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: 1900s

1900 Chinese Woman’s Slippers for Bound Feet

Mrs. Lee had bound feet her entire life. Her daughter, Grace Mok, noted in an oral history that her limited mobility and difficulty in walking required her to be accompanied wherever she went.
Description
Mrs. Lee had bound feet her entire life. Her daughter, Grace Mok, noted in an oral history that her limited mobility and difficulty in walking required her to be accompanied wherever she went. Though these are not Ng Shee Lee’s shoes, they are similar to those she wore.
Foot binding in China may have originated as early as 900 AD. Though outlawed by the conquering Manchus in the 17th century, the Han Chinese retained the social practice into the 20th century.
Location
Currently not on view
date made
1900
maker
unknown
ID Number
AG.A.2937
accession number
1926.93542
catalog number
A.2937
A002937

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

Ñandutí Needle Lace Collar

This collar is made in the Ñandutí technique with cotton thread. The motifs are circular and semi-circular and two strips are joined to make the collar. Probably made in Paraguay, South America. Ñandutí lace is made on a foundation fabric, which is removed later.
Description
This collar is made in the Ñandutí technique with cotton thread. The motifs are circular and semi-circular and two strips are joined to make the collar. Probably made in Paraguay, South America. Ñandutí lace is made on a foundation fabric, which is removed later. Lace making was introduced to Paraguay by the Spaniards in the mid 1600's.
Location
Currently not on view
date made
1880-1900
maker
unknown
ID Number
TE.T15212
catalog number
T15212
accession number
290897

Border in Modern Point d'Angleterre Mixed Lace

This border is made in the Point d’Angleterre technique combining bobbin and needle lace. The details in the intricate floral pattern indicate highly skilled designer and lace makers.
Description
This border is made in the Point d’Angleterre technique combining bobbin and needle lace. The details in the intricate floral pattern indicate highly skilled designer and lace makers. The lily flower motifs embellishing the outer edge are made with alternating bobbin lace and needle lace with centers of bobbin made veined leaves and needle made centers. The ground, also called reseau, is made in the point de gaze style needle lace with tiny rings. This late 19th century cotton lace is of very good quality. A machine made entre-deux is added.
Location
Currently not on view
date made
19th C
1870-1895
Associated Date
1870-1895
Associated Name
Pinchot, Mary Eno
maker
unknown
ID Number
TE.L6458
catalog number
L6458
accession number
48717

Binche Bobbin Lace Collar

This sample of Binche bobbin lace from about 1725-1735 is of fine quality. The style is sometimes called Fausse Valenciennes. The collar was fashioned from eight fragments of similar, but not identical lace in the 20th century.
Description
This sample of Binche bobbin lace from about 1725-1735 is of fine quality. The style is sometimes called Fausse Valenciennes. The collar was fashioned from eight fragments of similar, but not identical lace in the 20th century. A newer edging has been whip stitched on.
Location
Currently not on view
date made
1725-1735
remodeled
late 19th century
maker
unknown
ID Number
TE.L7382
catalog number
L7382
accession number
83674

Abraham Lincoln's Top Hat

At six feet four inches tall, Lincoln towered over most of his contemporaries. He chose to stand out even more by wearing high top hats. He acquired this hat from J. Y. Davis, a Washington hat maker.
Description
At six feet four inches tall, Lincoln towered over most of his contemporaries. He chose to stand out even more by wearing high top hats. He acquired this hat from J. Y. Davis, a Washington hat maker. Lincoln had the black silk mourning band added in remembrance of his son Willie. No one knows when he obtained the hat, or how often he wore it. The last time he put it on was to go to Ford’s Theatre on April 14, 1865.
After Lincoln’s assassination, the War Department preserved his hat and other material left at Ford’s Theatre. With permission from Mary Lincoln, the department gave the hat to the Patent Office, which, in 1867, transferred it to the Smithsonian Institution. Joseph Henry, the Secretary of the Smithsonian, ordered his staff not to exhibit the hat “under any circumstance, and not to mention the matter to any one, on account of there being so much excitement at the time.” It was immediately placed in a basement storage room.
The American public did not see the hat again until 1893, when the Smithsonian lent it to an exhibition hosted by the Lincoln Memorial Association. Today it is one of the Institution’s most treasured objects.
Transfer from the War Department with permission from Mary Lincoln, 1867
date made
mid 19th century
user
Lincoln, Abraham
maker
Davis, J. Y.
ID Number
PL.9321
accession number
38912
catalog number
9321

