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.

Women's Jewish Welfare Board (JWB) uniform from World War I, consisting of hat, coat, shirtwaist, tie, skirt, and insignia. Coat and skirt are olive green wool gabardine, shirt is white dimity, hat is blue cotton, and tie is blue silk.
Description
Women's Jewish Welfare Board (JWB) uniform from World War I, consisting of hat, coat, shirtwaist, tie, skirt, and insignia. Coat and skirt are olive green wool gabardine, shirt is white dimity, hat is blue cotton, and tie is blue silk. Metal "U.S." insignia on coat lapel and cloth "J.W.B." patch with Star of David background on shouler and hat. Donated by the Jewish Welfare Board through The National Society of the Colonial Dames of America.
The Jewish Welfare Board (JWB) was organized shortly after America’s entry into World War I, consolidating religious groups in the Jewish community to become an official agency to work with the War Department through its Commission on Training Camp Activities. It was modeled after the Young Men’s Christian Association (YMCA) and the Knights of Columbus, and other organizations that in World War I adapted military-like uniforms for women and men volunteers. The JWB built buildings and stocked libraries on army installations and distributed books, articles, Bibles, and prayer books supplied through its affiliation with the Jewish Publication Society. It established community branches in the “second line of defense,” by supporting Jewish workers in the shipyards, arsenals, and other military plants and factories, as well as hospitals and universities where the government had taken over under military regulations. Following the Armistice, under direction of the Navy Department, the JWB transferred its peacetime work to veteran’s hospitals and enlarged Jewish community centers.
associated date
1914-1918
ID Number
1998.0165.25.01
catalog number
1998.0165.25.01.01
1998.0165.25.01.02
accession number
1998.0165
catalog number
1998.0165.25.01
Volunteerism plays an important role in philanthropy in America. After Hurricane Katrina destroyed lives and homes in the Gulf Coast in 2005, many nonprofit groups organized volunteers to help the recovery effort.
Description (Brief)
Volunteerism plays an important role in philanthropy in America. After Hurricane Katrina destroyed lives and homes in the Gulf Coast in 2005, many nonprofit groups organized volunteers to help the recovery effort. Jillian Gross led a team from Habitat for Humanity in rebuilding homes in Louisiana.
Description
This hard hat was worn by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world. Hard hats are used for head protection on construction and other work sites. This hat has a lightweight shell with suspension straps inside that absorbs shock from falling objects. It is made by MSA Incorporated.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.39
catalog number
2005.0276.39
accession number
2005.0276
A straw hat adorned with a band of artificial flowers and a dangling price tag was an essential component of country comedian Minnie Pearl's stage persona.
Description
A straw hat adorned with a band of artificial flowers and a dangling price tag was an essential component of country comedian Minnie Pearl's stage persona. Born Sarah Ophelia Colley in Centerville Tennessee, she perfected her style of rural humor in numerous appearances at Nashville's Grand Ole Opry, on radio, and on television.
Location
Currently not on view
user
Pearl, Minnie
ID Number
1993.0457.02
accession number
1993.0457
catalog number
1993.0457.02
Yolande Betbeze, "the Basque spitfire," surprised Atlantic City and the nation in 1951 when she was named Miss America. The former Miss Alabama beat out over forty fair-haired, fair-skinned state champions with her dramatic singing performance and her undeniable Iberian beauty.
Description
Yolande Betbeze, "the Basque spitfire," surprised Atlantic City and the nation in 1951 when she was named Miss America. The former Miss Alabama beat out over forty fair-haired, fair-skinned state champions with her dramatic singing performance and her undeniable Iberian beauty. Of Basque heritage, Betbeze tested the limits of a system that in the 1950s was still basing its standards on an ethnically and racially narrow definition of feminine beauty.
