

Slivchikova, Y. (2014s.f.). The mantilla as an element of Spanish national costume [PDF]. MGIMO University. https://mgimo.ru/upload/docs2/Slivchikova.pdf 

Velasco Molpeceres, A. M. (2021). Frenchification, Spanish fashion and nationalism: Politics, industry and press. Studies of the History of Spain, 22(2), 104–123. https://erevistas.uca.edu.ar/index.php/EHE/article/view/3283