INTRODUCTION These clothing guidelines for the Newport Historical Society, Newport Rhode Island are written for a speci;ic event depicting the occupation of Newport by the British in 1777. Many of the occupants of Newport ;led the British, those that remained often had British sympathies, had no where to go, or chose to stay to protect their property. Under the occupation supplies of goods, especially fresh provisions and ;irewood were scarce, the needs of the Army were met before those of the townspeople. The challenge of accurately portraying the clothing of Newport 1777 is that much of the visual primary sources like dated portraiture of New Englanders, so abundant before the Revolution, are very limited in this wartime period. We can look to England, but how much of the new fashions found their way to an occupied Newport is a dif;icult question to answer. However, there is a fair amount of documentation available from the period Just before the Revolution. Using these sources provide a good base for determining an accurate impression of both upper and working class impressions of 1777 Newport. We have written the standards as simply as possible, providing imagery to guide you in the development of your impression of Rhode Islanders under siege in 1777. The standards are divided by class, upper, lower/middlin. Remember when trying to portray a speci;ic date, you can go back, but you cannot go forward in time. Hallie Larkin & Stephanie Smith Larkin & Smith at the Sign of the Golden Scissors N OTES FROM A NEWPORT TAILOR’ S ACCOUNT BOOKS Several years ago, we had the opportunity to spend the day with the account books of James Gould at the Newport Historical Society. The books from 1771-1772 give some interesting data, which is helpful in providing documentation for men’s clothing of pre-war Newport. We know that the tailor was reseating breeches, turning coats, and “ripping and cleaning” coats, suggesting that the fabric was too valuable to throw away when your garment was worn or torn. We are also given clues as to common fabric choices based on some of the clothing being made in this tailor’s shop: Broadcloth was the fabric of choice for many of the well to do men in Newport, especially sea captains.. SuperLine broadcloth for a “Hussah” coat for Captain James Clark in 1772 was listed at 4 1/2 yards at 180/0/0. The making of the cloak was 24/0/0. Other common fabrics/clothing mentioned: Black Lustring Breeches Corduroy Breeches Plush breeches Nankeen waistcoats Camblet coat Coatea of Fusten (sic) Captain Thomas Forister: Making a pair of silk velvet breeches Multiple mentions of Basket Buttons “Hussah" cloaks are being made for ship captains Captain John Earl: Coat and waistcoat of homespun Suit of homespun Josias HaZard a pair of white knit breeches “stript holland for backs of your silk jacket” (waistcoat) M EN’ S CLOTHING U PPER CLASS Coat or frock coat, waistcoat, breeches and shirts are the main garments for upperclass men. Cocked hat, neckcloth or neck stock, sleeve ruf;les, bosom ruf;les, sleeve buttons, watch and toys, and walking sticks are appropriate accessories that add to the overall appearance and impression. Visible seams should be hand-inished, fabrics should be of a quality that suits the level of society portrayed. Wool broadcloth, Manchester velvet, silk taffeta, igured silks are good choices for the main garments of the upper classes as well as solid linen in shades of brown, blue, white and natural are acceptable choices for summer wear. An upper class gentleman would most likely wear a ditto suit (all pieces matching), or matching coat and breeches with an embroidered silk waistcoat, or plain silk satin waistcoat. Details in individual garments should be based upon original artifacts whenever possible. Look for guidance on how to wear your clothing from period prints and portraits. In many prints of the 1770s, upper class men are wearing their own hair, though older gentlemen appear to hang onto their wigs. Neckcloths are tied over the and around the collar, the end folded over and tucked into the waistcoat. Alternatively one can wear a neck stock worn with a bosom ruf;le. Sleeve ruf;les attached to the sleeve cuffs are typical. Small details such as those will add to the overall end product of portraying the upper classes in 1777 Newport, Rhode Island. A CCESSORIES Walking sticks are an appropriate accessory for a gentleman. Make use of your pockets for your personal items. Your servant would be carrying any larger items. C OATS AND JACKETS/WAISTCOATS Coat or frock coat is required. Fitted frock coats have become more fashionable either with a falling collar or without. They are well ;it with tighter sleeves and smaller cuffs than the coats of