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.

button

Currently not on view
Location
Currently not on view
ID Number
1985.0106.340
accession number
1985.0106

button

Currently not on view
Location
Currently not on view
ID Number
1990.0591.05
catalog number
1990.0591.05
accession number
1990.0591

IMF World Bank WTO

Date made
2000
2000-04-16
ID Number
2000.0158.01
catalog number
2000.0158.01
accession number
2000.0158

Sir Sandford Fleming's Pocketwatch

This watch belonged to Sir Sandford Fleming, chief engineer of the Canadian Pacific Railway.
Description
This watch belonged to Sir Sandford Fleming, chief engineer of the Canadian Pacific Railway. About 1880, Fleming devised a plan for worldwide time zones and had a complicated watch made to reflect both zoned time and local time.
The maker of Fleming's watch is the London firm of Nicole, Nielsen & Co. Successor to a business founded by Swiss immigrants Adolphe Nicole and Jules Capt in the late 1830s, the firm made high-quality timepieces. Fleming ordered the watch through retailer E. White, also of London.
Fleming's first notions about time reform emerged on a trip to Ireland in 1876, when he missed a train because he misread a timetable. His initial plan concentrated on replacing the two twelve-hour designations of the day, A.M. and P.M., with a twenty-four hour system. Almost immediately, though, he expanded his ideas about time reform to propose a system he called variously "Terrestrial Time," "Cosmopolitan Time," and "Cosmic Time"-a division of the globe into twenty-four zones, each one hour apart and identified by letters of the alphabet.
As the 1880s began there was no binding international agreement about how to keep time for the world. Traditionally, each country used its own capital city or main observatory for measuring time and designating lines of longitude on national maps. After publication of the British Nautical Almanac began in 1767, many nations came to use Greenwich time for navigation and some scientific observations. Local mean time served for all other activities.
Added emphasis on Greenwich had come from North America when the railroads there voluntarily adopted a standard zoned time in 1883. In that system, the zones were based on meridians counted west from Greenwich, England, at zero degree of longitude.
Fleming was not the first or only proponent of world standard time. Quirico Filopanti, an Italian mathematics and engineering professor, for example, published a scheme based on twenty-four zones counted from Rome as prime meridian in 1858.
Organized international support emerged slowly for fixing a common prime meridian. Not until October 1884 did diplomats and technical specialists gather to act on scientific proposals. The International Meridian Conference, held in Washington, DC, recommended that the nations of the world establish a prime meridian at Greenwich, count longitude east and west from the prime meridian up to 180 degrees in each direction, and adopt a universal day beginning at Greenwich at midnight. Although the International Meridian Conference had no authority to enforce its suggestions, the meeting resulted in the gradual worldwide adoption of a time-zone based system with Greenwich as zero degrees.
The military and some civilian science, aviation and navigation efforts still use alphabet identifiers for time zones. The time of day in Zone Z is known as "Zulu Time." The zone is governed by the zero degree of longitude that runs through Greenwich.
Location
Currently not on view
Date made
ca 1880
maker
Nicole, Nielsen & Co.
ID Number
1990.0659.01
catalog number
1990.0659.01
accession number
1990.0659

corset

Currently not on view
Location
Currently not on view
Date made
1828 - 1835
ID Number
CS.006725
catalog number
006725
accession number
28810

Woman's Dress, 1900–05

There is no information as to who wore this dress.Cotton dresses such as this one were often advertised at the end of the nineteenth century and the beginning of the twentieth century as “wash dresses,” as they were easily laundered.
Description
There is no information as to who wore this dress.
Cotton dresses such as this one were often advertised at the end of the nineteenth century and the beginning of the twentieth century as “wash dresses,” as they were easily laundered. While this dress could have been ready-made, most likely it was made at home. Although it is relatively simple in construction, the maker took care to add decorative details such as the bias appliqués and the self-covered buttons, neither of which served any structural need but simply made the dress more stylish. The dress is shown with a cotton apron that was typical for the period and the kind of apron that a woman might have worn for doing light household tasks.
This one-piece dress is constructed of a black and white plaid cotton. The bodice has a high stand collar trimmed with a band of embroidered white cotton that closes with three pearl buttons. The center front opening in the bodice has twelve pearl buttons on the right side and worked buttonholes on the left side. Tucks in the bodice at center front run from the neckline to the waistline, and tucks starting at the shoulders release part way down into the bodice front. The bodice back has shirring at the waist to control the fullness with a bias strip, trimmed with four self-covered buttons, applied vertically at the center back. A cummerbund effect is created at the waist with a wide bias band that is attached to the skirt but loose from the bodice at the upper edge. The lightly boned waistband closes with two pearl buttons. The long, narrow sleeves have the fullness controlled at the wrists by tucks. A self-bias band is applied to the outer portion of the sleeves, which come to a point at the lower edge and are trimmed with two self-covered buttons. The wrist openings of the sleeves are edged with embroidered white cotton. The skirt section has a center front placket opening with eight hooks-and-eyes for closure. Tucks extend from the waist, releasing at the lower hip area. Two bias bands are applied at the lower skirt with a fold over hem. The dress is unlined, and the seam edges are raw on the inside.
Location
Currently not on view
Date made
1900-1905
maker
unknown
ID Number
1986.0202.11
accession number
1986.0202
catalog number
1986.0202.11

