Patricia Hawley decorated and wore this hat while serving as a Wisconsin delegate to the 1996 Democratic National Convention in Chicago, Illinois. The hat is an official "cheesehead" manufactured by Foamation Inc. in Milwaukee, Wisconsin. Before arriving at the Chicago convention, Hawley collected the bumper stickers from earlier political events and purchased the pinwheel at the Ford Pharmacy in Appleton, Wisconsin.
It is not known when delegates began the tradition of decorating their hats at political conventions. Over time, delegates' decorations have become more elaborate assemblages. These creations are often statements of a party loyalty, emblematic of a particular cause, or, as was the case of this cheese hat, expressions of local pride. Most are meant to be fun and a celebration of individual participation in the political process.
Women's Jewish Welfare Board (JWB) uniform from World War I, consisting of hat, coat, shirtwaist, tie, skirt, and insignia. Coat and skirt are olive green wool gabardine, shirt is white dimity, hat is blue cotton, and tie is blue silk. Metal "U.S." insignia on coat lapel and cloth "J.W.B." patch with Star of David background on shouler and hat. Donated by the Jewish Welfare Board through The National Society of the Colonial Dames of America.
The Jewish Welfare Board (JWB) was organized shortly after America’s entry into World War I, consolidating religious groups in the Jewish community to become an official agency to work with the War Department through its Commission on Training Camp Activities. It was modeled after the Young Men’s Christian Association (YMCA) and the Knights of Columbus, and other organizations that in World War I adapted military-like uniforms for women and men volunteers. The JWB built buildings and stocked libraries on army installations and distributed books, articles, Bibles, and prayer books supplied through its affiliation with the Jewish Publication Society. It established community branches in the “second line of defense,” by supporting Jewish workers in the shipyards, arsenals, and other military plants and factories, as well as hospitals and universities where the government had taken over under military regulations. Following the Armistice, under direction of the Navy Department, the JWB transferred its peacetime work to veteran’s hospitals and enlarged Jewish community centers.
Women's Jewish Welfare Board (JWB) uniform from World War I, consisting of hat, coat, shirtwaist, tie, skirt, and insignia. Coat and skirt are olive green wool gabardine, shirt is white dimity, hat is blue cotton, and tie is blue silk. Metal "U.S." insignia on coat lapel and cloth "J.W.B." patch with Star of David background on shouler and hat. Donated by the Jewish Welfare Board through The National Society of the Colonial Dames of America.
The Jewish Welfare Board (JWB) was organized shortly after America’s entry into World War I, consolidating religious groups in the Jewish community to become an official agency to work with the War Department through its Commission on Training Camp Activities. It was modeled after the Young Men’s Christian Association (YMCA) and the Knights of Columbus, and other organizations that in World War I adapted military-like uniforms for women and men volunteers. The JWB built buildings and stocked libraries on army installations and distributed books, articles, Bibles, and prayer books supplied through its affiliation with the Jewish Publication Society. It established community branches in the “second line of defense,” by supporting Jewish workers in the shipyards, arsenals, and other military plants and factories, as well as hospitals and universities where the government had taken over under military regulations. Following the Armistice, under direction of the Navy Department, the JWB transferred its peacetime work to veteran’s hospitals and enlarged Jewish community centers.
The uniform of the 5th New York Volunteer Infantry (Duryée's Zouaves), 1861, consisted of a distinctive jacket, vest, sash, baggy trousers, and fez. The Zouave uniform adopted on both sides by many volunteer units during the first year of the Civil War was based on that of the elite Zouave battalion of the French Army, whose dashing appearance matched its fighting abilities. In their turn, the French Zouaves modeled their uniform and drill after the native dress and fearless tactics of their former Algerian opponents, encountered in the course of the colonial war of the 1830s.
Women's Jewish Welfare Board (JWB) uniform from World War I, consisting of hat, coat, shirtwaist, tie, skirt, and insignia. Coat and skirt are olive green wool gabardine, shirt is white dimity, hat is blue cotton, and tie is blue silk. Metal "U.S." insignia on coat lapel and cloth "J.W.B." patch with Star of David background on shouler and hat. Donated by the Jewish Welfare Board through The National Society of the Colonial Dames of America.