the 1760’s. Fabric should be suitable for your station and impression. Waistcoats are upper-thigh length cut at an angle either matching coat and breeches (ditto suit) or of silk, plain, embroidered or trimmed. Though note that the front of the waistcoat still covers the the waistband of the breeches and at least half of the fall of the breeches but is itted and the pocket laps are shaped. Frequent use of death’s head buttons, basket buttons or fabric covered buttons are seen. It would not be unusual to see older gentlemen still clinging to earlier fashions with larger cuffs and with coats not quite as itted, along with long straight cut waistcoats. ! Miles Sherbrook 1771 JS Copley. ! Wiliam Paca 1772 MD Historical by CW Peale. John Lathrop by John Durand National Portrait Roger Sherman 1775 Galery c 1770 ! Portrait attributed to John Durand the subject of the owner’s blog post http:// www.antiquesandfineart.com/articles/article.cfm? request=976 ! Gulian Verplank by JC Copley 1772 ! ! This untitled and undated portrait from Antique Associates of West Townsend aaawt.com shows a man who may be a sea captain or ship owner. His style of clothing is consistent with the look one might expect in 1777. What is striking is his waistcoat. There are two mentions in the Newport Tailor’s account books that might help date this fabric choice. In August 1772 for Job Lawton, he provided 2 1/2 yard of spotted ermine. In October of the same year he made an “ermin jacket” (waistcoat) for John Murfey. His neckware is similar to the style worn by John Lathrop in the John Durand portrait - a neck stock with a black silk neckcloth at the base of the neck. ! S HIRTS Long sleeved shirt with a two-or three button collar made of white linen fabric. Cuffs are narrow with full sleeves and delicate sleeve ruf;les. The wristbands would be secured with sleeve buttons. Detail: John Habersham 1722 Humphrey Somers by Theus 1772 (MESDA) Smal rufe at wristband. ! ! N ECKWEAR Linen neckcloths simply wrapped and tucked inside the coat or neck stock and bosom ruf;le. Sometimes worn over the collar, sometimes covering the collar. Henry Benbridge 1772. Neckstock over colar James Habersham by The 1774 with bosom rufe Neck Rufe, Very high stock over colar ! ! James Habersham by Theus 1772. Thomas Heyward, Jr by CW Peale Bosom Rufe with Neckstock covering Colar over neck stock with bosom colar rufe. ! ! B REECHES Breeches are more closely ;it to the leg than in the prior decade and the waistband is covered by the waistcoat. Breeches fronts are fall fronts. Leather breeches are encouraged if portraying an upper class hunting or “undress” impression. Breeches are buckled at the knee. S TOCKINGS Over the knee stockings in silk, cotton or wool. Avoid horizontally striped stockings. White silk is most common for upper class impressions. S HOES Period style shoes with appropriate buckles. H ATS AND HEADWEAR Cocked wool or fur felt hats. W IGS Wigs should be a non-military style unless you are portraying an of;icer. The popular style is that of a single or double curl and a queue. Peyton Randolph 1773 by Wiliam Pratt Lambert Cadwalader 1771 CW Peale Virginia Historical Philadephia Museum of Art ! ! ! Captain Benjamin Beale Quincy, MA Painting owned by Roberts S. Fastov, Esq and described in blog post www.sloansandkenyon.com N OT ACCEPTABLE Fashions of the 1780’s period as they are too fashion forward and didn’t yet exist. Muskets, cartridge boxes, haversacks are also not acceptable. U PPER CLASS WOMEN’ S CLOTHING Open front gown with robings and stomacher, in the English (en fourreau back) or French style (sacque). Gowns worn with stays are the primary choice for upper class impressions. A Brunswick, Joseph, Short Sacque, or Riding Habit would be an appropriate alternative. Fabrics should be documentable to the 1770s or late 60s, in silk, cotton or wool (damask, worsted, or calamanco). Taffetas both striped and plain, Damasks, Figured or brocaded silks were very common. Cotton Prints were worn, but if you choose to wear one, you will will need to document the print to 1777 or earlier. We don’t have a lot of evidence that the ladies of Newport (especially those remaining in an occupied city) were wearing the high fashions being worn by the fashionistas in England in 1777 (speci;ically the polonaise worn with a bumroll). As a result, we would recommend a conservative approach to selecting upper class gown opting for a stomacher front gown with either sleeve ;lounces simple cuffs or puckered cuffs. Mr. & Mrs. Ralph Izard JS Copley 1775 Elizabeth Carr Colonial Wilamsburg c.1774 Elizabeth McClure 1774 CW Peale ! ! Mrs & Mrs. Isaac Winslow JS Copley 1773 Museum of Fine Arts R IDING HABITS Riding habits (non-military style).