Woman's Corset, 1810-1820

When this corset was made in the decade between 1810 and 1820 for an unidentified Indiana woman, it represented the latest evolution of a garment that had been essential women’s wear for centuries.
Description
When this corset was made in the decade between 1810 and 1820 for an unidentified Indiana woman, it represented the latest evolution of a garment that had been essential women’s wear for centuries. Today, the word corset conjures an image of painful tight-lacing that was endured to produce an unnaturally small waist. However, the woman who wore this garment used it simply to support her chest (the brassiere would not be invented for another century) and to confine her shift, a voluminous knee-length undergarment, so that her high-waisted dress would sit smoothly over her torso and hips. If laced correctly, the wearer would have left a gap of several inches between the back edges of the corset, preventing it from being “tight-laced.”
Even so, this early 19th-century corset was distinctly different from the variations that came before and after it. During the 1700s, women had worn heavily boned, cone-shaped corsets called stays that had flattened their chests and made their torsos triangular. By the middle of the 1800s, the corset was once again heavily reinforced with narrow bones or steels to produce a curvy, hour-glass shape that was round and full both above and below the waist. By contrast, the corset shown here was intended to produce a natural-shaped figure. Hence, it relied mainly on cotton cording rather than bone or steel to coax the wearer’s body into the desired form. The only inflexible part of this corset was a long wooden or bone insert called a busk that slipped into a pocket at the center front and could be removed for washing.
Because of its lack of boning, this type of corset could be sewn at home without great difficulty. However, making a garment that fit was more complicated. The English author of The Workwoman’s Guide, Containing Instructions to the Inexperienced in Cutting Out and Completing those Articles of Wearing Apparel, &c., Which are Usually Made at Home (1840) suggested that “with respect to the cutting out, it is recommended to those who make their own stays, to purchase a pair from an experienced stay-maker that fit perfectly well, and also a pair cut out, but not made up, so as to be a good pattern for the home-made stays.” Sturdy cotton jean or satin were the most commonly used fabrics for corsets in the early 19th century. White was the preferred color, but gray and brown were both thought to be practical for “inferior” corsets.
This tan cotton sateen corset is made to be laced up the back through nine pairs of irregularly placed bone eyelets. The shoulder straps are meant to tie in place at the front of the corset through one bone eyelet at the end of each strap and a corresponding one over each shoulder blade. The original lacing and ties are missing. Two triangular inserts of fabric called gussets provide shape and support for each side of the bust. A decorative three-leafed motif is backstitched at the lower end of each bust gusset. Another matching, inverted trefoil is centered below the bust gussets, rising from the midriff. The upper and lower edges, and the edges of the shoulder straps, are bound with dark tan twill tape.
The only rigid part of this corset would have been a separate smooth strip of wood or bone, just over a foot long and 1.5" wide, called a busk. This would have been inserted through a slotted pocket that is sewn through all layers of fabric onto the white twilled cotton lining, down almost the full length of the center front. The lowest 1.125" of the busk pocket is closed with thirteen closely spaced, vertical rows of quilting. All other shaping is achieved through rows of cording that are run through channels quilted in brown thread through all layers of fabric. Double or triple parallel lines of cording define the high waist, stomach, and hips of the corset. The center front length of the corset body is 14.75"; the center back length of the corset body is 13.875"; the strap length is 7.875"; the edge-to-edge measure at the waist is 20.75".
To see a cartoon showing a lady slipping a busk into her corset, link to Progress of the Toilet.—THE STAYS.—Plate 1., 1810, by J. Gillray at The Lewis Walpole Library, Yale University. To find out how to make a corset, link to The workwoman's guide, containing instructions in cutting out and completing articles of wearing apparel, by a lady (Second edition: 1840), pages 80 to 83 and Plate 11.
Date made
1825 - 1849
1810-1820
ID Number
CS.256746.006
catalog number
256746.006
accession number
256746