The Jewish Welfare Board (JWB) was organized shortly after America’s entry into World War I, consolidating religious groups in the Jewish community to become an official agency to work with the War Department through its Commission on Training Camp Activities. It was modeled after the Young Men’s Christian Association (YMCA) and the Knights of Columbus, and other organizations that in World War I adapted military-like uniforms for women and men volunteers. The JWB built buildings and stocked libraries on army installations and distributed books, articles, Bibles, and prayer books supplied through its affiliation with the Jewish Publication Society. It established community branches in the “second line of defense,” by supporting Jewish workers in the shipyards, arsenals, and other military plants and factories, as well as hospitals and universities where the government had taken over under military regulations. Following the Armistice, under direction of the Navy Department, the JWB transferred its peacetime work to veteran’s hospitals and enlarged Jewish community centers.
Women's Jewish Welfare Board (JWB) uniform from World War I, consisting of hat, coat, shirtwaist, tie, skirt, and insignia. Coat and skirt are olive green wool gabardine, shirt is white dimity, hat is blue cotton, and tie is blue silk. Metal "U.S." insignia on coat lapel and cloth "J.W.B." patch with Star of David background on shouler and hat. Donated by the Jewish Welfare Board through The National Society of the Colonial Dames of America.
The Jewish Welfare Board (JWB) was organized shortly after America’s entry into World War I, consolidating religious groups in the Jewish community to become an official agency to work with the War Department through its Commission on Training Camp Activities. It was modeled after the Young Men’s Christian Association (YMCA) and the Knights of Columbus, and other organizations that in World War I adapted military-like uniforms for women and men volunteers. The JWB built buildings and stocked libraries on army installations and distributed books, articles, Bibles, and prayer books supplied through its affiliation with the Jewish Publication Society. It established community branches in the “second line of defense,” by supporting Jewish workers in the shipyards, arsenals, and other military plants and factories, as well as hospitals and universities where the government had taken over under military regulations. Following the Armistice, under direction of the Navy Department, the JWB transferred its peacetime work to veteran’s hospitals and enlarged Jewish community centers.
Unfortunately, we do not know who wore this dress as it came from the estate of the donor. We believe that it was worn by a member of his family, perhaps his mother.
This dress is deceptively simple in its overall appearance. With its plain lines and minimum trimming, the dress appears at first glance to be an everyday dress. However, the interesting use of the darker brown fabric as neck and armhole piping and to edge the trimming indicates that the overall design and resulting effect was carefully thought out. It also appears that most of the sewing was done by hand and then carefully stitched over with darker brown thread for its decorative effect.
This bustle style two-piece dress is constructed of tan silk and wool in a ribbed weave. It is both hand and machine stitched. The bodice has a round neck edged with dark brown silk piping. The center front opening fastens with eleven dark brown silk covered buttons (all but one are missing). The bodice is cut longer at the sides and back than at the front, and the bottom edge of the front is trimmed with a self-ruffle edged with darker brown silk. There is a dart on either side of the center front bodice. A self-ruffle trims the edge of the side front opening and extends up over the shoulder on the bodice to come to a “V” shape at the center back. Additional petal shaped pieces of trim, edged with brown silk, are on the interior edge of the ruffle. The center back of the bodice is trimmed with a row of trefoil of petals. The bodice had a waist seam and a curved seam on either side of the center back that are stitched in dark brown. The center back of the bodice skirt is pleated to create fullness, and the fabric is caught up at intervals at the back to create additional fullness. The bodice is lined with brown cotton, and the skirt section of the bodice is lined with brown glazed cotton. The coat style sleeves are a two-part construction and are trimmed with a ruffle and petals at the opening. The armholes of the sleeves are piped with darker brown silk. The skirt has a self-fabric waistband, and it is cut flat at front with two pleats on either side. There is a side front seam, and two “U” shaped bands edged with brown silk fabric and trimmed with petals decorate the center front. A deep self-ruffle edged with darker brown silk fabric is attached near hemline. The skirt has a center back closure. The skirt top is folded over and whipped to the waistband, and it is gauged or narrowly pleated at the back. The skirt is entirely lined with glazed cotton, and the hem edge is bound with brown wool tape. The skirt waistband measures 23 inches, the skirt center front measures 40 inches, and the hem width is 118 inches.
