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.

General HistoryThe uniform of the 5th New York Volunteer Infantry (Duryée's Zouaves), 1861, consisted of a distinctive jacket, vest, sash, baggy trousers, and fez.
Description
General History
The uniform of the 5th New York Volunteer Infantry (Duryée's Zouaves), 1861, consisted of a distinctive jacket, vest, sash, baggy trousers, and fez. The Zouave uniform adopted on both sides by many volunteer units during the first year of the Civil War was based on that of the elite Zouave battalion of the French Army, whose dashing appearance matched its fighting abilities. In their turn, the French Zouaves modeled their uniform and drill after the native dress and fearless tactics of their former Algerian opponents, encountered in the course of the colonial war of the 1830s.
ID Number
AF.24954.01
accession number
64127
catalog number
24954.01
This evening dress, made of yellow-green silk satin, with princess-style seams, has a very full skirt, measuring 409-1/2 inches around the hem edge. The gown's pleated portrait collar and short sleeves were cut all-in-one with the upper bodice panel.
Description
This evening dress, made of yellow-green silk satin, with princess-style seams, has a very full skirt, measuring 409-1/2 inches around the hem edge. The gown's pleated portrait collar and short sleeves were cut all-in-one with the upper bodice panel. A separate self-fabric belt with rhinestone buckle encircles the waist. A "Hattie Carnegie Original" designer's label is sewn on an inside skirt seam.
Hattie Carnegie, one of a few female entrepreneurs in the early to mid-20th century, was born Henrietta Kanengeiser in Vienna, Austria, in 1886. She came to the United States in 1892. Her first job was as a messenger, sometime milliner, and model in Macy's department store. She decided to change her name and chose the surname of the richest man in the country, Andrew Carnegie, to reflect her ambitions. With determination and an innate sense for style and business, she became a symbol of taste and high fashion to many Americans.
From the very beginning her wholesale and retail establishments attracted the wealthy. She opened her first shop, "Carnegie—Ladies' Hatter" in 1909, making and selling custom-made dresses and hats. As her business grew, she established her own wholesale house, which manufactured clothing with her label and sold in select stores. Well-known designers such as Claire McCardell and Norman Norell began their careers designing for her. By 1945, her shop on 49th Street in New York had added more departments, including American and French designs and accessories for "smart" dressing.
This dress was worn by the donor, Mrs. Morehead Patterson, nee Margaret Tilt, the daughter of Charles A. Tilt of Chicago's Diamond T. Motor Car. She was at one time married to Moorehead Patterson, CEO of the American Foundry Machine Company (AMF), New York City.
Location
Currently not on view
Date made
1948-1949
used by
Patterson, Mrs. Morehead
maker
Carnegie, Hattie
designer
Carnegie, Hattie
ID Number
CS.248146.006
catalog number
248146.006
accession number
248146
There is no information as to who wore this dress designed by Adele Simpson. The Washington Fashion Group, a chapter of the Fashion Group International, donated this dress to the Smithsonian Institution in 1975.
Description
There is no information as to who wore this dress designed by Adele Simpson. The Washington Fashion Group, a chapter of the Fashion Group International, donated this dress to the Smithsonian Institution in 1975. This association of women executives began in 1931 at the insistence of a few prominent women in the fashion industry who wanted to promote more careers for women in the fashion business.
Adele Simpson, who was born in New York in 1905, created ready-made clothes for the sophisticated, yet conservative, American woman. She was one of the founders of the Fashion Group International and the Council of Fashion Designers of America. By 1924, she was one of the highest paid designers in the fashion industry, but her name was not known to the general public. At that time, manufacturers only put their name, not the designer’s, on their labels. When Ms. Simpson purchased Mary Lee, Inc. in 1949, where she had been working as chief designer, she changed the name to her own. She continued to run the business until her retirement in 1980. Her dresses were sold in the country’s leading department and specialty stores. Her customer list included five women who were or would become First Ladies of the United States: Mamie Eisenhower, Lady Bird Johnson, Pat Nixon, Rosalynn Carter, and Barbara Bush.
