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.

Date: 1850s

Pennsylvania Engine Co. No. 12 Fire Hat

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 dates to the second half of the 19th century. The hat is painted black overall, with a central painting of Pennsylvania’s coat of arms. Within the central shield are images of a ship, a plow, and three sheaves of wheat, representing commerce, labor and the importance of agriculture respectively. The shield is flanked by two horses, with a red banner outlined in gold with the text "Virtue, Liberty & Independence" written in gold. The back of the hat has the number “12” painted in gold, with a gold outline of a keystone. Something has been peeled off of the crown of the hat, leaving a distressed mark. The hat is similar in style to object number 2005.0233.0077, but it belonged to a member of the Pennsylvania Engine Company No. 12 of San Francisco, California. The company was founded in the burgeoning Western city in 1852 by veteran firefighters from Philadelphia who chose to wear the traditional uniforms of their home city.
Location
Currently not on view
date made
ca 1852
maker
unknown
ID Number
2005.0233.0100
catalog number
2005.0233.0100
accession number
2005.0233

Delaware Company Cape

Some early American firefighters wore capes for protection, ornamentation, and identification.
Description
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted blue, with the company name “Delaware” in gold with black shading and the date "1821" in gold with red shading. The company number "4" is at each end of the cape in gold with black shading. The cape was most likely from the Delaware Fire Company based in Trenton, New Jersey, founded in 1821. The cords on this cape are still intact and show how these rather heavy capes would be tied around the fireman’s neck.
Location
Currently not on view
date made
1840-1850
maker
unknown
ID Number
2005.0233.0122
catalog number
2005.0233.0122
accession number
2005.0233

United States Hose Company Fire Hat

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 by a member of the United States Hose Company of Philadelphia, Pennsylvania organized 1826 and operated until 1871 when Philadelphia’s paid firefighting department was established. The hat is painted black overall with an image of Lady Liberty holding a liberty pole with Phrygian cap on top and her arm over a United States shield that reads “Liberty.” The image is framed in an oval cartouche bordered in gold. There is a gold trimmed banner on either side of the central image that reads “UNITED STATES” in gold. The back of the hat has a gold image of a fire hydrant with protruding hose, and the text “HOSE / US” arching above in gold. The crown of the fire hat has the owner’s initials “T.J.” painted in gold.
Location
Currently not on view
date made
1807-1850
maker
unknown
ID Number
2005.0233.0089
catalog number
2005.0233.0089
accession number
2005.0233

Fire Helmet, "Hope Fire 1 EAH"

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 William H. Wilson of New York, New York in the mid-to-late 19th century. The helmet is painted black and its eight combs are painted gold. The date “1850” is painted in gold on the rear brim, and a metal eagle frontpiece holder is mounted on the crown. The frontpiece is gold overall with a large gold number “1” in the center of a red background. An upper red banner reads “HOPE FIRE Co.” with a lower black banner bearing the initials “EAH” in gold. Hope was a common name among 19th century fire companies, so the exact company that used this hat is unknown, but the date of 1850 is the founding date of the Hope Hose Company of Burlington, New Jersey.
Location
Currently not on view
date made
ca 1850
manufacturer
Wilson, William H.
ID Number
2005.0233.0164
accession number
2005.0233
catalog number
2005.0233.0164

Friendship Company Cape

Some early American firefighters wore capes for protection, ornamentation, and identification.
Description
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted red overall with a gold trim. A black banner in the center of the cape reads “FRIENDSHIP” in gold text with the date “1775” in gold below, and the letter “F” in gold on each end. The cape likely belonged to a member of the Friendship Fire Company of Wilmington, Delaware, which was founded in December of 1775. In addition to patriotic ideals, early fire companies also lauded altruistic social values, with names like “Good Will,” “Hope,” and “Harmony.”
Location
Currently not on view
date made
ca 1840
maker
unknown
ID Number
2005.0233.0125
accession number
2005.0233
catalog number
2005.0233.0125

Fire Helmet, "John N. Bird R.F.D."

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 made by an unknown American manufacturer dates from the mid-19th century. The helmet has eight combs with an embossed ivy-vine scrollwork design around the hat’s brim, and a metal eagle frontpiece holder. The frontpiece reads “JOHN BIRD/5/RFD.”
Location
Currently not on view
date made
1855
user
Bird, John N.
maker
unknown
ID Number
2005.0233.0166
accession number
2005.0233
catalog number
2005.0233.0166

America Hose Company Cape

Some early American firefighters wore capes for protection, ornamentation, and identification.
Description
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted maroon with gold trim. The center of the cape has gold letters that read “America Hose” with a golden “A” (for America) on each shoulder. America was a common name among fire companies, making it difficult to determine which company this cape, painted burgundy with yellow lettering, belonged. Companies often chose monikers such as America, Eagle, Columbia, Washington, and United States to link their company with patriotic values of a still young republic. Hose companies began to form the first decades of the 19th century, with the creation of municipal water systems and developments in hose design that made the equipment more functional and essential in fighting fires in larger cities. Hose companies were responsible for maintaining the leather hoses, transporting and working them at fires. The hose allowed firemen to quickly bring water to a blaze from a distance, as well as the ability to put more water directly on the conflagration.
Location
Currently not on view
date made
ca 1840-1850
maker
unknown
ID Number
2005.0233.0120
catalog number
2005.0233.0120
accession number
2005.0233

Fire Helmet, "Foreman / Excelsior"

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 in use during the early 19th century. The hat has an unusually rounded crown, with a metal band where the crown meets the brim, a metal strip across the crown from the sides of the hat, and a metal strip from the back to the upper middle of the crown. These supportive metal segments are riveted to the hat. The hat has a leather frontpiece that reads “FOREMAN/EXCELSIOR” in gold paint that is now obscured with age.
Location
Currently not on view
date made
early 19th century
maker
unknown
ID Number
2005.0233.0155
accession number
2005.0233
catalog number
2005.0233.0155

Fire Helmet, "Harmony 6 Fire Co."