This dress was exhibited in the Hall of American Costume of the Smithsonian Institution from 1964 to 1973.
There is no information as to who wore this dress designed by Louella Ballerino.
Louella Ballerino, who was born in 1900, is best known for her garments incorporating "South of the Border" motifs. A native Californian, Ballerino graduated from the University of Southern California and sold fashion sketches to wholesale California manufacturers. After marrying Melvin Ballerino and having two children, money difficulties after the Depression prompted her to resume selling fashion sketches. When this did not realize the money she wanted, she found a job in a custom dress shop. She also began teaching a class in fashion design and illustration. While teaching, she stressed that fashion was really the ability to adapt old ideas into new forms. Eventually, she began working as a designer for a ready-made manufacturer and then decided to manufacture her own line. That dress, first produced in 1938, incorporated small wooden blocks, and proved to be a good seller. Over the years, she featured many fabrics with Mexican inspiration. Later she designed a line of clothing for Jantzen. As a California sportswear designer who adapted ethnic designs in fabrics and style for the American market in the 1930s and 1940s, Ballerino is most often associated with smart, casual clothes and swim suits. She was one of the first California sportswear designers known by name.
This one-piece dress is constructed of a slub rayon printed in green, red, blue, gold, brown, and burgundy on a cream colored ground. The large print of a woman carrying a child against a South or Central American landscape is placed along the lower bodice and skirt section. The fitted bodice has a scooped neckline with piping at the edge and bias cut cap sleeves. A center back opening extends into a gathered skirt section with the bodice fastening with four green matte buttons. The dress measures 42 1/4 inches at the center back. The missing belt was most likely a green sash that tied in front.
According to the donor, we believe that this dress was worn by Electra Wade of Northfield, New Jersey. She was married to Henry Beach.
Although the dress is fashionable in its cut, it was most likely a work or everyday dress. The heavyweight linen from which it is made dictated that pleats rather than gathers be used to control the fullness at the center back of the upper skirt section. The donor claimed that the fabric had been woven by the wearer Electra Wade. Although we know that less expensive fabrics of this type were available from merchants, the construction of this particular fabric does appear to confirm the donor’s claim. If one looks closely at the fabric, it is evident that it was woven by a less skilled weaver, who periodically lost the pattern by leaving out a row of one of the colors. These mistakes are most noticeable part way down the center front of the skirt section and near the sleeve area on the front.
The dress is constructed of a two-tone blue and brown woven linen plaid. It is an empire style with a center front bodice opening that extends four inches into skirt section. The front bodice extends into the back at the sides and is applied over the back at the seams where it topstitched. There is deep U-shape at front neckline. A drawstring is attached to the dress at the back shoulder on either side and is inserted into a casing at the front neckline for tying at center front. There is a rectangular piece over each shoulder. A drawstring at the waist seam is attached the dress at the sides for an additional front closure. Blue and white striped linen lines the bodice. The lining is attached at the back and sides, but extends below the waist seam and hangs free. At the front the lining hangs free and is meant to lap over at center front, but with no visible means of closure. The long straight sleeves are set in far to the back. The skirt section consists of four pieces to include a straight piece at front, a triangular gusset at either side, and a rectangular piece for the back. The skirt back is pleated into the waist seam with box pleats. There is a fold over hem in skirt section.
Volunteerism plays an important role in philanthropy in America. After Hurricane Katrina destroyed lives and homes in the Gulf Coast in 2005, many nonprofit groups organized volunteers to help the recovery effort. Jillian Gross led a team from Habitat for Humanity in rebuilding homes in Louisiana.
Description
This hard hat was worn by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world. Hard hats are used for head protection on construction and other work sites. This hat has a lightweight shell with suspension straps inside that absorbs shock from falling objects. It is made by MSA Incorporated.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
A straw hat adorned with a band of artificial flowers and a dangling price tag was an essential component of country comedian Minnie Pearl's stage persona. Born Sarah Ophelia Colley in Centerville Tennessee, she perfected her style of rural humor in numerous appearances at Nashville's Grand Ole Opry, on radio, and on television.