Gros Point de Venise Needle Lace Cuff

The gros point de Venise needle lace in this set of cuffs is of very fine quality with a variety of fillings in three dimensional floral motifs. The connectors between the motifs are decorated bars with circles and semi-circles adorned with multiple picots.
Description
The gros point de Venise needle lace in this set of cuffs is of very fine quality with a variety of fillings in three dimensional floral motifs. The connectors between the motifs are decorated bars with circles and semi-circles adorned with multiple picots. The cuffs were cut from a larger piece of lace and edged with narrow borders made with bobbins, crochet and machine made lace. The original lace is the style of the third quarter of the 17th century.
Location
Currently not on view
date made
mid-19th century with older motifs
ID Number
TE.L7319A
catalog number
L7319.00A
L7297.00B
accession number
83674

Alençon Needle Lace Collar

Grape and vine motifs with shadow effect decorate this cotton Alençon lace collar from the late 19th century. Horsehair is used to support picots on the outside edge and on some interior motifs. The entre-deux at the neck edge is made with Droschel bobbin lace.
Description
Grape and vine motifs with shadow effect decorate this cotton Alençon lace collar from the late 19th century. Horsehair is used to support picots on the outside edge and on some interior motifs. The entre-deux at the neck edge is made with Droschel bobbin lace. It is attributable to the Lefébure workshop, Bayeux, France, and the pattern for this collar is in Musée des Beaux-Arts et de la Dentelle, Alençon, France. See Bruggeman, Kant in Europa, (L'Europe de la Dentelle), 1997 p. 169, and Dépalle, Brigitte Delesques, La Dentelle à l'aiguille, p. 81. It matches cuffs or borders TE*T17893B and TE*T17893C.
Location
Currently not on view
date made
1855-1900
designer
Lefebure, Ernest
designed and made by the workshop
Lefébure, Ernest
ID Number
TE.T17893A
catalog number
T17893A
accession number
319013

Alençon Needle Lace Cuff

This cotton Alençon lace border or cuff from the late 19th century matches collar TE*T17893A and cuff TE*T17893B. In this set, horsehair is used to support the picots on the outside edge and some interior motifs. The entre-deux at the edge is made with Droschel bobbin lace.
Description
This cotton Alençon lace border or cuff from the late 19th century matches collar TE*T17893A and cuff TE*T17893B. In this set, horsehair is used to support the picots on the outside edge and some interior motifs. The entre-deux at the edge is made with Droschel bobbin lace. It is attributable to the Lefébure workshop, Bayeux, France, and the pattern for this collar is in Musée des Beaux-Arts et de la Dentelle, Alençon, France. See Bruggeman, Kant in Europa, (L'Europe de la Dentelle), 1997 p. 169, and Dépalle, Brigitte Delesques, La Dentelle à l'aiguille, p. 81
Location
Currently not on view
date made
1855-1900
made by workshop of Lefébure, Ernest
Lefébure, Ernest
ID Number
TE.T17893C
catalog number
T17893C
accession number
319013

Lace Cuff Made From Three Strips of Lace

This cuff was made by combining three strips of bobbin lace to make a gathered cuff. The main lace is a point ground lace with floral motifs. This style is sometimes called Regency Point with the outline thread “gimp” is on inside of the motifs.
Description
This cuff was made by combining three strips of bobbin lace to make a gathered cuff. The main lace is a point ground lace with floral motifs. This style is sometimes called Regency Point with the outline thread “gimp” is on inside of the motifs. The fillings consist of honeycomb with tallies. The main lace has been cut from a longer piece, and bordered with narrow edgings at both ends, and gathered to two strips of simple point ground laces. The original lace was possibly made during the Regency period from 1811 to 1820.
Location
Currently not on view
date made
19th C
1812-1820
Associated Date
1812-1820
Associated Name
Pinchot, Mary Eno
maker
unknown
ID Number
TE.L6462
catalog number
L6462
accession number
48717

