Clothing & Accessories

Women's Gown (cheong sam) ca. 1930

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.

Place: Massachusetts

Untitled (Sleighing Scene)

A color print of a sleigh pulled by two horses overtaking an elderly couple in a sleigh pulled by a single horse. The sleigh pulled by two horses is tipping over, spilling its driver, still holding onto the reins, onto the ground.
Description
A color print of a sleigh pulled by two horses overtaking an elderly couple in a sleigh pulled by a single horse. The sleigh pulled by two horses is tipping over, spilling its driver, still holding onto the reins, onto the ground. Mountains are in the distance, and the road is covered with snow and bordered with a stone fence. A church spire indicates a village.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
Location
Currently not on view
Date made
1877
maker
Haskell & Allen
ID Number
DL.60.3540
catalog number
60.3540

Whalebone and Bone Umbrella

The bony substance from the mouths of whales known as baleen is formed of keratin, like human hair and nails. It hangs in long, parallel sheets from the upper jaws of the blue, right, and minke whales, as well as other lesser-known species.
Description
The bony substance from the mouths of whales known as baleen is formed of keratin, like human hair and nails. It hangs in long, parallel sheets from the upper jaws of the blue, right, and minke whales, as well as other lesser-known species. Its hairy fringe filters food from seawater.
Dried out, baleen’s strength and flexibility made it ideal for buggy whips, corset busks, and umbrella ribs before the advent of plastic. A whale’s bone could actually be worth more than its oil. This man’s large umbrella has a wooden shaft, heavy hinged baleen ribs made in short sections, and an ivory handle. Marked “G. Hobbs, Barre,” it belonged to the donor’s grandfather, who lived in Barre, Massachusetts, until around the end of the Civil War.
Date made
ca 1835-1865
user
Hobbs, George
ID Number
AG.169283.01
accession number
169283
catalog number
169283.01

Whaler's Monkey Belt

After a whale was captured and killed, its carcass was towed by the whaleboat to the side of the mother ship for processing.
Description
After a whale was captured and killed, its carcass was towed by the whaleboat to the side of the mother ship for processing. Cutting up the whale was done by crewmen standing on a wooden plank, or cutting stage, rigged out over the side of the ship so that they could stand directly over the body. Crewmen used this canvas “monkey belt” to secure themselves while they stripped the whale of its blubber. It was dangerous and slippery work. If a sailor slid into the water he risked drowning or being attacked by sharks looking for an easy meal.
date made
1883
ID Number
AG.057716
catalog number
057716
accession number
2009.0184

gymnasium suit, 3-piece

This exercise suit, donated by Faith Bradford (1880-1970) in 1955, belonged to her mother Ellen Jane Knight Bradford (1839-1899).
Description
This exercise suit, donated by Faith Bradford (1880-1970) in 1955, belonged to her mother Ellen Jane Knight Bradford (1839-1899). Ellen Jane Knight, known familiarly as “Nellie,” was the niece of Massachusetts lieutenant governor Horatio Gates Knight, and lived in his household after her mother died. She graduated from Williston Seminary (now the Williston Northampton School), a co-educational academy, and taught music. In 1865 she married James Henry Bradford, who served as a chaplain in the Union Army before becoming a Congregational minister. They lived in various places in the northeast, usually pursuing work in education, and moved to Washington, D.C. in 1881. Ellen Bradford was educated and of a creative as well as Protestant reformist bent, publishing poems and hymns, serving as a correspondent for the paper The Congregationalist, and founding with her spouse the Industrial School for Girls in Middletown, Connecticut in 1868. In 1887 she became known for creating and directing a tableau based on the bestselling 1880 novel Ben Hur: A Tale of Christ to raise money for the homeopathetic hospital in Washington, D.C.
Bradford likely wore this exercise suit in the early 1860s, perhaps before she married. Such attire was adopted by some reform-minded, educated women of the middle and upper class (such as Bradford), mainly in the Northeastern U.S. as an alternative to long, heavy dresses underpinned by crinolines and tightly-laced corsets that typified women’s fashion in the mid nineteenth century. Consisting of a dress or tunic over long pants, what became known as the Bloomer dress earned its name from temperance and women’s rights activist Amelia Bloomer who donned and promoted it. It gained popularity in the 1850s but also drew the ire of critics who deemed the outfit unfeminine— “pants” for women—likely due in part to the public, activist behavior of some of its wearers. Yet reformers looking to improve American society, often focusing on individuals and their personal habits, championed the outfit as comfortable and beneficial to women’s health, allowing for freedom of breath and movement. This exercise suit, made of wool, would have been suitable for calisthenics and other activities outdoors, an important tenet of health reform, perhaps even during the winter in Massachusetts, where Bradford lived. Although chiefly utilitarian, it includes some stylistic details.
Location
Currently not on view
Date made
1855 - 1865
wearer
Bradford, Ellen Jane Knight
ID Number
CS.058323
catalog number
058323
accession number
205244

