Clothing & Accessories - Overview
Work, play, fashion, economic class, religious faith, even politics—all these aspects of American life and more are woven into clothing. The Museum cares for one of the nation's foremost collections of men's, women's, and children's garments and accessories—from wedding gowns and military uniforms to Halloween costumes and bathing suits.
The collections include work uniforms, academic gowns, clothing of presidents and first ladies, T-shirts bearing protest slogans, and a clean-room "bunny suit" from a manufacturer of computer microchips. Beyond garments, the collections encompass jewelry, handbags, hair dryers, dress forms, hatboxes, suitcases, salesmen's samples, and thousands of fashion prints, photographs, and original illustrations. The more than 30,000 artifacts here represent the changing appearance of Americans from the 1700s to the present day.
"Clothing & Accessories - Overview" showing 13 items.
Page 1 of 2
Fire Helmet, "Trenton Hose Co. 1 EW"
- Description
- The traditional American leather firefighter’s helmet with its distinctive long rear brim, front shield, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and front shield were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
- Though most work hats from 1836 on were shaped in the familiar Gratacap style with a prominent rear brim, some companies like Trenton wore hats that deviated from this standard. This leather fire helmet was made by Cairns & Brother of New York, New York around 1840. Reminiscent of British “bobby” or pith helmets this helmet has a rounded “bowl” shape. The helmet is painted white overall, with eight combs painted gold and a black diamond pattern painted in between the combs. It has a metal eagle shield holder, and a leather shield that reads "Trenton 1 Hose Co./THC/EW.” The interlocking “THC” initials in the center of the shield stand for the “Trenton Hose Company.”
- Location
- Currently not on view
- date made
- 1840
- maker
- Cairns & Brother
- ID Number
- 2005.0233.0193
- catalog number
- 2005.0233.0193
- accession number
- 2005.0233
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Fire Helmet, "Continental V.V.B. 1"
- Description
- The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
- This leather fire helmet was made by Cairns & Brother in New York, New York around 1845. The helmet has eight combs and is painted black with a pressed ivy-vine design around the rim. The frontpiece is painted black, with the white number “1” with a hook and ladder crossed behind it in the center. On red banners above and below the center is the text “CONTINENTAL/VVB” in raised white letters. The name Baufuskirk appears on a piece of paper inside the hat, possibly the owner’s last name.
- Location
- Currently not on view
- date made
- 1845
- producer
- Cairns & Brother
- maker
- Cairns & Brother
- ID Number
- 2005.0233.0148
- accession number
- 2005.0233
- catalog number
- 2005.0233.0148
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Fire Helmet, "Engine 5 L.F.D."
- Description
- The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
- This leather fire hat was made by Cairns & Brother of New York, New York around 1849. The helmet is painted black with eight combs and decorative embossed scrollwork around the helmet’s brim. The helmet’s frontpiece is painted black and originally read “ENGINE/5/LFD,” but some letters are missing. The helmet once had a metal frontpiece holder at the front, which is now missing.
- Location
- Currently not on view
- date made
- 1849
- producer
- Cairns & Brother
- maker
- Cairns & Brother
- ID Number
- 2005.0233.0152
- accession number
- 2005.0233
- catalog number
- 2005.0233.0152
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Fire Helmet, "N.Y. Volunteer Association"
- Description
- The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
- This leather fire helmet was made by Anderson & Jones of New York, New York around 1845. The black helmet has an embossed ivy-vine design around the helmet’s brim. The helmet has 32 combs and a metal eagle frontpiece holder attached to its crown. The black leather frontpiece has a central image of a speaking trumpet topped by a fire helmet, with a variety of firefighting paraphernalia including hoses, hooks, and axes behind it. The frontpiece reads “N.Y./VOLUNTEER/ASSOCIATION/HKW” around the central image. On the rear underbrim is an inset that bears the text “Presented to/H.K. Woodruff by/ G.J.D. M.S.D.V./M.L. J.E.M./P.S.D.V.” This hat was presented to H.K. Woodruff, a volunteer firefight formerly of the Independent Hose Company No. 3, upon the organization of the New York Volunteer Firemen’s Association. The Firemen’s Association was organized in February of 1884 and was filled with ex-volunteer firemen who wished to keep the memory of volunteer firefighting alive after the creation of the paid fire department in New York.
- Location
- Currently not on view
- date made
- 1845
- maker
- Anderson & Jones
- Anderson & Jones
- ID Number
- 2005.0233.0160
- accession number
- 2005.0233
- catalog number
- 2005.0233.0160
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Fire Helmet, "Ladder No. 5 / L.F.D."
- Description
- The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
- This leather fire helmet was possibly made by Cairns & Brother of New York, New York in the middle of the 19th century. The hat is painted black with eight combs, but lacks the metal eagle frontpiece holder prevalent in most of the 19th century fire helmets. The black leather frontpiece originally read “LADDER/5/LFD” in raised red letters, but the “L” and “D” are missing from the bottom banner.
