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.

U.S. Army Signal Corps Female Telephone Operator "Hello Girl" uniform, World War I. The uniform consists of a coat, skirt, and overseas cap, each made of navy blue wool.
Description
U.S. Army Signal Corps Female Telephone Operator "Hello Girl" uniform, World War I. The uniform consists of a coat, skirt, and overseas cap, each made of navy blue wool. The coat has several patches and insignia, including the American Expeditionary Forces (AEF) General Headquarters patch on left sleeve and the Chief Operator rank insignia on the right sleeve. There are two overseas service chevrons on the lower left sleeve, denoting 6 months of service each. On the left breast is the World War I Victory Ribbon with silver citation star. This uniform was worn by Helen Cook and donated by her through The National Society of the Colonial Dames of America.
The Signal Corps Female Telephone Operators unit was formed in late 1917 following an urgent request from General Pershing. The AEF was in desperate need of bilingual switchboard operators to improve vital communications at the front. By the end of the war, over 400 women had been trained by the Army as "Hello Girls" and over 200 had served overseas, with many receiving Distinguished Service medals.
Upon returning home after the war, "Hello Girls," unlike women who had served in the Navy, were denied veteran benefits as Army regulations at the time defined soldiers as male. It wasn't until over 60 years later, in 1979, that the Signal Corps Female Telephone Operators were finally given their veteran status and benefits.
Location
Currently not on view
associated date
1914-1918
associate person
Cook, Helen
ID Number
1998.0165.35.04
accession number
1998.0165
catalog number
1998.0165.35.04
Currently not on view
Location
Currently not on view
Date made
1810 - 1820
ID Number
CS.006610D
catalog number
006610D
accession number
28810
Currently not on view
Location
Currently not on view
Date made
1790 - 1810
ID Number
CS.006700B
catalog number
006700B
accession number
28810
Currently not on view
Location
Currently not on view
Date made
1775 - 1799
ID Number
CS.006608A
catalog number
006608A
accession number
28810
Currently not on view
Location
Currently not on view
Date made
1780 - 1800
ID Number
CS.006608
catalog number
006608
accession number
28810
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
Currently not on view
Location
Currently not on view
Date made
1810 - 1820
ID Number
CS.006609
catalog number
006609
accession number
28810
Currently not on view
Location
Currently not on view
Date made
1790 - 1810
ID Number
CS.006609B
catalog number
006609B
accession number
28810
Currently not on view
Location
Currently not on view
Date made
1795 - 1815
ID Number
CS.006608B
catalog number
006608B
accession number
28810
date made
ca 1958
distributor
Brigance Sportswear
designer
Lawrence of London
ID Number
2011.0229.05
catalog number
2011.0229.05
accession number
2011.0229
This bonnet from 1850-1874 is what a Quaker woman would have worn. Quaker bonnets were much plainer than the fashionable bonnets of the nineteenth century, with less adornment. They changed very little in style and shape making them difficult to date accurately.
Description
This bonnet from 1850-1874 is what a Quaker woman would have worn. Quaker bonnets were much plainer than the fashionable bonnets of the nineteenth century, with less adornment. They changed very little in style and shape making them difficult to date accurately. This bonnet with its quilted lining and skirt section would offer warmth to the wearer during inclement weather.
This bonnet is constructed of dark navy blue velvet with a quilted maroon lining and curtain. The bonnet fastens with two black ribbon ties with a single long maroon ribbon attached to either side of the front edges. It measures 12 ½ inches high by 9 ½ inches wide by 12 inches deep.
Location
Currently not on view
Date made
1850-1874
ID Number
1983.0805.04
accession number
1983.0805
catalog number
1983.0805.04
This bride's cap was worn by Mary Eloise Tasher when she married William T. Moore on June 1, 1929 in South Bend, Indiana. It is constructed of white lace decorated with pearls and wax orange blossoms.
Description
This bride's cap was worn by Mary Eloise Tasher when she married William T. Moore on June 1, 1929 in South Bend, Indiana. It is constructed of white lace decorated with pearls and wax orange blossoms. The wax orange blossoms on the cap are a symbol of fertility since no tree is more prolific, bearing fruit and blooming at the same time. The blossom which is white is also a symbol of innocence and chastity. The use of orange blossoms became popular in the early nineteenth century and continued well into the 1950s. When real orange blossoms were not available or were in short supply, wax replicas, as on this bride's cap, were used instead.