Betbeze would go on to continue testing the Miss America institution with her refusal to parade in a bathing suit and, after her reign, with her advocacy of women's and minority rights, her political activism, and ultimately her generous donation of this, her original 1951 crown, to the Smithsonian Institution in 2005.
Location
Currently on loan
Date made
1951
ID Number
2005.0078.01
accession number
2005.0078
catalog number
2005.0078.01
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.
ID Number
1998.0165.35.01
accession number
1998.0165
catalog number
1998.0165.35.01
Men's fashion went through a revolutionary change during the last half of the eighteenth century, as clothing steadily shrank from a curvaceous, full-skirted style into a slender, vertical silhouette.
Description
Men's fashion went through a revolutionary change during the last half of the eighteenth century, as clothing steadily shrank from a curvaceous, full-skirted style into a slender, vertical silhouette. The waistcoat was a vest-like garment that a man wore, along with his breeches, over his shirt and under his suit coat. This particular waistcoat dates from the second quarter of the century and represents men’s clothing before it had begun to evolve.
The unidentified gentleman from Maine who wore this garment sometime around 1740 would have probably purchased it as a flat textile for his tailor to cut and fit to his measurements. When it was finished, he must have presented an impressive figure. His waistcoat, with its squared fronts and full skirts, would have draped over his torso and swirled around his upper thighs. Wide pocket flaps protruded over his hips, held out by three otherwise useless buttons beneath them. Moreover, the pattern of the silk fabric made his waistcoat appear even more massive. The design, which was woven just for this purpose, featured a huge floral pattern around the edges of the skirts and fronts that accentuated the expansive scale of the garment.
This waistcoat of brown tone-on-tone warp-patterned silk brocade is woven to form, with a diaper pattern–a small diagonal grid–that covers the ground and a large-scale serpentine leaf and flower design along the straight front base and center front edges. Both pocket flaps are also woven to form, and their lower edges are cut in mirror-imaged S-curves; they are sewn at either side of the center front on each hip. Although the pocket flaps have three decorative vertical buttonholes, the holes were never cut. Three non-functional buttons are sewn under each pocket flap.
Fifteen buttons are sewn along the right center front. Fifteen buttonholes are worked along the left center front, but the lowest four were never cut open and thus can not be buttoned. The upper eleven buttons are domed, with a brown silk diamond embroidered in four sections, surrounded by a small diapered ground. The lower four buttons, and the buttons under the pocket flaps, are mostly flat and covered with brown basket-weave silk.
The back skirts of the waistcoat are of the primary fabric, but the upper back is of plain-weave brown silk. The fronts and back skirt are lined with brown silk twill, and the upper back is lined with napped off-white cotton and linen fustian. The waistcoat is open down the center back from the shoulders to the hem. Three pairs of cotton tape ties originally spanned the slit, but they are now missing. The skirt is vented at the sides from waist to hem. The overall length of the front, measured from the shoulder seam to hem, is 36 in. (91.4 cm).
To see how the clothing of a prosperous man would have been worn, link to the portrait of an Unidentified British Navy Officer, about 1745, by John Wollaston, at the National Gallery of Art, Washington, D.C. The officer wears a waistcoat that is cut much like the brown silk one shown here.
This Web entry was made possible in part by a generous grant from the National Association of Men’s Sportswear Buyers, in memory of Joseph S. Klein.
Date made
1740 - 1760
maker
unknown
ID Number
CS.293501.003
catalog number
293501.003
accession number
293501
This exotic Eastern-influenced dress was designed by Callot Soeurs, a popular Parisian fashion house.The dress was worn by Mrs.
Description
This exotic Eastern-influenced dress was designed by Callot Soeurs, a popular Parisian fashion house.
The dress was worn by Mrs. Florence Sheffield Keep, a prominent Washingtonian whose busy social schedule and contacts within the diplomatic community were often noted in the Washington, DC and New York City newspapers. It is possible that this dress was worn to a diplomatic event in Washington, DC.
