These epaulets were worn by future president George Washington to demonstrate his status in the military. They are made of gold bullion-thread tassels with gilt sequins and twisted bullion bows intermixed. They also have a strap of metallic yarn and a buff wool lining. Epaulets like these served as visual symbols of military rank, indicating order and authority within the Continental Army. For Washington, these decorative shoulder pieces were just one feature of military dress within a system of uniform regulations designed to project professionalism. These epaulets can be seen in portraits painted by American artist Charles Wilson Peale between 1779 and 1780. Washington served as the commander in chief of the Continental Army during the American Revolution. He served as president from April 30, 1789 until March 4, 1797.

This silk cravat was owned by President Abraham Lincoln. A cravat is a band of cloth worn around the neck. President Lincoln's cravat was pre-tied and fastened at the back. The bow was also intentionally sewn on crooked, since Lincoln preferred to wear it slightly off-center. This preference could be due to Lincoln's favoring an early 1850s trend in neckwear, when neckties became thinner and were tied asymmetrically with one side of the bow extended.

A frequent customer of Brooks Brothers, President Abraham Lincoln commissioned an embroidered coat from the American clothing brand, which he wore on the night of his second Inauguration, as well as the night of his assassination. The jacket’s long, structured silhouette resembled that of his usual frock coat, but the interior featured a message embroidered in silk twill: an eagle holding a banner in its beak along with the words, “One Country, One Destiny.” Following President Lincoln’s assassination, First Lady Mary Lincoln gifted the coat to Lincoln’s favorite doorman, Alphonse Donn. Pieces of this bloodstained coat were taken as souvenirs, causing irreparable damage to the piece. This coat was photographed in 2007 by Carol M. Highsmith. Lincoln became president on March 4, 1861 and had earlier served in the House of Representatives.

This office suit was worn by President Abraham Lincoln. It features a black broadcloth coat, vest, and trousers. The shirt and tie are reproductions of the originals President Lincoln wore. Lincoln’s office suit was used in a preliminary study for a posthumous portrait by Boston artist William Morris Hunt. In May 1865 Mary Lincoln sent Thomas Pendel, the White House doorkeeper, to deliver the suit. Pendel, being about the same size as Lincoln, posed in the clothing for the artist. Hunt kept the suit, and in 1894 his widow donated the clothing to the Smithsonian. Lincoln became president on March 4, 1861 and had earlier served in the House of Representatives.

This top hat was made by J. Y. Davis and worn by President Abraham Lincoln the night he was assassinated at Ford's Theatre in Washington, D.C. on April 15, 1865. President Lincoln’s iconic top hat style dates back to at least the 1830s, when he was seen in New Salem, Illinois, wearing a top hat and a grey suit. While the top hats of the 1830s had a more curved line, a brief period in the 1850s saw the popularity of the stove pipe hat, a top hat with an eight-inch crown and straighter sides. Lincoln became president on March 4, 1861 and earlier served in the House of Representatives.

This is a wool dress coat paired with matching trousers from circa 1830-1840. The 1820s brought significant changes to menswear, including the decline of breeches and the rise of trousers. By the late 1820s, trousers became standard for men’s daywear. President John Quincy Adams was the first president to wear long trousers at his Inauguration, where he was described as wearing a “plain suit of black.” This image shows what the suit he wore to his Inauguration may have looked like. This style of dress coat features puffed shoulders, and a nipped-in and straight-cut waistline, with narrowly fitted matching trousers. This kind of suit was worn for formal occasions, and was well-suited for his Inaugural Address. This suit is in the collection of the Metropolitan Museum of Art.

This blue wool coat is part of a suit of regimentals made for President George Washington in 1789. It has a buff wool rise-and-fall collar, buff cuffs and lapels, and buff lining; there is a row of yellow metal buttons on each lapel, as well as on each cuff. The waistcoat and breeches are matching buff wool, with gilt buttons. This uniform was worn by President Washington from 1789 until his death in 1799. The small clothes, or breeches and waistcoat, date from the revolutionary period. Washington often posed for life portraits during this period, and was often depicted wearing this uniform. None of his uniforms from the Revolutionary War period are known to have survived. As the leader of the Continental Army, Washington wanted troops to present themselves as a professional military organization, and a proper uniform was one way of showing a unified front. In commemoration of Washington’s attention to detail, the colors of blue and buff remained the accepted pattern for United States Army uniforms until the beginning of the Civil War. Washington served as the Commander in Chief of the Continental Army during the American Revolution. He served as president from April 30, 1789 until March 4, 1797.

This glass locket containing the hair of President Thomas Jefferson and his daughter Martha was acquired for the White House Collection in 1975 during the Gerald R. Ford presidency. The locket is attributed to Fossin et Fils, a prestigious Paris jewelry company that provided goods to King Louis-Philippe of France (1830–1848) as well as other European heads of state, and was produced circa 1825 to 1868.