The cap was worn with a white satin dress, with a tiered skirt edged with net, and white satin shoes as well as a brassiere and panties that are all part of the Smithsonian collections. The pink georgette mother of the bride dress, worn by Mrs. Charles A. Tasher, and the yellow crepe de chine and green silk taffeta bridesmaid dress, worn by Lucy Lucile Tasher, sister of the bride, are also in the collections.
Location
Currently not on view
Date made
1929
used by
Tasher, Mary Eloise
ID Number
CS.058341
catalog number
058341
accession number
205719
This generic railroad cap is black with a stiff crown, flat circular top and a short visor.
Description
This generic railroad cap is black with a stiff crown, flat circular top and a short visor. The cap's basic shape, similar to the French kepi, was used for passenger train conductors, passenger train brakemen (also termed "trainmen"), Pullman porters (in the ten decades before Amtrak), "Red Caps" (who help travelers with their luggage at stations), and - in the 19th century and first half of the 20th - stationmasters and station agents. Hat badges and other decoration could be added to signify the wearer's position and railroad.
ID Number
TR.334516
catalog number
334516
accession number
309861
This white, European-style sailor’s hat with a dark blue ribbon and bow in the back was part of the classic sailor’s uniform worn by a member of the Nautical Department aboard the Holland America Line’s cruise ship Zuiderdam in 2007.
Description
This white, European-style sailor’s hat with a dark blue ribbon and bow in the back was part of the classic sailor’s uniform worn by a member of the Nautical Department aboard the Holland America Line’s cruise ship Zuiderdam in 2007. The uniform also included a blue sailor’s shirt, dark blue pants, and a name tag. The wearer, named Handriyo, held the position of “sailor AB (able-bodied)” and he reported to the ship’s boatswain.
The job involved performing maintenance and cleaning duties aboard the ship, including painting the ship inside and out; cleaning the outside decks and accommodations; working the mooring ropes; driving the ship’s tender; making small maintenance repairs; assisting in the maintenance of boats, rafts, and other gear on the deck; rigging cargo, baggage, and tender gear; opening and closing hatches; baggage handling; and performing shore duties. In 2009, an entry-level, able-bodied seaman working aboard a typical cruise ship earned about $1,500 to $1,800 per month, with room and board provided on the ship.
Taking a cruise has become a popular leisure activity for many Americans. In 1980, 1.4 million Americans took a North American cruise and by 2005, that number had increased to 9.6 million. As both the number and size of cruise ships have grown, the number of people required to keep them running smoothly and to serve the needs of passengers has increased as well. Aboard the Zuiderdam, 800 crew work around the clock to fulfill the needs of 1,848 passengers.
Cruise ship employees are recruited from around the world for a wide variety of jobs, from waiters to chefs, housekeepers to massage therapists, and pursers to shop managers. For the many jobs requiring interaction with passengers, workers must have a good command of English, and English-speaking workers from the Philippines or Indonesia (like Handriyo) fill many hospitality and service jobs aboard modern cruise ships. Americans are not typically attracted to most cruise-ship hospitality and service jobs because of low wages, long workdays at sea, and the hardship of having to be away from home and family for long periods of time.
date made
ca 2007
ID Number
2007.0172.08
catalog number
2007.0172.08
accession number
2007.0172
This hat, resembling the traditional hotel bellhop’s cap, was part of the uniform worn by a doorman, named Dadang, who worked aboard the Holland America Line’s cruise ship Zuiderdam in 2007.
Description
This hat, resembling the traditional hotel bellhop’s cap, was part of the uniform worn by a doorman, named Dadang, who worked aboard the Holland America Line’s cruise ship Zuiderdam in 2007. The hat is red and blue polyester, with a golden braid stretching across the top of the head from ear to ear. The uniform also included a tailored red jacket, dark blue trousers, and a name tag. As a food and beverage worker in the ship’s hotel department, Dadang reported directly to the dining room manager. His primary job was to welcome passengers into the dining room by opening the door, to ring the dinner chime, to serve breakfast pastries, and to perform other services in the restaurant arm of the organization. In 2009, a cruise ship job similar to this paid about $1,200 to $1,400 per month, with room and board provided on the ship.