Callot Soeurs opened in 1895 at 24, rue Taibout in Paris, France. It was founded and operated by four sisters: Marie Callot Gerber, Marthe Callot Bertrand, Regina Callot Tennyson-Chantrell, and Josephine Callot Crimont with Marie being the head designer. Coming from an artistic family, their mother was a lace maker and their father a painter and teacher of design. Before opening the salon, the sisters first worked with antique laces and ribbons to adorn blouses and lingerie. They later expanded into other clothing to include daywear, tailored suits, and evening dresses being best known for their eighteenth century inspired dishabille and their exotic evening dress influenced by the East. In 1914, the design house moved to grander quarters at 9-11, avenue Matignon, and they became involved in Le syndicat de defense de la grande couture francaise. Through this organization Callot Soeurs along with designers Paul Poiret, Jacques Worth, Jeanne Paquin, Madeleine Cheruit, Paul Rodier, and Bianchini and Ferier, put in place controls to protect their original designs from copy houses that sold them to ready-to-wear manufacturers without their permission. This is the time when the Callot Soeurs began to date their labels.
As evident with the design of this dress of bright orange color, gold lace, and elaborate trim, in the 1920’s, Callot Soeurs used brilliant and rich fauvist colors and Eastern inspired designs with exotic details in their formal evening wear. Along with other designers such as Paul Poiret, they were strongly influenced by the wave of orientalism in fashion and the arts. It was during this period that Callot Soeurs became one of the leading fashion houses in Paris, serving exclusive clientele from Europe and the United States. In 1928, Pierre Gerber, Marie Callot Gerber’s son took over the business and moved it to 41, avenue Montaigne. It remained there until Marie retired in 1937. It was at this time that the House of Callot Soeurs closed and was absorbed into the House of Calvert.
This dress is constructed of bright orange silk chiffon with a lining of off-white satin. Gold metallic lace trim and elaborate decorative motifs of beading and iridescent sequins decorate entire dress. The bodice section forms a deep V at front and back with the under bodice lining covered with net forming an insert at center front. Bands of lace and decorated chiffon form diagonal straps at front with at a criss-cross pattern at back. A large decorative diamond-shape emblem of pearls, green and blue beads, and glass stones at corners and center are attached at lower edge of bodice front insert. Five pearl tassels extend from lower edge of the emblem. Horizontal bands of two-inch wide gold metallic lace centered with a band of beaded orange chiffon are set in at the mid-section of the dress. Long tails of chiffon decorated all over with beading and sequins are shirred at the shoulders forming a flowing sleeve-like appearance. The decorated orange chiffon skirt section has an inverted V insert of two-inch gold metallic lace at front which extends into a horizontal band at back. A scalloped pattern at the lower edge has an insert of gold metallic lace. A label woven into a waistband at inside lining reads: “Hiver 1922-1923, Callot Soeurs, Paris, Nouvelle Marque Deposee”.
Location
Currently not on view
Date made
1922-1923
used by
Keep, Florence Sheffield Boardman
maker
Callot Soeurs
Callot Soeurs
ID Number
CS.057028
catalog number
57028
accession number
202244
This is a man’s, short sleeve, white cotton t-shirt with navy trim around the neck and sleeves. On the front is a circular, navy logo with a silhouette white bird and guitar.
Description
This is a man’s, short sleeve, white cotton t-shirt with navy trim around the neck and sleeves. On the front is a circular, navy logo with a silhouette white bird and guitar. The t-shirt was made some time between 1968-1969 for the Woodstock Music and Art Fair that took place from August 15th to 18th, 1969 in Bethel, New York. The white dove perched on the guitar was the logo of Woodstock seen on official posters and flyers.
Location
Currently not on view
date made
1968-1969
ID Number
1994.0250.002
accession number
1994.0250
catalog number
1994.0250.2