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 John M. Migeod and Son of Philadelphia, Pennsylvania in the 19th century. The black helmet has eight combs with a stamped ivy-vine design around the helmet’s brim. The rear brim of the helmet has the initials “FA” painted in gold flanking an image of a fire hydrant with protruding hose. 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. A metal frontpiece holder in the shape of a fox is mounted onto the crown of the helmet. The frontpiece is painted white, with a large black “6” in the center and the words “HARMONY / FIRE Co” on red banners arching around the top and bottom of the frontpiece. The Harmony Fire Company No.6 was founded in Philadelphia in 1784 by a group of Quakers. It operated as a hand engine company until 1855, when it refused to join the newly organized Philadelphia Fire Department, which, although volunteer, was under the administrative and financial control of the city. In 1867, the Franklin Hose Company No. 28 purchased its charter and operated as the Harmony Steam Fire Engine Company No. 6 until 1871 when Philadelphia’s paid firefighting department was established.
Location
Currently not on view
date made
around 1850
maker
Migeod Company
John M. Migoed & Son
Migeod Company
ID Number
2005.0233.0161
accession number
2005.0233
catalog number
2005.0233.0161

Leather Jacket (Cuera or Cota)

Short cuera or leather jacket, composed of five pieces of soft tanned buckskin sewn together in three sections, one back and two side pieces; sleeveless, as were both the short and long jackets of this type.Cueras were a type of under protective garment originally worn by the Spa
Description (Brief)
Short cuera or leather jacket, composed of five pieces of soft tanned buckskin sewn together in three sections, one back and two side pieces; sleeveless, as were both the short and long jackets of this type.
Cueras were a type of under protective garment originally worn by the Spanish during the 16th, 17th, 18th, and first half of the 19th centuries on the Northern frontiers of Mexico and including the provinces of New Mexico, Arizona, and California. As a rule, they were made by the individual owners or, as in the case of California, manufactured at the missions, along with leather shields (see CL.175188). They were made in two general sizes: one short and one long, which protected a man from his neck to mid-thigh. They were made from five to seven thicknesses of deerskin and on some of the armor were square collars which could be drawn up to protect the back of the head and neck from Indian arrows. At this time these cueras were quilted in lozenge-shaped patterns secured by leather buttons or rawhide which held all the sides together; also some cueras were bound around the arms holes and along the edges with a green or blue narrow cotton tape. The men who wore these were known as soldados de cuera, or jacket soldiers.
Location
Currently not on view
Date made
ca 1700 - 1850
ID Number
CL.175189
catalog number
175189
accession number
29421

Red Lion Camp Meeting by Alfred Thompson Scott (artist) and P.S. Duval and Company (lithographers)

This colored print depicts a large camp meeting in a clearing in the forest. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer.
Description
This colored print depicts a large camp meeting in a clearing in the forest. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer. Hundreds and even thousands came from miles around for preaching and worship, and to enjoy the festival-like atmosphere. A circle of many tents surrounds a vast congregation with a pulpit in the center next to the preacher's tent. On the outskirts are many carriages and people.
The Red Lion camp meeting was held August 6-14, 1853, near Red Lion, New Castle County, Delaware. This religious revival was organized by the Methodist Episcopal Church and was presided over by several of their circuit preachers from the Philadelphia Conference. These included Reverend A. Atwood, P.F. Rev. Thomas Sumption, and Reverend R. Owen and Bishop Levy Scott. Given that the artist was the son of one of the sponsors of the event, this image can serve as a documented eyewitness account. The list of ministers is listed in the caption below the image.
Alfred Thompson Scott (1831-1914), son of Levi Scott, Methodist Episcopal Bishop of Delaware, was the original artist. This appears to be his earliest work. Scott partnered with daguerreotypist Nelson Carlisle, became a drawing and painting instructor for Wilmington’s Wesleyan Female College, and became a minister.
This print was produced by P.S. Duval and Company, A.T. Scott and Cyrus Stern. Peter S. Duval (ca. 1804/05-1886) was a French lithographer who immigrated to Philadelphia in 1831 to work for the lithographic firm of Childs & Inman. In 1837, he established his own lithographic firm in Philadelphia. During the 1840s, the firm's products included advertisements, book and periodical illustrations, sheet music covers, maps and portraits. By the end of that decade, Duval was winning awards for his work in chromolithography. He was also among the first to introduce steam power to the process of lithography. His son Stephen Orr Duval joined the company in 1858. The company headquarters suffered a disastrous fire in 1856 and Duval declared financial insolvency in 1859. However, he was able to reestablish his business, and he continued working till his retirement in 1869.
Cyrus Stern (1818-1891) was this print’s publisher/copyriter as well as an author and composer of other works. He was headquartered on Market Street in Wilmington, Delaware.
Location
Currently not on view
Date made
1853
lithographer
P. S. Duval and Company
artist
Scott, Alfred T.
publisher
Stern, Cyrus
ID Number
DL.60.2966
catalog number
60.2966
accession number
228146

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.