Clothing & Accessories

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.

Patricia Hawley decorated and wore this hat while serving as a Wisconsin delegate to the 1996 Democratic National Convention in Chicago, Illinois. The hat is an official "cheesehead" manufactured by Foamation Inc. in Milwaukee, Wisconsin.
Description
Patricia Hawley decorated and wore this hat while serving as a Wisconsin delegate to the 1996 Democratic National Convention in Chicago, Illinois. The hat is an official "cheesehead" manufactured by Foamation Inc. in Milwaukee, Wisconsin. Before arriving at the Chicago convention, Hawley collected the bumper stickers from earlier political events and purchased the pinwheel at the Ford Pharmacy in Appleton, Wisconsin.
It is not known when delegates began the tradition of decorating their hats at political conventions. Over time, delegates' decorations have become more elaborate assemblages. These creations are often statements of a party loyalty, emblematic of a particular cause, or, as was the case of this cheese hat, expressions of local pride. Most are meant to be fun and a celebration of individual participation in the political process.
Location
Currently not on view
date made
1996
associated dates
1996-08-11-1996-08-16
1996-08-24-1996-08-30
described
Clinton, Bill
Gore, Jr., Albert A.
ID Number
1996.0311.01
catalog number
1996.0311.01
accession number
1996.0311
This is a black cotton Nike t-shirt emblazoned with the “Just Do It” slogan in yellow and “Nike” with the “swoosh” underneath it in pink.
Description
This is a black cotton Nike t-shirt emblazoned with the “Just Do It” slogan in yellow and “Nike” with the “swoosh” underneath it in pink. The Nike “swoosh” became the trademark of the brand in the early 1970s, while “Just Do It” was first used during a 1988 ad campaign.
Nike was founded in 1964 as Blue Ribbon Sports. Bill Bowerman, a track and field coach for the University of Oregon, and Phil Knight, a former student athlete of Bowerman’s, formed the company to distribute athletic shoes from a Japanese company. In 1971, the name was changed to Nike and the company changed from being a distributor of shoes to manufacturing and selling their own shoes. Nike debuted with the iconic “swoosh” logo in 1972, just in time for the U.S. Track and Field trials.
Location
Currently not on view
date made
1988-1990
maker
Nike, Inc.
ID Number
1995.0085.002
accession number
1995.0085
catalog number
1995.0085.2
Currently not on view
Location
Currently not on view
date made
1990s
ID Number
2011.0160.01
catalog number
2011.0160.01
accession number
2011.0160
This Thai passport was seized in the well-publicized 1995 El Monte, Calif., sweatshop raid.
Description
This Thai passport was seized in the well-publicized 1995 El Monte, Calif., sweatshop raid. The passport is part of a larger Smithsonian collection of artifacts documenting apparel industry sweatshops, focusing on the El Monte operation (72 workers were discovered working as slaves). With a legitimate U.S. visa, the passport looks official. In fact, the El Monte operators doctored a real passport, inserting a new photo into someone else's document, in order to smuggle workers into the country.
Recruited from Thailand, the El Monte workers were tricked into accepting employment by misrepresentations of their future working and living conditions. They were told they would sew in a clean factory, receive good pay, and have the weekends off. They were even shown photographs of company parties and outings to Disneyland. After signing contracts (indenture agreements) committing themselves to repay 120,000 baht (about $5,000 in 1997 dollars), they were smuggled into the United States on fraudulent passports.
On arrival, the sweatshop operators confiscated the passports and the workers were forced to sew 18 hours a day seven days a week. The debt, a guard force, and threats of physical harm to the workers and their families in Thailand discouraged them from escaping. Although the physical confinement of the work force was unusual, many aspects of the business, such as recruiting and smuggling workers, are relatively common. Less enslaving forms of debt peonage occur surprisingly often in some Asian immigrant communities.