Alençon Needle Lace Cuff

This cotton Alençon lace border or cuff from the late 19th century matches collar TE*T17893A and cuff TE*T17893C. In this set, horsehair is used to support the picots on the outside edge and some interior motifs. The entre-deux at the edge is made with Droschel bobbin lace.
Description
This cotton Alençon lace border or cuff from the late 19th century matches collar TE*T17893A and cuff TE*T17893C. In this set, horsehair is used to support the picots on the outside edge and some interior motifs. The entre-deux at the edge is made with Droschel bobbin lace. It is attributable to the Lefébure workshop, Bayeux, France, and the pattern for this collar is in Musée des Beaux-Arts et de la Dentelle, Alençon, France. See Bruggeman, Kant in Europa, (L'Europe de la Dentelle), 1997 p. 169, and Dépalle, Brigitte Delesques, La Dentelle à l'aiguille, p. 81
date made
1855-1900
made by workshop of
Lefébure, Ernest
ID Number
TE.T17893B
catalog number
T17893B
accession number
319013

Point d'Angleterre Bobbin Lace Cape

This is a small cape or collar made in delicate Point d'Angleterre bobbin lace. The floral, symmetric design indicates French influence. Bobbin lace braids with picots connect the motifs.
Description
This is a small cape or collar made in delicate Point d'Angleterre bobbin lace. The floral, symmetric design indicates French influence. Bobbin lace braids with picots connect the motifs. The cape was refashioned into the current shape in the late 19th century and is bordered with a narrow machine made purl edge. The repairs are made with needle made bars.
Location
Currently not on view
date made
1700-1730
date remodeled
late 19th century
maker
unknown
ID Number
TE.T15222
catalog number
T15222
accession number
290897

Chantilly Bobbin Lace Fan Leaf on Amber Colored Frame

Black Chantilly bobbin lace fan leaf, set on amber colored frame with initials RVR (Rebecca Van Raalte). Opens to 180 degrees. Ecru colored silk even plain weave lining. Purchased in Glasgow, Scotland, in the third quarter of the 19th century. Fan leaf 6 1/4 inches deep.
Description (Brief)
Black Chantilly bobbin lace fan leaf, set on amber colored frame with initials RVR (Rebecca Van Raalte). Opens to 180 degrees. Ecru colored silk even plain weave lining. Purchased in Glasgow, Scotland, in the third quarter of the 19th century. Fan leaf 6 1/4 inches deep. Fan sticks 11 inches long. Connected with metal rivet.
Location
Currently not on view
date made
3rd quarter, 19th century
ID Number
TE.T13417
catalog number
T13417.000
accession number
253634

Lace Pattern; named Spider Lace

Currently not on view
Location
Currently not on view
date made
1904
copyright date
1904
copyright holder
Lewis, Sylvester G.
maker
Torchon Lace Company
ID Number
2016.0048.05N
accession number
2016.0048
catalog number
2016.0048.05N

Valenciennes Bobbin Lace Pattern and Sample

This set is a pattern of Valenciennes square mesh bobbin lace and a sample made from it. The pattern is drawn with ink (?) on parchment and appears to have been used as the pricking. Suggestions for working the pattern are written in French: "Laisser le bas.
Description
This set is a pattern of Valenciennes square mesh bobbin lace and a sample made from it. The pattern is drawn with ink (?) on parchment and appears to have been used as the pricking. Suggestions for working the pattern are written in French: "Laisser le bas. Claircir (?) les deux cercles. Laisser plus de jeu aux boules. Former le petit medaillon, le haut moins regulier". Extra threads are added to motifs and cut off. The design (no. 554) and sample for this 19th Century Brussels lace were purchased from G. Moens, Brussels, in 1921.
Location
Currently not on view
date made
late 19th century
maker
unknown
ID Number
2013.0121.29
accession number
2013.0121
catalog number
2013.0121.29

Young child standing next to clothesline

Currently not on view
Location
Currently not on view
date made
ca 1907
ID Number
2017.0219.0015
accession number
2017.0219
catalog number
2017.0219.0015

