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.

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
Black and white print, half length portrait of a seated man (Richard Johnson). He holds a sword in his right hand.
Description (Brief)
Black and white print, half length portrait of a seated man (Richard Johnson). He holds a sword in his right hand. The portrait is depicted in an oval frame bearing the inscription "In war, the undaunted soldier- In peace, the enlightened statesman." The frame is topped by an eagle wearing a shield shaped breastplate labeled "Education" and a banner above its head which reads "Equal Rights." Beneath the frame is a vignette of a mail coach pulled by four horses and additional inscriptions.
Location
Currently not on view
Date made
n.d.
depicted
Johnson, Richard Mentor
maker
Williams, Michael
ID Number
DL.60.3198
catalog number
60.3198
Colored print celebrating the laying of the Transatlantic cable on September 1, 1858.
Description (Brief)
Colored print celebrating the laying of the Transatlantic cable on September 1, 1858. Depicts torchlight procession spanning the continents in the central image, with portrait vingettes of Cyrus Field, Benjamin Franklin, Samuel Morse, and Captain Hudson in each of the four corners.
Location
Currently not on view
date made
1858
depicted
Franklin, Benjamin
Morse, Samuel Finley Breese
Field, Cyrus W.
maker
Weingartner, Adam
ID Number
DL.60.2490
catalog number
60.2490
accession number
228146
Color print depicting a large crowd of visitors standing in front of the New York Crystal Palace, a glass and iron structure with a central dome.Currently not on view
Description (Brief)
Color print depicting a large crowd of visitors standing in front of the New York Crystal Palace, a glass and iron structure with a central dome.
Location
Currently not on view
Date made
1853
publisher
Seitz, Emil
printer
Ballin, M.
artist; printer
Fay, Augustus
ID Number
DL.60.3748
catalog number
60.3748
Color advertising print of a fashionably dressed couple being waited on by two small Indians. The Indians wear gold-trimmed dresses with sunflower-shaped collars and ankle bands.
Description (Brief)
Color advertising print of a fashionably dressed couple being waited on by two small Indians. The Indians wear gold-trimmed dresses with sunflower-shaped collars and ankle bands. Testimonial text beneath the image ends with the statement that "These wonderful Children are on exhibition every day and evening at BARNUM's AMERICAN MUSEUM..."
Location
Currently not on view
Date made
n.d.
advertiser
Barnum Museum
maker
Currier & Ives
ID Number
DL.60.3491
catalog number
60.3491
Currently not on view
Location
Currently not on view
date made
1885
distributor
Carlisle Indian Industrial School
maker
Carlisle Indian Industrial School
ID Number
CS.076241
catalog number
076241
accession number
15995
Physical DescriptionSpecific HistoryAccording to legend, this coat was made from the skin of a buffalo killed by Buffalo Bill, and presented by him to Captain J. B. Irvine, Twenty-second U.S. Infantry. Irvine then presented it to Second Lieutenant Albert C.
Description
Physical Description
Specific History
According to legend, this coat was made from the skin of a buffalo killed by Buffalo Bill, and presented by him to Captain J. B. Irvine, Twenty-second U.S. Infantry. Irvine then presented it to Second Lieutenant Albert C. Dalton, Company A, U.S. Infantry.
General History
In a life that was part legend and part fantasy, William F. Cody came to embody the spirit of the West. During the Civil War, Cody served first as a Union scout in campaigns against the Kiowa and Comanche; then in 1863 he enlisted with the Seventh Kansas Cavalry, which saw action in Missouri and Tennessee. In 1867, Cody took up the trade that gave him his nickname, hunting buffalo to feed the construction crews of the Kansas Pacific Railroad. According to Buffalo Bill, he killed 4,280 head of buffalo in seventeen months.
He is perhaps best known for Buffalo Bill’s Wild West show, a theatrical extravaganza. His show dramatized some of the most picturesque elements of frontier life. It contained a buffalo hunt with real buffalos, an Indian attack with real Indians, and a grand finale that reenacted Custer’s Last Stand, with some Lakota who actually fought in the battle playing a part. The show was enormously successful and traveled the world for three decades.
From Brigadier General Albert C. Dalton, US Army (Ret'd), written 26th July 1951:
"This coat was made from the skin of a buffalo killed by the celebrated "Buffalo Bill" (Mr. William F. Cody) at the time he was engaged in supplying buffalo meat to the workers on the Union Pacific Railway, and also to the troops of the United States Army in the same area. The skin was presented to Captain Javan B. Irvine 22nd US Infantry who was a famous Indian fighter and a close friend of Buffalo Bill during the days when he was with the army as a guide and Indian Scout. Captain Irvine presented the coat to then 2nd Lieut Albert C. Dalton 22nd Inf. who served in Captain Irvine's Company "A" 22nd Infantry from May 1889 to Aug 1891---when he was commissioned as a 2nd Lieut and assigned to the regiment for duty as an officer. Captain Irvine retired the same year and on leaving the regiment gave the coat to Lieut Dalton.
The coat was repaired and the quilted lining put in in place of the old lining in 1910 at the Schuykill Army Factory".
wearer
Cody, Buffalo Bill
ID Number
AF.54564
catalog number
54564
accession number
191694
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in the eastern United States during the middle of the 19th century. The hat is painted black overall, with the front displaying an oval-framed portrait of a American Indian woman crossing a raging stream underneath a red banner that reads "TORRENT." The back of the hat has the number “2” in white framed by the outline of a white shield. The name of the company refers to a violent rush of water such as firefighters might direct onto a blaze. The Indian maiden pictured on the rocks may be a patriotic symbol. Feminine figures as symbolic icons were a common European trope, and before Lady Liberty became an American symbol the continent was often portrayed as a native princess. While water-related monikers like Torrent were common among volunteer companies, this hat likely belongs to Torrent No. 2 of Rochester, New York.
Location
Currently not on view
date made
1810-1860
associated
Torrent Hose Company, No. 2
maker
unknown
ID Number
2005.0233.0086
catalog number
2005.0233.0086
accession number
2005.0233
Currently not on view
Location
Currently not on view
Date made
1970s
depicted
Sitting Bull
ID Number
2003.0317.065
catalog number
2003.0317.065
accession number
2003.0317

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