Sweatshops occur in many sectors of manufacturing, but are most often associated with the garment industry. While garments are designed and marketed through big name companies, assembly is often left to contract and sub-contract operations. In these small shops, where profits are razor thin and competition is excessive, abuses are rampant.
date made
1992
ID Number
1997.0268.01
accession number
1997.0268
catalog number
1997.0268.01
Currently not on view
Location
Currently not on view
date made
1990s
ID Number
2011.0160.02
catalog number
2011.0160.02
accession number
2011.0160
In the 1970s, garment unions represented about 850,000 workers out of a total industry work force of 1.3 million. Membership declined rapidly as businesses moved offshore and into the non-union South and Southwest.
Description
In the 1970s, garment unions represented about 850,000 workers out of a total industry work force of 1.3 million. Membership declined rapidly as businesses moved offshore and into the non-union South and Southwest. In 1995, garment unions with a combined membership of about 335,000 merged to form the Union of Needletrades, Industrial & Textile Employees (UNITE). Organizing new workers has been a major priority.
Location
Currently not on view
associated dates
1995 / 1995
maker
Union of Needletrades, Industrial and Textile Employees
ID Number
1995.0223.11
catalog number
1995.0223.11
accession number
1995.0223
Currently not on view
Location
Currently not on view
date made
c. 2001
c. 1995
ID Number
2009.0172.002
accession number
2009.0172
catalog number
2009.0172.002
Hector Aguilar, trusted journalist and senior anchor at WNJU in New Jersey wore this jacket. Aguilar, a Cuban refugee who migrated to the United States in the 1960s, worked in broadcasting from an early age and made a career in radio and television.
Description
Hector Aguilar, trusted journalist and senior anchor at WNJU in New Jersey wore this jacket. Aguilar, a Cuban refugee who migrated to the United States in the 1960s, worked in broadcasting from an early age and made a career in radio and television. He chose stylish but formal clothing to signal his respect for the news and his audiences; he took both seriously and became a respected personality that viewers turned to for the news.
His daughter, Margarita Aguilar noted that he was “very fashion conscious and liked fabrics like tweed, pure wools and other natural fibers. He also admired great tailoring and fine design. He never wore a suit but well-tailored jackets such as this one ... with made-to-order pants from his tailor.”
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Héctor Aguilar, periodista de renombre y presentador principal de WNJU en Nueva Jersey uso esta chaqueta. Aguilar, refugiado cubano que emigró a Estados Unidos en la década de 1960, comenzó a trabajar en radiodifusión desde temprana edad e hizo carrera en la radio y la televisión. Eligió ropa elegante y formal, para manifestar respeto por las noticias y por su audiencia; se dedicó con seriedad a ambos y se convirtió en una personalidad respetada a la que los espectadores acudían para mantenerse informados.
Su hija, Margarita Aguilar, señaló que él era “muy consciente de la moda y le gustaban las telas como tweed, las lanas puras y otras fibras naturales. También admiraba la gran sastrería y el diseño fino. Nunca vestía de traje, pero sí usaba chaquetas bien confeccionadas como esta ... con pantalones hechos a medida por su sastre ".
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date made
ca mid-1990s
1992 - 1996
ID Number
2017.0252.01
catalog number
2017.0252.01
accession number
2017.0252
Currently not on view
Location
Currently not on view
date made
c. 1990-1995
ca 1990-1995
ID Number
2009.0177.01
accession number
2009.0177
catalog number
2009.0177.01
Currently not on view
Location
Currently not on view
date made
c. 1995
ID Number
2009.0175.01
accession number
2009.0175
catalog number
2009.0175.01
This sleeveless T–shirt depicts some of the biotechnology firms of “Biotech Beach” (the San Diego area) in 1993. It was created by artist Terry Guyer for Synergistic Designs, a promotional media publisher.For more information, see object 1994.3092.01.Currently not on view
Description (Brief)
This sleeveless T–shirt depicts some of the biotechnology firms of “Biotech Beach” (the San Diego area) in 1993. It was created by artist Terry Guyer for Synergistic Designs, a promotional media publisher.
For more information, see object 1994.3092.01.
Location
Currently not on view
date made
1993
maker
Synergistic Designs
ID Number
1994.3092.06
catalog number
1994.3092.06
nonaccession number
1994.3092
Currently not on view
Location
Currently not on view
Date made
1990
referenced
Bush, George, H. W.