This evening dress, made of yellow-green silk satin, with princess-style seams, has a very full skirt, measuring 409-1/2 inches around the hem edge. The gown's pleated portrait collar and short sleeves were cut all-in-one with the upper bodice panel. A separate self-fabric belt with rhinestone buckle encircles the waist. A "Hattie Carnegie Original" designer's label is sewn on an inside skirt seam.
Hattie Carnegie, one of a few female entrepreneurs in the early to mid-20th century, was born Henrietta Kanengeiser in Vienna, Austria, in 1886. She came to the United States in 1892. Her first job was as a messenger, sometime milliner, and model in Macy's department store. She decided to change her name and chose the surname of the richest man in the country, Andrew Carnegie, to reflect her ambitions. With determination and an innate sense for style and business, she became a symbol of taste and high fashion to many Americans.
From the very beginning her wholesale and retail establishments attracted the wealthy. She opened her first shop, "Carnegie—Ladies' Hatter" in 1909, making and selling custom-made dresses and hats. As her business grew, she established her own wholesale house, which manufactured clothing with her label and sold in select stores. Well-known designers such as Claire McCardell and Norman Norell began their careers designing for her. By 1945, her shop on 49th Street in New York had added more departments, including American and French designs and accessories for "smart" dressing.
This dress was worn by the donor, Mrs. Morehead Patterson, nee Margaret Tilt, the daughter of Charles A. Tilt of Chicago's Diamond T. Motor Car. She was at one time married to Moorehead Patterson, CEO of the American Foundry Machine Company (AMF), New York City.
Yolande Betbeze, "the Basque spitfire," surprised Atlantic City and the nation in 1951 when she was named Miss America. The former Miss Alabama beat out over forty fair-haired, fair-skinned state champions with her dramatic singing performance and her undeniable Iberian beauty. Of Basque heritage, Betbeze tested the limits of a system that in the 1950s was still basing its standards on an ethnically and racially narrow definition of feminine beauty.
Betbeze would go on to continue testing the Miss America institution with her refusal to parade in a bathing suit and, after her reign, with her advocacy of women's and minority rights, her political activism, and ultimately her generous donation of this, her original 1951 crown, to the Smithsonian Institution in 2005.
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 leather frontpiece was made in the United States around 1875. There is a large shield-shaped recess in the center of the frontpiece with a large white number “6” inside. One banner at the top of the frontpiece and two at the bottom contain white leather lettering that reads “VIGILANT/STEAM/FIRE Co.”
There is no information as to who wore this dress designed by Adele Simpson. The Washington Fashion Group, a chapter of the Fashion Group International, donated this dress to the Smithsonian Institution in 1975. This association of women executives began in 1931 at the insistence of a few prominent women in the fashion industry who wanted to promote more careers for women in the fashion business.
Adele Simpson, who was born in New York in 1905, created ready-made clothes for the sophisticated, yet conservative, American woman. She was one of the founders of the Fashion Group International and the Council of Fashion Designers of America. By 1924, she was one of the highest paid designers in the fashion industry, but her name was not known to the general public. At that time, manufacturers only put their name, not the designer’s, on their labels. When Ms. Simpson purchased Mary Lee, Inc. in 1949, where she had been working as chief designer, she changed the name to her own. She continued to run the business until her retirement in 1980. Her dresses were sold in the country’s leading department and specialty stores. Her customer list included five women who were or would become First Ladies of the United States: Mamie Eisenhower, Lady Bird Johnson, Pat Nixon, Rosalynn Carter, and Barbara Bush.
Adele Simpson loved to travel and was interested in indigenous art from many parts of the world. She incorporated Indian fabrics in many of her collections, as evidenced in this dress, which was made from a sari.
This full length two-piece dress is constructed from a burnt orange and gold silk sari cloth. The dress is cut straight with shoestring straps, and it is semi-fitted with long darts on either side of the center front and the center back. Additional darts on the sides control the fit in place of side seams. There is a heavy gold metallic border at the bust and the hemline. A horizontal band with a curved wedge is inserted under the border at the bust for further shaping. There is a metal zipper at the center back opening. The accompanying shawl has a gold metallic woven border that is more prominent in the front. There is a snap closure covered with a bow that fastens over the shoulder. The center back of the dress measures 45 3/8 inches.