Taking a cruise has become a popular leisure activity for many Americans. In 1980, 1.4 million Americans took a North American cruise and by 2005, that number had increased to 9.6 million. As both the number and size of cruise ships have grown, the number of people required to keep them running smoothly and to serve the needs of passengers has increased as well. Aboard the Zuiderdam, 800 crew work around the clock to fulfill the needs of 1,848 passengers.
Cruise ship employees are recruited from around the world for a wide variety of jobs, from waiters to chefs, housekeepers to hair and nail technicians, and shop managers to wine auctioneers. For the many jobs requiring interaction with passengers, workers must have a good command of English, and English-speaking workers from the Philippines or Indonesia (like Dadang) fill many hospitality jobs aboard modern cruise ships. Americans are not typically attracted to most cruise-ship hospitality and service jobs because of low wages, long workdays at sea, and the hardship of having to be away from home and family for long periods of time.
date made
ca 2007
ID Number
2007.0172.04
catalog number
2007.0172.04
accession number
2007.0172
Performer and journalist Gilda Mirós wore this cap when she toured with the USO in Vietnam in 1971. Born in Puerto Rico, Mirós moved to New York City with her mother at a young age.
Description
Performer and journalist Gilda Mirós wore this cap when she toured with the USO in Vietnam in 1971. Born in Puerto Rico, Mirós moved to New York City with her mother at a young age. Intrigued by film and theater, she left home as a teen and moved to Mexico City to work in the Mexican film industry. A multi-talented performer, she had careers not only on film and in the theater but also on radio and television. She hosted her own call-in program on WADO in NY and worked in front and behind the cameras at WXTV-41 (SIN and Univision) and WNJU-47 (Telemundo). She also promoted talent, working with stars such as Celia Cruz, and made several documentaries.
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)
La artista y periodista Gilda Mirós usó esta gorra cuando estuvo de gira con la USO en Vietnam en 1971. Nacida en Santruce, Puerto Rico, Mirós se mudó de pequeña a la ciudad de Nueva York con su madre. Intrigada por el cine y el teatro, se mudó sola a la Ciudad de México cuando era adolescente para trabajar en la industria cinematográfica mexicana. Intérprete de múltiples talentos, se destaco en el cine y el teatro al igual que en la radio y la televisión. Condujo su propio programa radial con llamadas al aire en la radio WADO de Nueva York y trabajó detrás y frente a las cámaras en WXTV-41 (SIN y Univision) y WNJU-47 (Telemundo). También se dedicó a promover el talento artístico, trabajando con estrellas como Celia Cruz, y realizó varios documentales.
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.
date made
ca 1971
related
United Service Organizations
ID Number
2016.0233.01
catalog number
2016.0233.01
accession number
2016.0233
This beanie style cap of blue and white cotton twill was worn by a lower grade school boy in the New York Public Schools. The "P.S. 49" logo stamped in blue ink at front center indicates "Public School" followed by the number to identify the school and area in which it was used.
Description
This beanie style cap of blue and white cotton twill was worn by a lower grade school boy in the New York Public Schools. The "P.S. 49" logo stamped in blue ink at front center indicates "Public School" followed by the number to identify the school and area in which it was used. The crown is constructed of six white traingular sections coming together at a point with a blue twill covered button. A stiffened blue twill brim is attached at front. Overall it measures 3" high by 7 Inches wide by 8 5/8 inches deep.
Location
Currently not on view
Date made
1940-1950
ID Number
1995.0019.012
accession number
1995.0019
catalog number
1995.0019.012
Roy Wilkins, executive secretary of the National Association for the Advancement of Colored People, wore this cloth hat during the 1963 March on Washington for Jobs and Freedom.Currently not on view
Description
Roy Wilkins, executive secretary of the National Association for the Advancement of Colored People, wore this cloth hat during the 1963 March on Washington for Jobs and Freedom.
Location
Currently not on view
Date made
before 1963
user
Wilkins, Roy
referenced
National Association for the Advancement of Colored People
ID Number
1980.0668.102
accession number
1980.0668
catalog number
1980.0668.102

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