Berrigan, Phil
ID Number
2003.0317.127
catalog number
2003.0317.127
accession number
2003.0317
One of the most distinctive comediennes of her generation, Carol Channing (b. 1921) catapulted to stardom as the baby-voiced heroine of the musical Gentlemen Prefer Blondes(1949). Nearly two decades later, her performance as the resourceful Dolly Gallagher Levi in Hello, Dolly!
Description
One of the most distinctive comediennes of her generation, Carol Channing (b. 1921) catapulted to stardom as the baby-voiced heroine of the musical Gentlemen Prefer Blondes(1949). Nearly two decades later, her performance as the resourceful Dolly Gallagher Levi in Hello, Dolly! (1964) reaffirmed her standing as a theatrical superstar. Her return to the role of Dolly in various revivals of the show has made the part undoubtedly hers. This red satin, sequin-bedecked costume, designed by Freddy Wittop, was worn by Channing in the vibrant production number built around the show's title song.
Location
Currently not on view
Date made
1994
wearer
Channing, Carol
maker
Grace Costumes
designer
Wittop, Freddy
ID Number
1997.0232.01
accession number
1997.0232
catalog number
2002.0232.27
On a memorable episode of Seinfeld (NBC, 1989-98), comedian Jerry Seinfeld unwittingly agreed to wear this frilly "pirate shirt" during an appearance on the Today show.The popular series, famously described as a show "about nothing," reveled in the absurd situations that emerged
Description
On a memorable episode of Seinfeld (NBC, 1989-98), comedian Jerry Seinfeld unwittingly agreed to wear this frilly "pirate shirt" during an appearance on the Today show.
The popular series, famously described as a show "about nothing," reveled in the absurd situations that emerged from the everyday lives of its four main characters: Jerry, George, Elaine, and Kramer. The "puffy shirt" episode, originally broadcast September 23, 1993, was written by Seinfeld cocreator Larry David.
Location
Currently not on view
date made
1993
user
Seinfeld, Jerry
ID Number
2004.0245.01
accession number
2004.0245
catalog number
2004.0245.01
This T–shirt depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1991.
Description (Brief)
This T–shirt depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1991. It was customized to highlight one of the firms, Genentech, with an orange star over the Genentech campus, the Genentech logo on the sleeve, and the slogan “Success is in our genes” on the back. The original image was created by artist Kat Wilson for Synergistic Designs, a promotional media publisher.
For more information, see object 1994.3092.01.
Location
Currently not on view
date made
1991
maker
Synergistic Designs
ID Number
1994.3092.05
catalog number
1994.3092.05
nonaccession number
1994.3092
This T–shirt depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1994. The image was created by an artist for Synergistic Designs, a promotional media publisher.For more information, see object 1994.3092.01.Currently not on view
Description (Brief)
This T–shirt depicts some of the biotechnology firms of “Biotech Bay” (the San Francisco Bay area) in 1994. The image was created by an artist for Synergistic Designs, a promotional media publisher.
For more information, see object 1994.3092.01.
Location
Currently not on view
date made
1994
maker
Synergistic Designs
ID Number
1994.3092.07
catalog number
1994.3092.07
nonaccession number
1994.3092
The Healthy Harvest Society is a clearinghouse for information about organizations, groups, and individuals in the fields of sustainable agriculture and horticulture. It publishes a yearly directory and a geographical index of resources.
Description
The Healthy Harvest Society is a clearinghouse for information about organizations, groups, and individuals in the fields of sustainable agriculture and horticulture. It publishes a yearly directory and a geographical index of resources. The Society produced this button for the 20th anniversary of Earth Day, held in 1990.
Location
Currently not on view
Date made
1990
maker
Adspecs Inc.
ID Number
1992.3134.043
catalog number
1992.3134.043
nonaccession number
1992.3134
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa.