Adele Simpson loved to travel and was interested in indigenous art from many parts of the world. She incorporated Indian fabrics in many of her collections, as evidenced in this dress, which was made from a sari.
This full length two-piece dress is constructed from a burnt orange and gold silk sari cloth. The dress is cut straight with shoestring straps, and it is semi-fitted with long darts on either side of the center front and the center back. Additional darts on the sides control the fit in place of side seams. There is a heavy gold metallic border at the bust and the hemline. A horizontal band with a curved wedge is inserted under the border at the bust for further shaping. There is a metal zipper at the center back opening. The accompanying shawl has a gold metallic woven border that is more prominent in the front. There is a snap closure covered with a bow that fastens over the shoulder. The center back of the dress measures 45 3/8 inches.
Location
Currently not on view
Date made
1960 - 196900
1946-1956
designer
Simpson, Adele
Simpson, Adele
ID Number
CS.310259.005
catalog number
310259.005
accession number
310259
Black and white print; bust portrait of a man (Henry Inman). Facsimile of sitter's signature is below the image.Currently not on view
Description (Brief)
Black and white print; bust portrait of a man (Henry Inman). Facsimile of sitter's signature is below the image.
Location
Currently not on view
Date made
n.d.
depicted
Inman, Henry
maker
Prevost, Victor
Nagel, Louis
original artist
Lazarus
ID Number
DL.60.3127
catalog number
60.3127
accession number
228146
Currently not on view
Location
Currently not on view
user
Fitzgerald, Ella
manufacturer
Cotrell and Leonard
ID Number
1996.0342.014
accession number
1996.0342
catalog number
1996.0342.014
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.
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 of New York, New York during the late19th century. The helmet consists of 64 combs and is painted white. There is an ivy vine scroll pattern around the brim and a small metal frontpiece on the rear brim that is engraved. A metal eagle’s head frontpiece holder is mounted on the top of the helmet’s crown. The gold leather frontpiece has a central image of a steam powered fire engine, with the text “CHIEF/ENGINEER/P.F.D.” The helmet belonged to John Stagg of the Paterson, New Jersey fire department. Stagg served as Chief Engineer of the Volunteer Fire Department from 1887 until 1889, and was made chief of the paid Paterson Fire Department in 1891.
Location
Currently not on view
date made
late 19th century
maker
Cairns & Brother
ID Number
2005.0233.0207
accession number
2005.0233
catalog number
2005.0233.0207
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.
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 of New York, New York in the early 19th century. The leather helmet is painted black with eight combs and ivy vine scroll work around the helmet’s brim. The back of the helmet has the initials “FA” flanking a fire hydrant painted in gold. This was the logo of the Fire Association of Philadelphia, an insurance company founded by a group of eleven volunteer engine companies and five volunteer hose companies in 1817. The metal frontpiece holder is in the shape of a fox, and holds a black and red frontpiece that reads “MITCHELL/IV/FIRE CO” in white text. Mitchell Fire Company No. 4 was founded in 1874 by shoemakers who were located on Federal Street in Burlington, New Jersey. The frontpiece is not original to the helmet.
Location
Currently not on view
date made
1825
maker
Cairns & Brother
ID Number
2005.0233.0171
accession number
2005.0233
catalog number
2005.0233.0171
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.
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 manufactured by Cairns & Brother of New York, New York. The helmet has eight combs and is painted white overall, with a leaping metal lion frontpiece holder. The leather frontpiece is painted white with a painted gold rim, with the word “CHIEF” in large gold letters in the center of the frontpiece. Two red ribbons are attached to the back of the helmet’s brim for decorative effect.
Location
Currently not on view
date made
20th century
maker
Cairns & Brother
ID Number
2005.0233.0214
accession number
2005.0233
catalog number
2005.0233.0214
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.