This flounce is an example of Spanish blonde silk Bobbin lace made in the 19th century. Elizabeth Tyler, daughter of President John Tyler and First Lady Letitia Christian Tyler, wore a wedding veil said to be of blonde lace, a type of silk Bobbin lace, originally made in France and worn by wealthy women in the 18th and 19th centuries. It is made of raw, undyed silk threads, which is where the term “blonde lace” comes from. In later years, blonde lace dyed black also became a popular trimming for expensive gowns. Elizabeth Tyler married William Waller in an intimate White House ceremony on January 31, 1842.

This wedding ensemble from circa 1841 - 1843 was crafted in the United State of America and was made from silk taffeta and blonde lace. Elizabeth Tyler, daughter of President John Tyler and First Lady Letitia Christian Tyler, married William Waller in an intimate White House ceremony on January 31, 1842. Though no exact details of Elizabeth’s wedding gown remain, this ensemble depicts the style of the decade, with sloping shoulders, an elongated, small waist, full skirt, and an exposed neckline. The blonde lace, silk, and restrained style is reminiscent of the few words illustrating Elizabeth Tyler's gown on the day of her nuptials.

This silk wedding ensemble from 1844 originated in Europe and is an example of a silk bridal costume in the 1840s style. Elizabeth Tyler, daughter of President John Tyler and First Lady Letitia Christian Tyler, married William Waller in an intimate White House ceremony on January 31, 1842. Though no exact details of Elizabeth’s wedding gown remain, it is known that her blonde lace veil was made of silk, similar to this gown, making it reasonable that her gown had silk fabrics or trimmings. American silk production had increased by the 1840s and one estimate of American silk production in 1843 valued it at $1.4 million. In December 1839, a national silk convention was held in Baltimore. The rising agricultural and political importance of American-made silk may have led to its incorporation in Elizabeth’s wedding gown.

This circa 1804-1805 evening dress was possibly owned by Baltimore socialite Elizabeth Patterson. Patterson wed, and endured an ill-fated marriage, to Jerome Bonaparte, the brother of Napoleon Bonaparte. The wedding gown represents the popular French Empire style in American fashion systems in the early 19th century. The Grecian-inspired loose drapery, puffed sleeves, low neckline, high waistline, and light-colored, very sheer fabric with delicate cotton embroidery replicated the French Empress Josephine’s famous style. The French Empire style of this gown is believed to be similar to the wedding gown worn by Maria Monroe, daughter of President James Monroe and First Lady Elizabeth Monroe, during her wedding to Samuel Gouverneur in a White House ceremony on March 19, 1820.

In this photograph by Yoichi R. Okamoto, designer Geoffrey Beene holds up the shoulder-length veil worn by Lynda Bird Johnson at her wedding on December 9, 1967. Beene was captured in the Center Hall on the Second Floor of the White House that day ahead of the wedding ceremony. Lynda Bird Johnson, daughter of President Lyndon B. Johnson and First Lady Lady Bird Johnson, married Marine Corps Capt. Charles S. Robb in the East Room. The veil was made of silk illusion and attached to a coronet made of the same silk satin fabric and embroidery as her gown.

This photograph was taken at the "How to Discover America in Style" fashion show at the White House on February 29, 1968. The first fashion show to take place at the White House, it was presented by First Lady Lady Bird Johnson and guests included an assembled group of the wives of the governors of the United States, fashion designers, and journalists. The fashion show took place in the State Dining Room along with a luncheon. Frankie Welch, one of the first designers to design “across the aisle,” creating gowns and scarves for Mrs. Johnson and first ladies Pat Nixon, Betty Ford, and Rosalynn Carter, was among the designers featured in the fashion show. Her "Discover America" scarf, seen here on the underside brim of a sunhat, was used throughout the show and was given as a thank you gift to attendees.

This photograph was taken at the "How to Discover America in Style" fashion show at the White House on February 29, 1968. The first fashion show to take place at the White House, it was presented by First Lady Lady Bird Johnson and guests included an assembled group of the wives of the governors of the United States, fashion designers, and journalists. The fashion show took place in the State Dining Room along with a luncheon. Frankie Welch, one of the first designers to design “across the aisle,” creating gowns and scarves for Mrs. Johnson and first ladies Pat Nixon, Betty Ford, and Rosalynn Carter, was among the designers featured in the fashion show. Her "Discover America" scarf, seen here on on flagpoles held by the models, was used throughout the show and was given as a thank you gift to attendees.