This is a double end pry bar designed to pull out nails and for light demolition. The length has a flat shape, one end has a slight curve that is tapered and slotted and the other end is shaped like the claw portion of a common hammer.
Description
This is a double end pry bar designed to pull out nails and for light demolition. The length has a flat shape, one end has a slight curve that is tapered and slotted and the other end is shaped like the claw portion of a common hammer. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
date made
1998-2005
ID Number
2005.0276.11
catalog number
2005.0276.11
accession number
2005.0276
Chisels are used to cut and shape wood, stone and other hard materials. A paring chisel is a common woodworking tool which is used to cut and shave off thin amounds of wood. This chisel has a yellow tansparent handle and a 1" wide steel cutting edge or blade.
Description
Chisels are used to cut and shape wood, stone and other hard materials. A paring chisel is a common woodworking tool which is used to cut and shave off thin amounds of wood. This chisel has a yellow tansparent handle and a 1" wide steel cutting edge or blade. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.20
catalog number
2005.0276.20
accession number
2005.0276
Small, flat head screwdriver, red plastic handle with the name Kobalt on its side. Kobalt is a house brand sold exclusively at the American home improvement store Lowe's.
Description
Small, flat head screwdriver, red plastic handle with the name Kobalt on its side. Kobalt is a house brand sold exclusively at the American home improvement store Lowe's. The screwdriver was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.22
catalog number
2005.0276.22
accession number
2005.0276
Physical DescriptionDouble-breasted buckskin coat, with fringe on the pockets and collar and along the sleeves.Specific HistoryThis buckskin coat was worn by Custer when he was a lieutenant colonel with the 7th U.S. Cavalry in the Dakotas.
Description
Physical Description
Double-breasted buckskin coat, with fringe on the pockets and collar and along the sleeves.
Specific History
This buckskin coat was worn by Custer when he was a lieutenant colonel with the 7th U.S. Cavalry in the Dakotas. It was one of several owned and worn by Custer, who preferred to dress like a frontiersman while out West.
In 1912, Custer's widow, Elizabeth, donated this buckskin coat to the Smithsonian as a tribute to her husband.
General History
George Armstrong Custer was born in 1839 in New Rumley, Ohio; by 1857, he was enrolled as a cadet in the U.S. Military Academy at West Point upon appointment by a congressman. He graduated last in his class of thirty-four. During the Civil War, he became known for his fearlessness (some said recklessness) in battle; indeed, he was promoted to the rank of Major General by age twenty-five. He figured prominently in General Philip Sheridan's campaign in the Shenandoah Valley in 1864; at the surrender at Appomattox in April 1865, Sheridan gave Custer's wife Elizabeth the table on which the surrender was signed.
After the war, George Custer reverted to the rank of captain. He was given command of the newly formed Seventh Cavalry in 1866 and elevated to the rank of lieutenant colonel. He gained a reputation as an Indian fighter who often ignored orders if they did not suit his sense of self-aggrandizement. His recklessness finally caught up to him on June 25, 1876, when he and his five cavalry companies were annihilated by a combined force of thousands of Sioux and Cheyenne warriors at Little Big Horn, Montana.
In 1864, George Custer married Elizabeth (Libby) Bacon. Libby followed her husband on campaign during the Civil War, and even went with him to the frontier. After his death, she crusaded to perpetuate the image of her husband as a gallant soldier; to this end, she undertook speaking engagements and wrote several books.
In 1912, she donated this coat to the Smithsonian in memory of her husband.
date made
ca 1870
wearer
Custer, George Armstrong
ID Number
AF.013044
catalog number
13044
accession number
54045
Currently not on view
Location
Currently not on view
user
Fitzgerald, Ella
ID Number
1996.0342.020
accession number
1996.0342
catalog number
1996.0342.020
This necktie was made by “Jane,” undetermined place and date. It is a hand-made necktie made of white fabric with a cream-colored fabric lining. This necktie was previously worn by jazz musician Adolphus "Doc" Cheatham.
Description

