Cultures & Communities

Furniture, cooking wares, clothing, works of art, and many other kinds of artifacts are part of what knit people into communities and cultures. The Museum’s collections feature artifacts from European Americans, Latinos, Arab Americans, Asian Pacific Americans, African Americans, Gypsies, Jews, and Christians, both Catholics and Protestants. The objects range from ceramic face jugs made by enslaved African Americans in South Carolina to graduation robes and wedding gowns. The holdings also include artifacts associated with education, such as teaching equipment, textbooks, and two complete schoolrooms. Uniforms, insignia, and other objects represent a wide variety of civic and voluntary organizations, including youth and fraternal groups, scouting, police forces, and firefighters.

This exotic Eastern-influenced dress was designed by Callot Soeurs, a popular Parisian fashion house.The dress was worn by Mrs.
Description
This exotic Eastern-influenced dress was designed by Callot Soeurs, a popular Parisian fashion house.
The dress was worn by Mrs. Florence Sheffield Keep, a prominent Washingtonian whose busy social schedule and contacts within the diplomatic community were often noted in the Washington, DC and New York City newspapers. It is possible that this dress was worn to a diplomatic event in Washington, DC.
Callot Soeurs opened in 1895 at 24, rue Taibout in Paris, France. It was founded and operated by four sisters: Marie Callot Gerber, Marthe Callot Bertrand, Regina Callot Tennyson-Chantrell, and Josephine Callot Crimont with Marie being the head designer. Coming from an artistic family, their mother was a lace maker and their father a painter and teacher of design. Before opening the salon, the sisters first worked with antique laces and ribbons to adorn blouses and lingerie. They later expanded into other clothing to include daywear, tailored suits, and evening dresses being best known for their eighteenth century inspired dishabille and their exotic evening dress influenced by the East. In 1914, the design house moved to grander quarters at 9-11, avenue Matignon, and they became involved in Le syndicat de defense de la grande couture francaise. Through this organization Callot Soeurs along with designers Paul Poiret, Jacques Worth, Jeanne Paquin, Madeleine Cheruit, Paul Rodier, and Bianchini and Ferier, put in place controls to protect their original designs from copy houses that sold them to ready-to-wear manufacturers without their permission. This is the time when the Callot Soeurs began to date their labels.
As evident with the design of this dress of bright orange color, gold lace, and elaborate trim, in the 1920’s, Callot Soeurs used brilliant and rich fauvist colors and Eastern inspired designs with exotic details in their formal evening wear. Along with other designers such as Paul Poiret, they were strongly influenced by the wave of orientalism in fashion and the arts. It was during this period that Callot Soeurs became one of the leading fashion houses in Paris, serving exclusive clientele from Europe and the United States. In 1928, Pierre Gerber, Marie Callot Gerber’s son took over the business and moved it to 41, avenue Montaigne. It remained there until Marie retired in 1937. It was at this time that the House of Callot Soeurs closed and was absorbed into the House of Calvert.
This dress is constructed of bright orange silk chiffon with a lining of off-white satin. Gold metallic lace trim and elaborate decorative motifs of beading and iridescent sequins decorate entire dress. The bodice section forms a deep V at front and back with the under bodice lining covered with net forming an insert at center front. Bands of lace and decorated chiffon form diagonal straps at front with at a criss-cross pattern at back. A large decorative diamond-shape emblem of pearls, green and blue beads, and glass stones at corners and center are attached at lower edge of bodice front insert. Five pearl tassels extend from lower edge of the emblem. Horizontal bands of two-inch wide gold metallic lace centered with a band of beaded orange chiffon are set in at the mid-section of the dress. Long tails of chiffon decorated all over with beading and sequins are shirred at the shoulders forming a flowing sleeve-like appearance. The decorated orange chiffon skirt section has an inverted V insert of two-inch gold metallic lace at front which extends into a horizontal band at back. A scalloped pattern at the lower edge has an insert of gold metallic lace. A label woven into a waistband at inside lining reads: “Hiver 1922-1923, Callot Soeurs, Paris, Nouvelle Marque Deposee”.
Location
Currently not on view
Date made
1922-1923
used by
Keep, Florence Sheffield Boardman
maker
Callot Soeurs
Callot Soeurs
ID Number
CS.057028
catalog number
57028
accession number
202244
Mrs. Bertrand Cohn purchased this "Delphos" dress in Paris in 1936. When she returned to New York, she wore it to the Metropolitan Opera with silver shoes and a diamond necklace.
