Clothing & Accessories - Overview
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.
"Clothing & Accessories - Overview" showing 120 items.
Page 1 of 12
Post E Peoria
- Description (Brief)
- Die-cut from a sheet of celluloid. In the shape of the state of Illinois, the badge reads "Post E Peoria TPA convention Illinois Division Champaign May 22-23, 1908." A circular insignia with three triangles is marked with the letters "TPA." TPA stands for Travelers Protective Association.
- Location
- Currently not on view
- date made
- 1908
- ID Number
- 2006.0098.0717
- accession number
- 2006.0098
- catalog number
- 2006.0098.0717
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Woman's African-style Headwrap
- Description
- This headwrap dating between 1972 and 1984 was worn by Fath Davis Ruffins, an African American woman in Washington, DC. Ruffins bought the fabric for this headwrap and matching dress, which is also in the Smithsonian collections, at an African shop on Georgia Avenue in Washington, DC. It was made in 1972 but was worn as part of a summer "dress-up" outfit through 1984. Elaborately tied headwraps were worn by young African American women during this period to acknowledge their West African ancestral roots.
- The flat cotton rectangular panel is a large floral "Java Print" in three shades of green with yellow accents on a cream background with a dark green with yellow floral design border. The forty-six inch long rectangle is narrower on one short side (twenty inches) than the other (inches) with stitched edges. "Guaranteed Dutch Java Print" is stamped on the selvage.
- Location
- Currently not on view
- Date made
- 1972-1984
- used by
- Ruffins, Fath Davis
- maker
- Ruffins, Fath Davis
- ID Number
- 1992.0456.001
- accession number
- 1992.0456
- catalog number
- 1992.0456.001
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Piene de Mujer
- Description
- This tortoiseshell woman's hair comb dates from the 19th century. A precursor to plastics, tortoiseshell and horn were common materials used in combs since they could be made soft and moldable by heating. As they cooled, they would harden and keep their new shape.
- Location
- Currently not on view
- Date made
- 19th century
- ID Number
- 1997.0097.0305.001
- catalog number
- 1997.0097.0305.001
- accession number
- 1997.0097
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1900 Chinese Woman’s Slippers for Bound Feet
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Woman's Dress, 1936
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1919 Chinese American Baby Bonnet
- Description (Brief)
- Mrs. Lee made this "dog head" bonnet for her only son, Peter. Chinese mothers traditionally dressed their one year old children in such bonnets to protect them from evil spirits. According to lore, if evil forces met the child they would pass by, thinking it were an animal, and of no value. Fur lines the bonnet's "dog's ears" and the padded wool of the hat lined Peter's head.
- Location
- Currently not on view
- date made
- 1919
- maker
- Lee Ng Shee
- ID Number
- 1992.0620.07
- catalog number
- 1992.0620.07
- accession number
- 1992.0620
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1900 - 1910 Chinese American Woman's Blouse
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1915 - 1925 Chinese American Girl's Trousers
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1915 - 1925 Chinese American Girl's Vest
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Circa 1930 Women's Gown (cheong sam)
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center