- Location
- Currently not on view
- date made
- 1849
- maker
- unknown
- ID Number
- 2005.0233.0168
- accession number
- 2005.0233
- catalog number
- 2005.0233.0168
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Which of Us Will You Marry?
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class, and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This colored print is a half portrait of two women,one with dark hair and brown eyes, the other with light hair and blue eyes. The hair on both women is parted in the center with ringlets. The darker haired woman has a flower in her hair and wears a heart pendant on a necklace. There is a plain background.
- The print was produced by Sarony & Major. Napoleon Sarony (1821–1896) was born in Quebec and trained under several lithography firms including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, eventually developing a cabinet-sized camera. In 1846, Sarony partnered with another former apprentice of Nathaniel Currier, Henry B. Major and created Sarony & Major Lithography firm. Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Unfortunately, by the 1870s, the firm shifted focus to the more profitable area of advertising. It also expanded to become the conglomerate known as the American Lithographic Company, successfully producing calendars, advertising cards and posters. In 1930 they were bought out by Consolidated Graphics.
- Location
- Currently not on view
- date made
- 1846
- maker
- Sarony & Major
- ID Number
- DL*60.2250
- catalog number
- 60.2250
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
The Soldier's Return
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This colored print is a full length portrait of a man and woman standing, outdoors, with arms about each other. A riderless horse is tied to the wrought iron fence in background. The man is dressed in a blue military uniform with gold trim and epaulets and a belt buckle marked "US." The woman is in a simple dress, wearing a portrait miniature that hangs from a chain around her neck. A portion of the house is in the background. This is a companion print to "Soldier's Adieu."
- This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
- Location
- Currently not on view
- date made
- 1847
- maker
- Baillie, James S.
- ID Number
- DL*60.2254
- catalog number
- 60.2254
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Burns and Highland Mary
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class, and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This colored print is a rustic outdoor scene of man and woman seated and cuddling in a romantic, intimate pose. The man is dressed in knee socks, tight knee britches, short jacket, shirt, ascot and beret. The woman wears a long dress, plaid shawl, ribbon and bow in hair. A women's hat lies at their feet. The title and prose refer to a longer popular poem by Scottish poet Robert Burns (1759-1796) entitled Highland Mary. A similar image was created a year after this print by Currier & Ives and colored by Sarony & Major.
- The print was produced by Sarony & Major. Napoleon Sarony (1821–1896) was born in Quebec and trained under several lithography firms including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, eventually developing a cabinet-sized camera. In 1846, Sarony partnered with another former apprentice of Nathaniel Currier, Henry B. Major and created Sarony & Major Lithography firm. Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Unfortunately, by the 1870s, the firm shifted focus to the more profitable area of advertising. It also expanded to become the conglomerate known as the American Lithographic Company, successfully producing calendars, advertising cards, and posters. In 1930 they were bought out by Consolidated Graphics.
- Location
- Currently not on view
- date made
- 1846
- maker
- Sarony & Major
- ID Number
- DL*60.2267
- catalog number
- 60.2267
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Popping the Question
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This colored print is a three-quarter length portrait of man and woman seated indoors. The woman is dressd in a long dress with lace trim, gloves, and a jewel on her forehead. The gentleman wears a dress coat and plaid trousers. Room furnishings include: an ornate table and side chairs,an open jewelry box and vase on a table and a guitar under table. Fancy lace curtains, draperies, and a carved mirror decorate the room.
- The print was produced by Sarony & Major. Napoleon Sarony (1821–1896) was born in Quebec and trained under several lithography firms including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, eventually developing a cabinet-sized camera. In 1846, Sarony partnered with another former apprentice of Nathaniel Currier, Henry B. Major and created Sarony & Major Lithography firm. Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Unfortunately, by the 1870s, the firm shifted focus to the more profitable area of advertising. It also expanded to become the conglomerate known as the American Lithographic Company, successfully producing calendars, advertising cards and posters. In 1930 they were bought out by Consolidated Graphics.
- Location
- Currently not on view
- date made
- 1846
- maker
- Sarony & Major
- ID Number
- DL*60.2277
- catalog number
- 60.2277
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Soldier's Adieu
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This colored print is a full length portrait of a man and woman standing, outdoors, with their arms about each other. In the background, a soldier on horseback awaits, holding the reins of a riderless horse. The man is dressed in a blue military uniform with gold trim and epaulets, belt buckle marked "US," and holding a plumed hat. The woman is in a simple dress, holding a portrait miniature that hangs from a chain around her neck. The miniature is indistict but could be of the solier or possibly the artist. A portion of the house and wrought iron fence are in the background. This is a companion picture to "Soldier's Return."
- This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
- Location
- Currently not on view
- date made
- 1847
- maker
- Baillie, James S.
- ID Number
- DL*60.2253
- catalog number
- 60.2253
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center