This image is a composite of various first ladies in inaugural ball gowns and mannequins with dresses and gowns specially made for them by women designers, seamstresses, and courtiers. This image was featured in the digital exhibition "Glamour and Innovation: Women Behind the Seams of White House Fashion." *** This image contains images that requires licensing and may only be used for press and publicity purposes related to exhibit. All other uses must be approved by the White House Historical Association and cleared by the copyright holder.***

This image is a composite of various first ladies in inaugural ball gowns and mannequins with dresses and gowns specially made for them by women designers, seamstresses, and courtiers. This image was featured in the digital exhibition "Glamour and Innovation: Women Behind the Seams of White House Fashion." *** This image contains images that requires licensing and may only be used for press and publicity purposes related to exhibit. All other uses must be approved by the White House Historical Association and cleared by the copyright holder.***

This photograph of First Lady Betty Ford with designer Frankie Welch was taken by Karl Schumacher in the West Sitting Hall on February 15, 1975. Welch was one of the first designers to design “across the aisle,” creating gowns and scarves for first ladies Pat Nixon, Lady Bird Johnson, and Rosalynn Carter in addition to Mrs. Ford. After earning a degree in clothing and design at Furman University in Greenville, South Carolina, Welch relocated with her husband to Maryland, where she taught “clothes coordination” classes at the local university. Welch’s work is frequently described as “Americana,” and she often used the proceeds of her designs to give back to communities. Welch integrated her love of American culture and history in her designs, leaving a unique mark on the lexicon of American fashion.

In this photograph, taken by David Hume Kennelly, First Lady Betty Ford poses in the Treaty Room on December 24, 1975. The Treaty Room is located on the Second Floor of the Executive Mansion and is used as the president’s private study. Mrs. Ford is wearing a dress designed by Frankie Welch.

This print advertisement for H. Milgrim & Bros., Inc. was published in Shadowland magazine circa September 1919 to February 1920. The ensemble in the photograph features the "autumn silhouette" complete with a fur neck wrap and black hat. The ensemble was likely created Sally Milgrim. Milgrim got her start in fashion by joining her husband’s suit-making business as a dressmaker in the 1910s. By the 1920s, her business proved to be so successful that she began creating custom designs for entertainers like Ethel Merman, Pearl White, and Mary Pickford. Milgrim’s line expanded to include eveningwear as well as ready-to-wear gowns and accessories. A high point in Milgrim’s career was when she was approached to design Eleanor Roosevelt’s inaugural gown for Franklin D. Roosevelt’s 1933 inauguration.

This editorial fashion spread was created in August 1921. The dress at the bottom left is by designer Sally Milgrim. Milgrim got her start in fashion by joining her husband’s suit-making business as a dressmaker in the 1910s. By the 1920s, her business proved to be so successful that she began creating custom designs for entertainers like Ethel Merman, Pearl White, and Mary Pickford. Milgrim’s line expanded to include eveningwear as well as ready-to-wear gowns and accessories. Milgrim’s attention to detail was apparent in her creations – she often incorporated embroidery, cross-stitch, ruffles, pleats, and embedded crystals. A high point in Milgrim’s career was when she was approached to design Eleanor Roosevelt’s inaugural gown for Franklin D. Roosevelt’s 1933 inauguration.

This editorial photograph was featured in a July 1921 issue of Shadowland magazine. The dress in the photograph is a black and white checkered afternoon gown with ribbon trimming by Sally Milgrim. Milgrim got her start in fashion by joining her husband’s suit-making business as a dressmaker in the 1910s. By the 1920s, her business proved to be so successful that she began creating custom designs for entertainers like Ethel Merman, Pearl White, and Mary Pickford. Milgrim’s line expanded to include eveningwear as well as ready-to-wear gowns and accessories. Milgrim’s attention to detail was apparent in her creations – she often incorporated embroidery, cross-stitch, ruffles, pleats, and embedded crystals. A high point in Milgrim’s career was when she was approached to design Eleanor Roosevelt’s inaugural gown for Franklin D. Roosevelt’s 1933 inauguration.

This dress was created by Ann Lowe, a dressmaker, seamstress, and couturier who designed the wedding dress of future first lady Jacqueline Kennedy for her wedding to John F. Kennedy on September 12, 1953. Like many of Lowe’s other creations, this black sleeveless cocktail dress demonstrates her love for floral decorations. The bodice is made from black chiffon and the neckline is trimmed with green vines and pink roses made of satin. The green cummerbund of the bodice overlays a tightly pleated, full chiffon skirt. The dress has a zipper closure in the back that starts at the top of the bodice and ends below the waist.

This black and white photograph of designer Sally Milgrim was taken circa 1920 - 1925 aboard a ship. Milgrim got her start in fashion by joining her husband’s suit-making business as a dressmaker in the 1910s. By the 1920s, her business proved to be so successful that she began creating custom designs for entertainers like Ethel Merman, Pearl White, and Mary Pickford. Milgrim’s line expanded to include eveningwear as well as ready-to-wear gowns and accessories. Milgrim’s attention to detail was apparent in her creations – she often incorporated embroidery, cross-stitch, ruffles, pleats, and embedded crystals. A high point in Milgrim’s career was when she was approached to design Eleanor Roosevelt’s inaugural gown for Franklin D. Roosevelt’s 1933 inauguration.

First Lady Betty Ford wore this dark pink brocade gown by designer Frankie Welch twice during the 1974 holiday season. The gown features detailed gold embroidery of chrysanthemums throughout with a V neck in front and a high-neck collar influenced by the traditional cheongsam dress.