Portraying a Philadelphia Woman of Means

Did you know I'm also a certified tour guide as well as a historical novelist? I give tours of Old City Philadelphia and love every minute of it when I'm not writing. A few weeks ago, I was in search of a costume to wear to give walking tours that was different than what the everyday woman might wear in 18th century colonial Pennsylvania. In truth, the idea came from my research years ago on (educated and wealthy) Elizabeth Graeme at Graeme Park, but it was really spurred on when I discovered this beautiful painting created in Philadelphia in the middle of the American Revolution. Pictured is Deborah McClenahan, a Philadelphia woman about to marry Walter Stewart. Walter Stewart was an aide-de-camp to General Horatio Gates during the war and also fought at Brandywine and Germantown. Deborah’s family commissioned Charles Willson Peale to paint this portrait around the time of her marriage to Walter. I was entranced. The glint of the thin strand of pearls through her hair and the peek-a-boo blue ribbon. The rich sheen of her gown. The lace on her dress. The fan in her hand. The blue velvet tasseled sash at her waist. The musical instrument and sheet music at her side. And on her wrists: the most beautiful miniature portraits, held by multi-strand pearl and gold bracelets (perhaps of her husband or husband-to-be and her father?). This original painting is held at the Yale University Art Gallery. Online, you can zoom in and admire the painting in incredible detail at a high resolution. This woman’s attire was a long way from a mob cap or bonnet or apron. I was intrigued by the woman in the painting, and by the thought that she walked the streets of Philadelphia right along with the wives, homemakers, craftswomen, prostitutes, and the less fortunate. (Did she know Elizabeth Graeme? How could she not? Had she met Betsy Ross?) I thought it might be fun to portray a woman of means with my costume, just like Deborah McClenahan Stewart. I didn’t want to spend a fortune in my first attempt. I purchased the items separately: dress, petticoat, wig, fan, gloves. I had some hits and misses. I had to buy a new wig when the first one was too small but I didn’t realize until I was out giving a 2-hour tour and it was cutting into my head. At 5’4” I had to cut the petticoat length to fit (no small task with four layers – pieces of white netting were skittering across the floor for days) and the dress I had to have professionally hemmed, which cost twice the price of the dress. I’m still tinkering: I think I’ll probably swap the white wig for a brown one. I also added a necklace my husband gifted me from the Museum of the American Revolution that says, “No Stamp Act” reminiscent of script on white porcelain. When complete, the outfit was surprisingly comfortable. So far the reaction has been positive. The people on my tours love it. I get asked for a lot of photos (from people not in my group) and others wave and point and smile. In general, it’s just fun. My second costume, currently in progress, will be of an everyday woman (staymaker? seamstress? mother? baker?) in a simple plain gown and cap. I’ll enjoy flipping between the two and telling both stories. Lots of different types of women from different socioeconomic backgrounds were part of revolutionary Philadelphia; it’s satisfying (and meaningful) to include all of them. If you're in Philly and see me out, please say hello!