Description
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa. He travelled to Colombia, Puerto Rico, and the US to work on telenovelas and movies. Eventually he was offered a job to join Univision in Los Angeles to work on daytime television after several years he left for Telemundo. In addition to his career in television and movies, he also developed a career as a recording artist. He became so well known that he was often asked to perform in festivals and celebrations, appearing in traditional Mexican charro attire for these events. Gazcón chronicled his experience through his scrapbook, which is in the National Museum of American History's Archives Center.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
El actor y animador Edgardo Gazcón usó este ceñidor, o faja, durante su carrera de cantante entre 1990 y 2000 en actuaciones en toda América del Norte, incluyendo el Concierto en la Plaza Mayor de la Ciudad de México, la Fiesta de Broadway en Los Ángeles (una celebración anual del Cinco de Mayo que se realiza desde 1990 en el centro de Los Ángeles), la Ciudad de Nueva York y San Diego, entre otras. En particular, lo usó en un concierto en el Grant Park de Chicago, IL en la década de 1990.
Edgardo Gazcón creció en el seno de una familia de artistas y productores de cine, en México. Después de completar su licenciatura y maestría en la Ciudad de México, se sintió atraído por la televisión y trabajó como actor en telenovelas producidas por Televisa. Viajó a Colombia, Puerto Rico y Estados Unidos para trabajar en telenovelas y películas. Más adelante, le ofrecieron un trabajo en Univision en Los Ángeles para participar en programas diurnos; después de varios años se pasó a Telemundo. Además de su carrera en televisión y cine, también desarrolló una carrera como artista de grabaciones. Se hizo tan conocido que a menudo se le pedía que actuara en festivales y celebraciones, presentándose a estos eventos con el atuendo tradicional de charro mexicano. Gazcón registró sus experiencias en este álbum de recortes.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date made
ca 1990s
dates used
1990-2000
ID Number
2017.0340.03
catalog number
2017.0340.03
accession number
2017.0340
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa.
Description
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa. He travelled to Colombia, Puerto Rico, and the US to work on telenovelas and movies. Eventually he was offered a job to join Univision in Los Angeles to work on daytime television after several years he left for Telemundo. In addition to his career in television and movies, he also developed a career as a recording artist. He became so well known that he was often asked to perform in festivals and celebrations, appearing in traditional Mexican charro attire for these events. Gazcón chronicled his experience through his scrapbook, which is in the National Museum of American History's Archives Center.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Utilizada durante su carrera de cantante entre 1990 y 2000 en actuaciones en toda América del Norte, incluyendo el Concierto en la Plaza Mayor de la Ciudad de México, la Fiesta de Broadway en Los Ángeles (una celebración anual del Cinco de Mayo que se realiza desde 1990 en el centro de Los Ángeles), la Ciudad de Nueva York y San Diego, entre otras.
Edgardo Gazcón creció en el seno de una familia de artistas y productores de cine en México. Después de completar su licenciatura y maestría en la Ciudad de México, se sintió atraído por la televisión y trabajó como actor en telenovelas producidas por Televisa. Viajó a Colombia, Puerto Rico y Estados Unidos para trabajar en telenovelas y películas. Más adelante, le ofrecieron un trabajo en Univision en Los Ángeles para participar en programas diurnos; después de varios años se pasó a Telemundo. Además de su carrera en televisión y cine, también desarrolló una carrera como artista de grabaciones. Era tan reconocido que a menudo se le pedía que participara en festivales y celebraciones, presentándose a estos eventos con el atuendo tradicional de charro mexicano. Gazcón registró sus experiencias en un álbum de recortes, que se encuentra en el Centro de Archivos del Museo Nacional de Historia Americana.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date made
ca 1990s
dates used
1990-2000
ID Number
2017.0340.04
catalog number
2017.0340.04
accession number
2017.0340
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa.
Description
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa. He travelled to Colombia, Puerto Rico, and the US to work on telenovelas and movies. Eventually he was offered a job to join Univision in Los Angeles to work on daytime television after several years he left for Telemundo. In addition to his career in television and movies, he also developed a career as a recording artist. He became so well known that he was often asked to perform in festivals and celebrations, appearing in traditional Mexican charro attire for these events. Gazcón chronicled his experience through his scrapbook, which is in the National Museum of American History's Archives Center.
Moño is a Mexican-Spanish term for a bow tie and is part of a mariachi’s outfit. Used during Edgardo Gazcón’s singing career from 1990-2000 at performances throughout North America, including Mexico City Main Square Concert, Fiesta Broadway Los Angeles (since 1990 an annual celebration of Cinco de Mayo in downtown Los Angeles), New York City, San Diego, and more. Gazcón wears this specific mono on the 1995 album cover Arena y Mar (Sand and Sea).