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 helmet was manufactured by Cairns & Brother of New York, New York around the late 19th century. The helmet has eight combs with an ivy vine scrollwork pattern stamped into the brim of the helmet. The metal eagle’s head mounted on the crown of the helmet serves as a frontpiece holder for the gold leather frontpiece that reads “FRIENDSHIP / 15 / 1796.” The Friendship Fire Engine Company of Northern Liberties, Philadelphia was founded August 18, 1796 and operated as a hand engine company until 1871 when Philadelphia’s paid firefighting department was established.
Location
Currently not on view
date made
ca 1900
maker
Cairns & Brother
ID Number
2005.0233.0226
accession number
2005.0233
catalog number
2005.0233.0226
This 1936 peach-colored Variation bra had separate cups for each breast, providing support with an elastic band below.
Description
This 1936 peach-colored Variation bra had separate cups for each breast, providing support with an elastic band below. In the early 1920s, New York dressmakers Enid Bissett and Ida Rosenthal began selling bras like these that created a more ‘natural’ look than the contemporary flat-chested styles. The look caught on and sales rose quickly. Their company, Maiden Form, sold over 1 million Variation bras and remained profitable throughout the Depression.
date made
1936
maker
Maidenform
ID Number
1997.0117.18
design patent number
98.090
accession number
1997.0117
catalog number
1997.0117.18
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.
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 helmet was made by Cairns & Brother of New York, New York in the late 19th century. The helmet is painted white overall, with 16 combs, the four main combs are painted gold. An ivy-vine scrollwork pattern is stamped around the brim of the helmet, and the edge of the helmet is painted gold. The rear brim has a design of crossed hooks and ladders surrounded by a hose and trumpets, with an inset metal frontpiece that bears the inscription “J. McNally by Senate H & L Co. 1, Sing Sing, July 1886.” A metal eagle’s head mounted to the crown of the helmet serves as a frontpiece holder. The crudely-rendered frontpiece reads “CHEIF (sic) ENGINEER/C.F.D.” with a painting of a goose neck, piano-style hand-pump engine in the center. The frontpiece may not be original to the helmet.
Location
Currently not on view
date made
ca 1886
maker
Cairns & Brother
ID Number
2005.0233.0228
accession number
2005.0233
catalog number
2005.0233.0228
Small metal model or example of a design for a spring clasp mechanism to securing an earring to the ear lobe.
Description (Brief)
Small metal model or example of a design for a spring clasp mechanism to securing an earring to the ear lobe. The design specifications also allowed for and concave/convex discs to help the earring seat itself on the ear lobe or a pin on the disc incase the wearer had pierced ears (This model does not show the pin). The model also shows two eye hooks. One allowed for a dangle and the other allowed a chain and hair clip that would attach to the hair for security.
Location
Currently not on view
date made
ca 1876
patent date
1877-03-13
inventor
Weed, Louisa A.
ID Number
AG.188323
catalog number
188323
accession number
89797
patent number
188,323
Currently not on view
Location
Currently not on view
Date made
1945 - 1955
wearer
Robinson, Adina Mae Via
ID Number
1992.0434.01.A-C
catalog number
1992.0434.01.A-C
accession number
1992.0434
catalog number
1992.0434
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.
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 metal fire helmet was made by Cairns & Brother of New York, New York around 1950. This 20th century metal fire helmet features the hallmarks of Gratacap’s early 19th century leather helmet design including the protective combs, elongated rear brim, eagle frontpiece holder and leather frontpiece. The frontpiece holder features a painted design of the fireman’s cross, with a picture of a hook and ladder on the left side of the cross and the helmet on the right side of the cross. The leather frontpiece reads “2355 / 59 / PFD.” This helmet and frontpiece was worn by a member of Engine 59 of the Philadelphia Fire Department.