Fishermen’s Woolen Nippers

Fishermen working trawl lines in the 19th century often suffered cuts and rope burns on their hands. They typically wore mittens or gloves to protect themselves when hauling the long lines aboard and removing the fish.
Description
Fishermen working trawl lines in the 19th century often suffered cuts and rope burns on their hands. They typically wore mittens or gloves to protect themselves when hauling the long lines aboard and removing the fish. These sturdy but soft rings, called nippers, are knitted of woolen yarn and stuffed with more wool. They would have fit around a fisherman’s palms, protecting his hands while his fingers remained free for tasks requiring dexterity.
These nippers were probably made in Gloucester, Mass., for use by local fishermen working on offshore schooners. The shallow, fertile banks stretching from Georges Bank east of Nantucket to the Grand Bank off Newfoundland, Canada, were prime fishing areas for Gloucestermen. Cod, haddock, and halibut were the principal species caught by fishermen working aboard schooners in these waters in the late 19th century.
These nippers were among the fishermen’s clothing, tools, and apparatus featured by the United States in the 1883 International Fisheries Exhibition in London.
Date made
1880s
used
late 19th century
on exhibit
1883
ID Number
AG.102074
catalog number
102074
accession number
2009.0157

Ipswich Black Silk Bobbin Lace Border

This black silk bobbin lace was made in Ipswich, Massachusetts, around 1790. The thread is 2-ply, S-twist black silk. The ground is kat stitch, which is also known as Paris ground. Point ground, Cross, twist, twist, twist, is used only as a filling.Currently not on view
Description
This black silk bobbin lace was made in Ipswich, Massachusetts, around 1790. The thread is 2-ply, S-twist black silk. The ground is kat stitch, which is also known as Paris ground. Point ground, Cross, twist, twist, twist, is used only as a filling.
Location
Currently not on view
date made
1770-1810
maker
unknown
ID Number
TE.H39069
catalog number
H39069
accession number
113420

1849 - John Bachelder's Patent Model of a Sewing Machine

Sewing Machine Patent Model . Patent No. 6439, issued May 8, 1849John Bachelder of Boston, Massachusetts.John Bachelder of Boston, Massachusetts, submitted this sewing machine patent model for his Patent No. 6439, which was granted on May 8, 1849.
Description
Sewing Machine Patent Model . Patent No. 6439, issued May 8, 1849
John Bachelder of Boston, Massachusetts.
John Bachelder of Boston, Massachusetts, submitted this sewing machine patent model for his Patent No. 6439, which was granted on May 8, 1849. Bachelder’s machine sewed with a chain-stitch. He did not claim this chain-stitch mechanism as it was patented earlier in February in 1849 by Charles Morey and Joseph B. Johnson of Massachusetts. Instead he focused on improving the cloth feed. On this model, Bachelder used a wide continuous leather belt inserted with sharp pins to hold the cloth and enable the leather belt to move the cloth forward as it was being sewn. After being stitched, the fabric would be disengaged from the points by a curved piece of metal. This was the first patent for a continuous sewing, intermittent feeding mechanism.
Although Bachelder did not manufacture his sewing machine, his patent and later reissues of it were bought by I. M. Singer, and became one of the central patents to form the Sewing Machine Combination in 1856. This organization consisted of three sewing machine manufacturers, I. M. Singer Co., Wheeler & Wilson Co., and the Grover & Baker Co., and the inventor, Elias Howe Jr., who all agreed to pool their important patents and stop patent litigations between them. This allowed them to move ahead with manufacturing and marketing of their own sewing machine and collect license fees from other companies wanting to use their patents.
Location
Currently not on view
model constructed
before 1849-05-08
patent date
1849-05-08
inventor
Bachelder, John
ID Number
TE.T06051
catalog number
T06051.000
patent number
006439
accession number
89797

Chantilly Bobbin Lace Motif

One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali".
Description
One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali". Each piece is labeled "10/55, $.45 each". Madame Kefer-Mali was one of four women on the Lace Committee working with the Commission for Relief in Belgium. The lace was made by Belgian lace makers during World War I.
Location
Currently not on view
date made
1914-1918
1914-1919
made during
1914-1918
Helped create Commission for Relief in Belgium
Hoover, Herbert
previous owner
Kefer-Mali, M.
maker
unknown
ID Number
2013.0121.39
accession number
2013.0121
catalog number
2013.0121.39