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Edgardo Gazcón creció en el seno de una familia de artistas y productores de cine en México. Después de completar su licenciatura y maestría en la Ciudad de México, se sintió atraído por la televisión y trabajó como actor en telenovelas producidas por Televisa. Viajó a Colombia, Puerto Rico y Estados Unidos para trabajar en telenovelas y películas. Más adelante, le ofrecieron un trabajo en Univision en Los Ángeles para participar en programas diurnos; después de varios años se pasó a Telemundo. Además de su carrera en televisión y cine, también desarrolló una carrera como artista de grabaciones. Era tan reconocido que a menudo se le pedía que participara en festivales y celebraciones, presentándose a estos eventos con el atuendo tradicional de charro mexicano. Gazcón registró sus experiencias en un álbum de recortes, que se encuentra en el Centro de Archivos del Museo Nacional de Historia Americana.
Moño es un término mexicano para referirse a una pajarita y forma parte del atuendo de mariachi. Utilizado por Edgardo Gazcón durante su carrera de cantante entre 1990 y 2000 en actuaciones en toda América del Norte, incluyendo el Concierto en la Plaza Mayor de la Ciudad de México, la Fiesta de Broadway en Los Ángeles (una celebración anual del Cinco de Mayo que se realiza desde 1990 en el centro de Los Ángeles), la Ciudad de Nueva York y San Diego, entre otras. Gazcón luce este moño en la portada del disco de 1995 Arena y Mar.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date worn
1995
dates used, likely
1990-2000
ID Number
2017.0340.06
catalog number
2017.0340.06
accession number
2017.0340
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa.
Description
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa. He travelled to Colombia, Puerto Rico, and the US to work on telenovelas and movies. Eventually he was offered a job to join Univision in Los Angeles to work on daytime television after several years he left for Telemundo. In addition to his career in television and movies, he also developed a career as a recording artist. He became so well known that he was often asked to perform in festivals and celebrations, appearing in traditional Mexican charro attire for these events. Gazcón chronicled his experience through his scrapbook, which is in the National Museum of American History's Archives Center.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Este moño charro fue utilizado Edgardo Gazcón durante su carrera de cantante entre 1990 y 2000 en actuaciones en toda América del Norte, incluyendo el Concierto en la Plaza Mayor de la Ciudad de México que se lleva a cabo el Cinco de Mayo en el centro de Los Ángeles, Nueva York y San Diego, entre otras.
Edgardo Gazcón creció en el seno de una familia de artistas y productores de cine en México. Después de completar su licenciatura y maestría en la Ciudad de México, se sintió atraído por la televisión y trabajó como actor en telenovelas producidas por Televisa. Viajó a Colombia, Puerto Rico y Estados Unidos para trabajar en telenovelas y películas. Más adelante, le ofrecieron un trabajo en Univision en Los Ángeles para participar en programas diurnos; después de varios años se pasó a Telemundo. Además de su carrera en televisión y cine, también desarrolló una carrera como artista de grabaciones. Era tan reconocido que a menudo se le pedía que participara en festivales y celebraciones, presentándose a estos eventos con el atuendo tradicional de charro mexicano. Gazcón registró sus experiencias en un álbum de recortes, que se encuentra en el Centro de Archivos del Museo Nacional de Historia Americana.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date made
ca 1990s
dates used
1990-2000
ID Number
2017.0340.05
catalog number
2017.0340.05
accession number
2017.0340
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa.