Description
Mrs. Bertrand Cohn purchased this "Delphos" dress in Paris in 1936. When she returned to New York, she wore it to the Metropolitan Opera with silver shoes and a diamond necklace. She later donated the dress to the Smithsonian.
The designer, Mariano Fortuny, was born in Granada, Spain, in 1871 to a family of artists. After his father’s death in 1874, the Fortunys lived in Paris and Spain and eventually settled in Venice, Italy. Inspired by his surroundings and encouraged by his family, Mariano became a painter. Fortuny's artistic interest covered a range of creative endeavors, from sculpture, photography, and interior design to stage and set design and stage lighting. His interest in dyes and chemistry led him to textile and costume design, for which he is best known today.
Influenced by Orientalism and neoclassicism, Fortuny created lush and decorative fabrics. Using a mixture of hand and screen printing to decorate the fabrics allowed him the freedom to experiment and design. His most famous design was the "Delphos," a classic pleated tea gown he began making around 1907 and continued until his death. Named after a Greek classical sculpture, the Delphos dress was a simple column of vertical pleats permanently set in silk by a process never successfully duplicated. Fortuny considered his dress concepts to be inventions, and in 1909 he patented the pleating process and the machine he invented and copy-righted the design of the dress. These dresses were meant to be stored by rolling them lengthwise, twisting them into a ball and placing them in an oval miniature hat box (we have the one that came with this dress), thus preserving the pleats and keeping the shape of the dress.
Avant-garde American dancers Isadora Duncan and Ruth St. Denis wore Fortunys because of their interest in the body and movement. Originally made to be worn as teas gowns for entertaining at home, the gowns were seen outside the home by the 1930s.
This two-piece tubular cut tea gown is constructed of a finely pleated rose-colored silk. It is full length with openings at the side seams to form armholes. The wide scoop neckline has a drawstring encased along the inside edge, and there are two rows of stitching on either side of the shoulder seams. Silk cording evenly threaded with yellow glass beads with black and red stripes is stitched along the side seams and the armhole edges. The separate belt is made of rose-colored silk painted with a silver metallic pattern of trailing oak leaves and dots.
Location
Currently not on view
Date made
1936
user
Mrs. Bertrand W. Cohn
designer
Fortuny, Mariano
ID Number
CS.322625.002
catalog number
322625.002
accession number
322625
322625
One of the Lee daughters wore this casual Chinese-style outfit on special occasions, for none of the children wore Chinese dress for every day wear.
Description (Brief)
One of the Lee daughters wore this casual Chinese-style outfit on special occasions, for none of the children wore Chinese dress for every day wear. The trouser band or fu tau , translated as the “head of the trousers,” was folded over and secured with a belt or cord and covered by the vest.
Lee B. Lok, his wife Ng Shee, and their seven children lived above the Quong Yuen Shing & Co. store in New York City's Chinatown. Though the children wore Western clothes and participated in the local Scout troop and other clubs, their parents required them to attend Chinese school each day, from 4-7 PM.
Location
Currently not on view
date made
ca 1920
maker
unknown
ID Number
1992.0620.11
catalog number
1992.0620.11
accession number
1992.0620
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 pleated skirt was often worn with a rectangular apron or wei chu’u over a pair of matching trousers.
Location
Currently not on view
date made
ca 1900
maker
unknown
ID Number
1992.0620.20
accession number
1992.0620
catalog number
1992.0620.20
One of the Lee daughters wore this casual Chinese-style outfit on special occasions, for none of the children wore Chinese dress for every day wear.
Description (Brief)
One of the Lee daughters wore this casual Chinese-style outfit on special occasions, for none of the children wore Chinese dress for every day wear. The trouser band or fu tau , translated as the “head of the trousers,” was folded over and secured with a belt or cord and covered by the vest.
Lee B. Lok, his wife Ng Shee, and their seven children lived above the Quong Yuen Shing & Co. store in New York City's Chinatown. Though the children wore Western clothes and participated in the local Scout troop and other clubs, their parents required them to attend Chinese school each day, from 4-7 PM.
Location
Currently not on view
date made
ca 1920
maker
unknown
ID Number
1992.0620.10
catalog number
1992.0620.10
accession number
1992.0620
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
Mrs. Lee ordered this skirt from China to wear on formal occasions, such as weddings. The waistband, of a different fabric, was covered by a blouse.Currently not on view
Description (Brief)
Mrs. Lee ordered this skirt from China to wear on formal occasions, such as weddings. The waistband, of a different fabric, was covered by a blouse.