Chantilly Bobbin Lace Motif

One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali".
Description
One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali". Each piece is labeled "10/55, $.45 each". Madame Kefer-Mali was one of four women on the Lace Committee working with the Commission for Relief in Belgium. The lace was made by Belgian lace makers during World War I.
Location
Currently not on view
date made
1914-1918
1914-1919
made during
1914-1918
Helped create Commission for Relief in Belgium
Hoover, Herbert
previous owner
Kefer-Mali, M.
maker
unknown
ID Number
2013.0121.38
accession number
2013.0121
catalog number
2013.0121.38

Chantilly Bobbin Lace Motif

One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali".
Description
One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali". Each piece is labeled "10/55, $.45 each". Madame Kefer-Mali was one of four women on the Lace Committee working with the Commission for Relief in Belgium. The lace was made by Belgian lace makers during World War I.
Location
Currently not on view
date made
1914-1918
made during
1914-1918
Helped create Commission for Relief in Belgium
Hoover, Herbert
previous owner
Kefer-Mali, M.
maker
unknown
ID Number
2013.0121.41
accession number
2013.0121
catalog number
2013.0121.41

Chantilly Bobbin Lace Motif

One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali".
Description
One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali". Each piece is labeled "10/55, $.45 each". Madame Kefer-Mali was one of four women on the Lace Committee working with the Commission for Relief in Belgium. The lace was made by Belgian lace makers during World War I.
Location
Currently not on view
date made
1914-1918
made during
1914-1918
Helped create Commission for Relief in Belgium
Hoover, Herbert
previous owner
Kefer-Mali, M.
maker
unknown
ID Number
2013.0121.40
accession number
2013.0121
catalog number
2013.0121.40

Fisherman’s Oilskin Hat

Gloucester fishermen working on the North Atlantic were exposed to harsh weather conditions. Waves and freezing rain splashed over the decks and into the dories while the men worked.
Description
Gloucester fishermen working on the North Atlantic were exposed to harsh weather conditions. Waves and freezing rain splashed over the decks and into the dories while the men worked. For some measure of protection, fishermen in the 19th century wore oiled clothes, the precursors to today’s waterproof foul weather gear.
This hat, referred to as a “Cape Ann sou’wester” because of its wide use in the fisheries around Cape Ann, Mass., is made of soft oiled canvas and lined with flannel. It has an elongated brim in the back to keep water from running down the wearer’s neck and inside his clothing. Ear flaps for warmth are also part of the hat’s design.
A catalog from the 1883 International Fisheries Exhibition in London claimed that with the sou’wester, “no class of seamen were so comfortably clothed as the New England fishermen.” At the time of the exhibition’s opening, sou’westers cost about $6.50 per dozen.
This Cape Ann sou’wester was displayed at the London exhibition, courtesy of its manufacturer, A. J. Tower of Boston, Mass. It was part of a display of the latest gear used and worn by American fishermen.
date made
early 1880s
used
late 19th century
on exhibit
1883
ID Number
2009.0157.03
catalog number
102126
accession number
2009.0157

Chantilly Bobbin Lace Motif

One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali".
Description
One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali". Each piece is labeled "10/55, $.45 each". Madame Kefer-Mali was one of four women on the Lace Committee working with the Commission for Relief in Belgium. The lace was made by Belgian lace makers during World War I.
Location
Currently not on view
date made
1914-1918
made during
1914-1918
Helped create Commission for Relief in Belgium
Hoover, Herbert
previous owner
Kefer-Mali, M.
maker
unknown
ID Number
2013.0121.42
accession number
2013.0121
catalog number
2013.0121.42

bracelet

Currently not on view
Location
Currently not on view
Date made
1840-1860
hair of
Robinson, Mary A.
ID Number
1997.0143.007

(Red Cross) Is You & I With Every (Heart) And (Dollar) Pin

Pin shaped like a flag. The flag is brown with white print and red symbols.
Description (Brief)
Pin shaped like a flag. The flag is brown with white print and red symbols. Symbols and text read “(Red Cross) Is You & I With Every (Heart) And (Dollar).”
The American Red Cross was one of the major organizations that conducted relief work during World War I.
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.
Location
Currently not on view
date made
1918
maker
Manee Company
ID Number
2006.0098.0394
accession number
2006.0098
catalog number
2006.0098.0394

Our collection database is a work in progress. We may update this record based on further research and review. Learn more about our approach to sharing our collection online.

If you would like to know how you can use content on this page, see the Smithsonian's Terms of Use. If you need to request an image for publication or other use, please visit Rights and Reproductions.