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

button

Currently not on view
Location
Currently not on view
date made
19th century
ID Number
1990.0605.38
catalog number
1990.0605.38
accession number
1990.0605

button

Currently not on view
Location
Currently not on view
date made
19th century
ID Number
1990.0605.11
catalog number
1990.0605.11
accession number
1990.0605

1895 - 1905 Chinese American Woman's Trousers

Ng Shee (1874 - ?) had this two paneled skirt as well as trousers made in Hong Kong at the time of her marriage to Mr. Lee B. Lok in China around 1900. After the marriage Ng Shee lived with her mother in law in China until she joined Mr.
Description (Brief)
Ng Shee (1874 - ?) had this two paneled skirt as well as trousers made in Hong Kong at the time of her marriage to Mr. Lee B. Lok in China around 1900. After the marriage Ng Shee lived with her mother in law in China until she joined Mr. Lee in New York City in 1906.
The pair of matching trousers was often worn under the pleated skirt with a rectangular apron or wei chu’u.
Location
Currently not on view
date made
ca 1900
maker
unknown
ID Number
1992.0620.21
catalog number
1992.0620.21
accession number
1992.0620

blouse, woman's

Currently not on view
Location
Currently not on view
date made
ca 1905
ID Number
1992.0620.23
catalog number
1992.0620.23
accession number
1992.0620
catalog number
1992.0620

Spectacles

These gold-plated eyeglass frames with rectangular glass lenses connected by a broad bridge date from about 1850 to 1880. The straight temples terminate in teardrop-shaped fenestrations.Currently not on view
Description
These gold-plated eyeglass frames with rectangular glass lenses connected by a broad bridge date from about 1850 to 1880. The straight temples terminate in teardrop-shaped fenestrations.
Location
Currently not on view
date made
1850-1880
1850-1900
maker
unknown
ID Number
1981.0828.12
catalog number
1981.0828.12
accession number
1981.0828

Union 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 white, with the text “UNION/1747” in red with brown shading in the center of the cape. The cape’s shoulders have the number “1” painted in red with brown shading. This cape likely belonged to a member of the Union Fire Company of Trenton, New Jersey, which was founded February 8th, 1747.
Location
Currently not on view
date made
18th or 19th century
maker
unknown
ID Number
2005.0233.0130
catalog number
2005.0233.0130
accession number
2005.0233

Jamestown Exposition - Garrett's American Wines

Advertising pin for Garrett & Company made specially for the Jamestown Exposition of 1907 in Norfolk, Virginia. The front features color images of Pocahontas, Virginia Dare and Minnehaha (described as "The Cousins") and a crest for Garrett's American Wines.
Description (Brief)
Advertising pin for Garrett & Company made specially for the Jamestown Exposition of 1907 in Norfolk, Virginia. The front features color images of Pocahontas, Virginia Dare and Minnehaha (described as "The Cousins") and a crest for Garrett's American Wines. An image of the Virginia Dare clock atop the Garrett and Co. building in Norfolk is on the back. The back also reads "Take Berkley ferry in Norfolk, Va."
Garrett & Company, established in North Carolina in 1835, was a manufacturer of American wines using the indigenous Scuppernong grape. Virginia Dare was their most popular wine, named for the first child born in America to English settlers. Dare was born on Roanoke Island, which is also home to the Mother Vine, a Scuppernong vine known to be the oldest cultivated grapevine in the world. Pocahontas and Minnehaha were names of two other Garrett & Company wines.
The company moved to Norfolk, Virginia, in 1903, after the growing temperance movement in the South made North Carolina an unfriendly environment for a wine business. By 1912, the spread of dry counties northward compelled the business to relocate for a final time to New York State. Eventually, nationwide Prohibition forced the company to abandon its wine manufacturing altogether. In the Dry years, the company diversified into Virginia Dare flavoring extracts and the sale of grapes for use in home winemaking.
Location
Currently not on view
date made
1907
depicted
Pocahontas
advertiser
Garrett & Company
maker
Whitehead & Hoag Company
ID Number
2006.0098.0141
accession number
2006.0098
catalog number
2006.0098.0141

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