Location
Currently not on view
date made
early 1950s
maker
Cairns & Brother
ID Number
2005.0233.0218
accession number
2005.0233
catalog number
2005.0233.0218
This elaborate summer dress was worn by Mary Louisa Adams Johnson, a granddaughter of President John Quincy Adams and a great-granddaughter of President John Adams. Mary Louisa was born at the White House in Washington, D. C. on December 2, 1828.
Description
This elaborate summer dress was worn by Mary Louisa Adams Johnson, a granddaughter of President John Quincy Adams and a great-granddaughter of President John Adams. Mary Louisa was born at the White House in Washington, D. C. on December 2, 1828. On June 30, 1853 she married her second cousin, William Clarkson Johnson of New York. She was his second wife. They had two children, Louisa Catherine Adams Johnson (who later married Erskine Clement), born in 1856, and John Quincy Adams Johnson, born February 12, 1859. She died at Far Rockaway, Long Island, New York on July 16, 1859, just a few months after her son's birth. It is possible that Mrs. Johnson may have had the opportunity to wear this dress only a few times before her death.
This dress with its cutting of the printed fabric to create the overall effect was clearly made by a skilled dressmaker. Since labels were not incorporated into dresses at this date, we will never know the name of the woman who made it. Silk gauze dresses of this sort were extremely popular for summer wear in the 1850s as evidenced by the number of them that are depicted in fashion plates, the hand colored fashion illustrations that were inserted into women's magazines. Because of the fragility of the open weave of the fabric, most existing examples are in poor condition. Buckram underskirts, which created the fashionable bell skirt silhouette, also abraded the gauze, causing additional damage. This example is in relatively good condition, with only a few tears in the skirt.
This two-piece dress is constructed of white silk gauze in a woven pattern with a printed small paisley design, predominantly red and blue at the top portion of the dress with medallions and flowers in browns and reds at the lower portion. The fabric has been cut and stitched to use the pattern to advantage in the dress. The bodice is made of a white cotton body covered with the paisley printed fabric. It has a round neck edged with corded piping. The center front opening is closed from waist to neck with twelve hidden metal hooks-and-eyes, with the front of the opening decorated with five silk tassels. The bodice has two boned darts on either side of the center front and a center back piece boned in the center with two smaller pieces on either side. A peplum is formed of separate pieces of gauze in a medallion design sewn to the body of the dress at the waist. The peplum is pointed at the center front, the center back, and the sides and is trimmed at the bottom edge with pink ribbon with chenille button fringe. The bell sleeves are lined in the upper portion with cotton, and the paisley printed fabric is pleated to fit the sleeve linings at the upper portion. The lower portions of the sleeves are constructed of the medallion print. Some pleats on upper sleeves and sleeve openings are trimmed with the same silk and chenille ribbon as the peplum. Tassels are attached at the points of the sleeve openings, and the same piping that edges the neckline is inserted in the seams of the armholes. The skirt consists of separate sections of buckram and gauze pleated and attached together to a narrow buckram waistband with a large metal hook-and-eye closure at the opening. The buckram skirt section has a narrow fold over hem, and the gauze skirt section has a partial overskirt that forms a flounce. The lower edge of the flounce and the gauze skirt section are trimmed with silk and chenille ribbon. The waist measures 20 inches.
Location
Currently not on view
Date made
1855 - 1865
1855-1865
used by
Johnson, Mary Louisa Adams
maker
unknown
ID Number
CS.053830
catalog number
053830
accession number
187487
Lapel pin in the shape of Uncle Sam’s top hat. The red and white striped portion of the hat says “United,” and the blue band says “We Stand” in white.James Montgomery Flagg popularized the image of Uncle Sam during World War I with his famous “I Want You For U.S.
Description (Brief)
Lapel pin in the shape of Uncle Sam’s top hat. The red and white striped portion of the hat says “United,” and the blue band says “We Stand” in white.
James Montgomery Flagg popularized the image of Uncle Sam during World War I with his famous “I Want You For U.S. Army” poster.