This necktie was made by “Jane,” undetermined place and date. It is a hand-made necktie made of white fabric with a cream-colored fabric lining. This necktie was previously worn by jazz musician Adolphus "Doc" Cheatham. There are numerous signatures in black ink on the front of the tie, one is dated “85.” There is an embroidered label:

FASHIONED
AND
HAND MADE BY
JANE

Adolphus Anthony “Doc” Cheatham (1905-1997), first learned to play saxophone as well as trumpet. Early in his career, Cheatham performed with the African American Vaudeville theater in Nashville. Around 1924, Cheatham moved to Chicago where he heard trumpeters King Oliver and Louis Armstrong, both would have a lifelong influence on Cheatham’s playing.

Cheatham performed with several jazz musicians including Benny Carter, Fletcher Henderson, and Benny Goodman throughout the 1930s to the 1960s. In the 1970s, Cheatham worked to improve his playing by recording and listening to himself. After the age of 70, Cheatham’s self-assessment work would result in him receiving his best acclamations and critical reviews.

Location
Currently not on view
date made
mid 1980s
user
Cheatham, Doc
ID Number
2002.0218.05
accession number
2002.0218
catalog number
2002.0218.05
Currently not on view
Location
Currently not on view
ID Number
2011.0164.25
catalog number
2011.0164.25
accession number
2011.0164
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
Slip Joint Pliers are for gripping round work, such as pipes and nuts. These pliers are made of steel, have an adjustable grip and yellow plastic covered handles. Made by Fuller Tools. Fuller first started in Whitestone New York in the 1930's.
Description
Slip Joint Pliers are for gripping round work, such as pipes and nuts. These pliers are made of steel, have an adjustable grip and yellow plastic covered handles. Made by Fuller Tools. Fuller first started in Whitestone New York in the 1930's. In 1944 two Canadian brothers, Stanley and Lloyd Davis set up production and made tools near Montreal. In the early 1990's, Fuller moved to Montreal and the US manufacturing facility was consolidated with the Canadian facility. These pliers were used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution. The plyers were found in the tool belt.
Location
Currently not on view
ID Number
2005.0276.23
catalog number
2005.0276.23
accession number
2005.0276
Made of red-dyed woven straw. This pillbox hat is from the ensemble worn by jazz vocalist, Ella Fitzgerald, in an American Express Card advertisement, photographed by Annie Liebovitz. Label inside the hat:MORGAN TAYLORCurrently not on view
Description

Made of red-dyed woven straw. This pillbox hat is from the ensemble worn by jazz vocalist, Ella Fitzgerald, in an American Express Card advertisement, photographed by Annie Liebovitz. Label inside the hat:

MORGAN TAYLOR

Location
Currently not on view
advertiser
American Express Company
wearer
Fitzgerald, Ella
ID Number
1996.0342.008
accession number
1996.0342
catalog number
1996.0342.008
Currently not on view
Location
Currently not on view
ID Number
2011.0164.29
catalog number
2011.0164.29
accession number
2011.0164
This pencil was grouped with a number of pencils found in the pocket of a tool belt used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
Description
This pencil was grouped with a number of pencils found in the pocket of a tool belt used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world. Carpenter pencils have two wide, flat sides to keep them from rolling. The graphite core is generally wide and flat, making it easy to mark course materials when using the flat side while using the thinner side for precision marks.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.27
catalog number
2005.0276.27
accession number
2005.0276
The glazier knife has multiple uses: scraping, roller squeegee, spackle spreader, crack or crevice cleaner and can opener. Made by Warner Manufacturing Company, Plymouth, Minnesota, makers of hand and edge tools and light equipment.
Description
The glazier knife has multiple uses: scraping, roller squeegee, spackle spreader, crack or crevice cleaner and can opener. Made by Warner Manufacturing Company, Plymouth, Minnesota, makers of hand and edge tools and light equipment. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution. The glazier knife was kept in the pocket of a tool belt.
Location
Currently not on view
ID Number
2005.0276.25
catalog number
2005.0276.25
accession number
2005.0276
A utility knife is a general purpose cutting tool. This knife has a retractable steel blade and a red painted aluminum holder. It was made in China for the American home improvement store Lowe's Task Force brand.
Description
A utility knife is a general purpose cutting tool. This knife has a retractable steel blade and a red painted aluminum holder. It was made in China for the American home improvement store Lowe's Task Force brand. The manufacturering company that produces their tools can vary from year to year. The knife was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution. The notebook was kept in the pocket of a tool belt.
Location
Currently not on view
ID Number
2005.0276.21
catalog number
2005.0276.21
accession number
2005.0276
This is a four-bit interchangeable screwdriver. The handle is made of yellow plastic with a black nylon grip. A hollow shaft can be removed from its grip. A dual-bit can be inserted into each end of the hollow shaft.
Description
This is a four-bit interchangeable screwdriver. The handle is made of yellow plastic with a black nylon grip. A hollow shaft can be removed from its grip. A dual-bit can be inserted into each end of the hollow shaft. For this screwdriver, there are two flat head bits and two phillips head bits. All of different sizes. This image shows the flat head bit. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.16
catalog number
2005.0276.16
accession number
2005.0276
This pen was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
Description
This pen was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world. This red transparent plastic pen has a rubber grip, retractable point and pocket clip.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution. The pen was kept with her notebook.
Location
Currently not on view
ID Number
2005.0276.36
catalog number
2005.0276.36
accession number
2005.0276

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