Description
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa. He travelled to Colombia, Puerto Rico, and the US to work on telenovelas and movies. Eventually he was offered a job to join Univision in Los Angeles to work on daytime television after several years he left for Telemundo. In addition to his career in television and movies, he also developed a career as a recording artist. He became so well known that he was often asked to perform in festivals and celebrations, appearing in traditional Mexican charro attire for these events. Gazcón chronicled his experience through his scrapbook, which is in the National Museum of American History's Archives Center.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Edgardo Gazcón creció en el seno de una familia de artistas y productores de cine en México. Después de completar su licenciatura y maestría en la Ciudad de México, se sintió atraído por la televisión y trabajó como actor en telenovelas producidas por Televisa. Viajó a Colombia, Puerto Rico y Estados Unidos para trabajar en telenovelas y películas. Más adelante, le ofrecieron un trabajo en Univision en Los Ángeles para participar en programas diurnos; después de varios años se pasó a Telemundo. Además de su carrera en televisión y cine, también desarrolló una carrera como artista de grabaciones. Se hizo tan conocido que a menudo se le pedía que actuara en festivales y celebraciones, presentándose a estos eventos con el atuendo tradicional de charro mexicano. Gazcón registró sus experiencias en un álbum de recortes, que se encuentra en el Centro de Archivos del Museo Nacional de Historia Americana.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date made
ca 1990
date used
1990-09-15
dates used
1990-2000
ID Number
2017.0340.01
catalog number
2017.0340.01
accession number
2017.0340
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa.
Description
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa. He travelled to Colombia, Puerto Rico, and the US to work on telenovelas and movies. Eventually he was offered a job to join Univision in Los Angeles to work on daytime television after several years he left for Telemundo. In addition to his career in television and movies, he also developed a career as a recording artist. He became so well known that he was often asked to perform in festivals and celebrations, appearing in traditional Mexican charro attire for these events. Gazcón chronicled his experience through his scrapbook, which is in the National Museum of American History's Archives Center.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Edgardo Gazcón creció en el seno de una familia de artistas y productores de cine en México. Después de completar su licenciatura y maestría en la Ciudad de México, se sintió atraído por la televisión y trabajó como actor en telenovelas producidas por Televisa. Viajó a Colombia, Puerto Rico y Estados Unidos para trabajar en telenovelas y películas. Más adelante, le ofrecieron un trabajo en Univision en Los Ángeles para participar en programas diurnos; después de varios años se pasó a Telemundo. Además de su carrera en televisión y cine, también desarrolló una carrera como artista de grabaciones. Era tan reconocido que a menudo se le pedía que participara en festivales y celebraciones, presentándose a estos eventos con el atuendo tradicional de charro mexicano. Gazcón registró sus experiencias en un álbum de recortes, que se encuentra en el Centro de Archivos del Museo Nacional de Historia Americana.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date made
ca 1990s
dates worn
1990-2000
ID Number
2017.0340.07
catalog number
2017.0340.07
accession number
2017.0340
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa.
Description
Edgardo Gazcón was born into a family of cinema entertainers and producers in Mexico. After completing his BA and MA in Mexico City, he was drawn to television and worked as an actor on telenovelas produced by Televisa. He travelled to Colombia, Puerto Rico, and the US to work on telenovelas and movies. Eventually he was offered a job to join Univision in Los Angeles to work on daytime television after several years he left for Telemundo. In addition to his career in television and movies, he also developed a career as a recording artist. He became so well known that he was often asked to perform in festivals and celebrations, appearing in traditional Mexican charro attire for these events. Gazcón chronicled his experience through his scrapbook, which is in the National Museum of American History's Archives Center.
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
Edgardo Gazcón creció en el seno de una familia de artistas y productores de cine en México. Después de completar su licenciatura y maestría en la Ciudad de México, se sintió atraído por la televisión y trabajó como actor en telenovelas producidas por Televisa. Viajó a Colombia, Puerto Rico y Estados Unidos para trabajar en telenovelas y películas. Más adelante, le ofrecieron un trabajo en Univision en Los Ángeles para participar en programas diurnos; después de varios años se pasó a Telemundo. Además de su carrera en televisión y cine, también desarrolló una carrera como artista de grabaciones. Era tan reconocido que a menudo se le pedía que participara en festivales y celebraciones, presentándose a estos eventos con el atuendo tradicional de charro mexicano. Gazcón documento sus experiencias en un álbum de recortes, que se encuentra en el Centro de Archivos del Museo Nacional de Historia Americana.
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Location
Currently not on view
date made
ca 1990
date worn
1990-09-15
date used
1990-2000
ID Number
2017.0340.02
catalog number
2017.0340.02
accession number
2017.0340

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