Much like the use of military insignia to identify its wearer (by association with an organization) and his/her achievements, these pins and buttons were meant to be worn by Americans on the home front during World War I to show their membership in an organization and/or their contribution to a particular war effort, such as the United War Work Campaign. The pins and buttons displayed the wearer’s patriotism and generosity and undoubtedly also served to prompt others to become similarly involved in the various war efforts.
SOURCE:
“The Most Famous Poster,” American Treasures of the Library of Congress, loc.gov/exhibits/treasures/trm015.html.
Location
Currently not on view
date made
1917-1918
maker
George Borgfeldt & Company
ID Number
2006.0098.0314
accession number
2006.0098
catalog number
2006.0098.0314
Currently not on view
Location
Currently not on view
date made
1963
manufacturer
Estee Lauder Companies Inc.
ID Number
2010.0082.01
catalog number
2010.0082.01
accession number
2010.0082
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.
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
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.
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 manufactured by Cairns & Brother of New York, New York in the 19th century. The helmet has four large combs, with ribbed segments in between the main combs. An ivy-vine scrollwork pattern is stamped around the brim of the helmet. A metal eagle’s head is mounted on the crown of the helmet to serve as a frontpiece holder. The red leather frontpiece reads “EAGLE/2/HANOVER/PA.” The Eagle Company No. 2 of Hanover, Pennsylvania was founded in 1845.
Location
Currently not on view
date made
20th century
maker
Cairns & Brother
ID Number
2005.0233.0229
accession number
2005.0233
catalog number
2005.0233.0229
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information.
Description (Brief)
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This white leather frontpiece was worn by a member of the Hope Steam Fire Company No. 17, Philadelphia, Pennsylvania. Organized in 1796 as the Hope Fire Engine Company, a hand engine company, it acquired a steam engine in 1860 and changed its name to the Hope Steam Fire Engine Company No. 17. The company was active until 1871 when Philadelphia’s paid firefighting department was established. The frontpiece has three red banners with raised white leather letters that originally read “HOPE / STEAM FIRE Co. / JHL,” but some of the letters are now missing. A large black number “17” is in the center of the frontpiece. The letters “JHL” likely referred to the owner’s initials.
Location
Currently not on view
maker
unknown
ID Number
2005.0233.1452
accession number
2005.0233
catalog number
2005.0233.1452
This evening dress was created by internationally renowned designer Oscar de la Renta in the fall of 2002 for the House of Balmain.Oscar de la Renta, born in 1932, was the son of a Dominican Republic insurance agent. He received his education in Santo Domingo and in Madrid.
Description
This evening dress was created by internationally renowned designer Oscar de la Renta in the fall of 2002 for the House of Balmain.
Oscar de la Renta, born in 1932, was the son of a Dominican Republic insurance agent. He received his education in Santo Domingo and in Madrid. While studying to become a painter, he began sketching for leading Spanish fashion houses to help pay for his studies. He first thought seriously about a career in fashion when he designed a debutante gown for the daughter of the U.S. Ambassador to Spain, John Cabot Lodge. Soon after a photograph of the dress appeared in Life magazine, he was given his first professional job at Eisa, Balenciaga’s couture house in Madrid. In 1961, de la Renta was hired by Antonio del Castillo as an assistant at the Lanvin-Castillo couture house in Paris. He moved to New York to design for the custom-made collection at Elizabeth Arden in 1963, and in 1965 he joined the wholesale house of Jane Derby and became a partner in the business. After Derby retired in 1967, de la Renta changed the name of the company to his own ready-to-wear label, producing feminine, romantic, and dramatic evening clothes as well as accessories and fragrances for both men and women.
In 1993, de la Renta was hired by the House of Balmain to design their couture collection. He was the first American designer since Mainbocher to design couture in Paris, France. De la Renta worked at Balmain for ten years while also running his own company in the United States. In 2002, this dress, which was from the final collection designed by Oscar de la Renta for the House of Balmain, was shown on the fashion runway in Paris and then worn by Lee Radziwell, Jacqueline Kennedy’s sister, to the American Friends of Versailles event at the United Nations in September of 2002. It was also loaned to the Metropolitan Museum of Arts Costume Institute for their exhibition “Goddess the Classical Mode” in 2003 before being donated to the Smithsonian in the fall of 2003 during a presentation called “An Evening with Oscar de la Renta.”