Location
Currently not on view
date made
ca 1930
maker
unknown
ID Number
2000.0274.02
accession number
2000.0274
catalog number
2000.0274.02
In America, Mrs. Lee wore this tunic-length satin blouse with side buttons made from 1890 Hong Kong coins. The generously cut blouse or sam, often reaching the calf, was worn over trousers.Mrs.
Description (Brief)
In America, Mrs. Lee wore this tunic-length satin blouse with side buttons made from 1890 Hong Kong coins. The generously cut blouse or sam, often reaching the calf, was worn over trousers.
Mrs. Lee wore traditional Chinese clothes when she occasionally accompanied her children to the local movie houses. According to her daughter Grace, since she did not understand English she made up her own storyline to accompany the films’ images.
Location
Currently not on view
date made
ca 1905
maker
unknown
ID Number
1992.0620.08
catalog number
1992.0620.08
accession number
1992.0620
The donor, Virginia Lee, posed in a similar cheong sam for a US World War II poster and for the "Miss China" contest in New York.
Description
The donor, Virginia Lee, posed in a similar cheong sam for a US World War II poster and for the "Miss China" contest in New York. Also known as a qu pao, the Chinese traditional loose dress shape was modified by Western designers in the 1920's to be more close-fitting to accentuate a woman's figure. The altered dress form became broadly popular in the United States as evening wear in the late 1950's and 1960's.
Location
Currently not on view
date made
ca 1930
user
Mead, Virginia Lee
maker
unknown
ID Number
1992.0620.16
catalog number
1992.0620.16
accession number
1992.0620
Lee B. Lok (1869-1942) immigrated to San Francisco from Guangdong Province, China in 1881 and soon after moved to New York City's Chinatown where he worked in the Quong Yuen Shing & Co. store.Lee B.
Description (Brief)
Lee B. Lok (1869-1942) immigrated to San Francisco from Guangdong Province, China in 1881 and soon after moved to New York City's Chinatown where he worked in the Quong Yuen Shing & Co. store.
Lee B. Lok ordered this gown from China to wear at the 1896 arrival ceremony in New York of Li Hongzhang, emissary of the Empress Dowager of China. Soon after Lee came to America he abandoned Chinese clothes for daily use and cut his queue. However on special occasions Lee wore clothing that identified him as Chinese. This Manchu style gown splits at the back, front, and both sides to allow for easy movement on horseback – a reflection of the Manchu people’s equestrian background.
Location
Currently not on view
date made
ca 1896
maker
unknown
ID Number
1992.0620.24
catalog number
1992.0620.24
accession number
1992.0620
This dress was worn by Mrs. George Meem to a White House function in Washington, D.C. in the early 1920s. It could have been either the Warren Harding or Calvin Coolidge administrations. Her husband was a local banker, and they were probably active in Washington society.
Description
This dress was worn by Mrs. George Meem to a White House function in Washington, D.C. in the early 1920s. It could have been either the Warren Harding or Calvin Coolidge administrations. Her husband was a local banker, and they were probably active in Washington society. As indicated by the label in the dress, she purchased the dress at Julius Garfinckel and Company, called “Garfinckel’s” by local residents.
The dress was worn with a pair of gold leather sandals which are also in the costume collections at the National Museum of American History of the Smithsonian Institution.
This sleeveless evening dress is constructed from red creped georgette with a woven gold metallic geometric pattern. It has a round neck that is lower in the front than at the back. The edges of the neck and armholes are faced with light red georgette. The back of the dress has a hanging panel that extends from the neck to the waist and is gathered at the neck edge. The waist seam is dropped below the normal waistline, and there is a separate inset band around the hip area that is asymmetrical at the lower edge, curving up at the right side. The upper skirt section, with four rows of shirring, is attached to the bottom of inset band. The skirt section overlaps at the right side so that the panel hangs free. The lower portion of the skirt is constructed of metallic lace. Two rosettes of self-fabric and a hanging panel of gold metallic lace are attached at the right hip. An off-white georgette slip is sewn to the dress at the shoulders and the waistband seam and extends to the bottom of the georgette portion of the skirt section.
Location
Currently not on view
Date made
1920 - 1924
1920-1924
maker
Garfinckel's
Julius Garfinckel and Company
ID Number
CS.046855
catalog number
046855
accession number
182611

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