Carved Pearl Button with Sunburst, Half Circle, and Hole Design

Currently not on view
Location
Currently not on view
ID Number
1962.239460.03341
accession number
239460
catalog number
239460.03341

Metal Button Depicting a Hand Holding a Flower

Currently not on view
Location
Currently not on view
Associated Name
Arthur, Eleanore M.
ID Number
1962.239460.03831
accession number
239460
catalog number
239460.03831

Oblong, Faceted Amethyst Glass Button with Gold Decoration

Currently not on view
Location
Currently not on view
ID Number
1962.239460.04093
accession number
239460
catalog number
239460.04093

Metal Button Depicting a Boy Holding a Boat with a Small Dog Beside Him

Currently not on view
Location
Currently not on view
ID Number
1962.239460.01450
accession number
239460
catalog number
239460.01450

cap

Currently not on view
Location
Currently not on view
Date made
1810 - 1820
ID Number
CS.006610D
catalog number
006610D
accession number
28810

1-piece dress

Currently not on view
Location
Currently not on view
date made
ca 1958
maker
Cassini, Oleg
ID Number
2011.0229.01
catalog number
2011.0229.01
accession number
2011.0229

Round, Carved Black Glass Button with Line Design

Currently not on view
Location
Currently not on view
ID Number
1962.239460.01618
accession number
239460
catalog number
239460.01618

Small, Round Mirror Button

Currently not on view
Location
Currently not on view
ID Number
1962.239460.04076
accession number
239460
catalog number
239460.04076

Fire Helmet, "1 FD / SFD 4"

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 dates to the 19th century. The helmet has eight combs and an embossed foliage motif around the brim. The rear brim has “S.F.D. 4” painted in gold with a hook attached to the rear edge. There is a metal eagle frontpiece holder mounted to the crown of the helmet. The brown leather frontpiece has the number “1” in white in the center, with red banners at the top and bottom. The upper banner’s original text is unknown, but the lower banner reads “FD.”
Location
Currently not on view
ID Number
2005.0233.0179
accession number
2005.0233
catalog number
2005.0233.0179

Amber Bakelite Brooch

This is a bakelite bowtie brooch made between 1930-1940. Bakelite jewelry reached the height of its popularity in the 1930s as an inexpensive form of costume jewelry. Dr.
Description
This is a bakelite bowtie brooch made between 1930-1940. Bakelite jewelry reached the height of its popularity in the 1930s as an inexpensive form of costume jewelry. Dr. Leo Bakeland patented bakelite in 1907 and it caught on quickly because it could be molded into many shapes while also being very lightweight and durable. Bakelite lost favor during WWII and became nearly obsolete in the post-war period due to the rise of other more flexible plastics.
date made
1930-1940
used by
Sieverts, June Ayres Lane
ID Number
1996.0038.021
catalog number
1996.0038.021
accession number
1996.0038

Round Goldstone Button with Decorative Metal Rim

Currently not on view
Location
Currently not on view
ID Number
1962.239460.04030
accession number
239460
catalog number
239460.04030

Metal Button Depicting a Bird Holding an Umbrella

Currently not on view
Location
Currently not on view
ID Number
1962.239460.01397
accession number
239460
catalog number
239460.01397

Aqua Enamel Button with White and Black Rim

Currently not on view
Location
Currently not on view
ID Number
1962.239460.01572
accession number
239460
catalog number
239460.01572

Carved Pearl Button with Sunburst, Half Circle, and Hole Design

Currently not on view
Location
Currently not on view
ID Number
1962.239460.03337
accession number
239460
catalog number
239460.03337

Round Black Button with Goldstone Stripe and Decorative Metal Rim

Currently not on view
Location
Currently not on view
ID Number
1962.239460.04034
accession number
239460
catalog number
239460.04034

Black Glass Button Decorated to Appear Like a Box While Remaining Flat

Currently not on view
Location
Currently not on view
ID Number
1962.239460.03551
accession number
239460
catalog number
239460.03551

Helmet Frontpiece, “Winchester Engineer CTS”

The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information.
Description (Brief)
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This white leather shield has three dark brown banners with raised tan leather letters that read “ENGINEER/WINCHESTER/CTS.”
Location
Currently not on view
date made
unknown
maker
unknown
ID Number
2005.0233.1482
accession number
2005.0233
catalog number
2005.0233.1482

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