This two-piece dress is constructed of gilt cock feathers attached to a silk top and a gold lame skirt. The top is sleeveless with a wide bateau neckline formed with a band of small hand-clipped overlapping feathers horizontally placed from shoulder to shoulder, meeting at the center front and back. The remainder of the top is covered with small feathers vertically overlapping in graduated rows that end in three rows of larger feathers from the waist to the hip area. There is a center back nylon zipper opening with a hook-and-eye closure. The back and bust darts shape the fit of the top with a gold China silk lining. The skirt is a column of crimped and pleated silk lame that hangs straight at the sides, ending in a lettuce-edged bottom. An invisible left side zipper opening ends with a hook-and-eye closure at the waistline. A gold China silk fabric partially lines the skirt. A Balmain/Paris label is sewn to the inside lining at the left back neckline. The dress measures 19 1/8" at the center back of the top, 43 1/4" at the center back of the skirt, and 26" at the waistline of the skirt.
Location
Currently not on view
Date made
2002
costume nmah
National Museum of American History. Division of Social History
designer
de la Renta, Oscar
used by
Radziwill, Lee
maker
Balmain, Pierre
ID Number
2003.0274.002
accession number
2003.0274
catalog number
2003.0274.002
While leg makeup was commercially available since the 1920s, it wasn't until rationing was introduced during the Second World War that leg makeup became an essential commodity for many American women.Silk and nylon became virtually unatainable, so, unable to procure silk or nylon
Description
While leg makeup was commercially available since the 1920s, it wasn't until rationing was introduced during the Second World War that leg makeup became an essential commodity for many American women.
Silk and nylon became virtually unatainable, so, unable to procure silk or nylon stockings, many women resorted to painting their legs with products such as this Velva Leg Film. Some industrious ladies even painted black lines down the back of their legs to mimic the seams of hosiery.
Velva Leg film was manufactured in the Nineteen Forties by Elizabeth Arden, a Canadian-born American businesswoman known for her beauty salons and cosmetic products.
Location
Currently not on view
date made
ca 1943
product launch
1933
maker
Elizabeth Arden Inc.
ID Number
1985.0481.384
catalog number
1985.0481.384
accession number
1985.0481
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.
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 manufactured by Cairns & Brother of New York, New York around 1860. The helmet has eight combs and is painted black overall. An ivy-vine scrollwork pattern is stamped around the brim of the hat. A metal eagle’s head is attached to the crown of the helmet to serve as a frontpiece holder. The leather frontpiece reads “WESTERN / HOSE / 26 / SFE Co.” Founded in 1836 as the Western Hose Company No. 26 of Philadelphia, Pennsylvania, it acquired a steam fire engine in 1863 and operated as the Western Hose and Steam Fire Engine Company No.26 until their services were dispensed with by Common Council in September 14, 1867.
Location
Currently not on view
date made
ca 1860
maker
Cairns & Brother
ID Number
2005.0233.0223
accession number
2005.0233
catalog number
2005.0233.0223
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.
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 of New York, New York during the 19th century. The helmet is painted white with four combs and ivy-vine scrollwork stamped around the brim. The date “1780” is painted in red on the rear brim. The hat has a metal eagle frontpiece holder mounted on the crown, with a silver metal frontpiece that reads “UNION/1/1780” in stamped brass plate, with an image of a steam engine in stamped brass above the “1”. The ornate nature of the frontpiece may mean that this hat was primarily worn during parades and ceremonial functions.
Location
Currently not on view
date made
19th century
maker
Cairns & Brother
ID Number
2005.0233.0194
accession number
2005.0233
catalog number
2005.0233.0194

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