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and First Lady Letitia Christian Tyler, wore a wedding veil said to be of blonde lace, a type of silk Bobbin lace, originally made in France and worn by wealthy women in the 18th and 19th centuries.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.

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.

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.

This green satin gown is a recreation of an identical gown made by designer Frankie Welch for First Lady Betty Ford. Since there were no inaugural celebrations when President Gerald R. Ford was sworn into office following Richard M. Nixon’s resignation, Mrs. Ford wore this gown to two state dinners at the White House, as well as several other events. The gown, in Mrs. Ford’s favorite shade of green, features an embroidered surface design in a chrysanthemum pattern and sequins sewn throughout. The symmetry of the high neck and the deep V neckline was a very fashionable silhouette for the time.

This dress was created by designer Karen Stark under the Harvey Berin label circa 1960. The dress is made of silk with a floral pink and black design. The back features a V neckline with bows adorning at both the bottom of the V and at the sash encircling the waist. Stark was the lead designer under the design house of Harvey Berin for nearly fifty years. Stark’s designs for Harvey Berin featured flattering, feminine silhouettes with clean lines and sturdy materials. They were also less complicated and more functional than what French designers at the time were creating. First Lady Pat Nixon selected one of Stark's designs for Harvey Berin for her 1969 inaugural ball gown.

First Lady Betty Ford wore this lemon-yellow chiffon Frankie Welch gown for a state dinner with Prime Minister Yitzhak Rabin of Israel in September 1974. This gown features a yellow, sheer chiffon layer with polka dots over a solid yellow spaghetti strapped dress. There are ruffles at the neckline, hem, and sleeves, and a satin bow around the waist. The gown closes with a zipper closure up the center back.

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. This teal blue silk brocade dress and matching cropped jacket were designed by Lowe in the 1950s and was worn by Florence Colgate Rumbough Trevor, a member of high society. This dress features a V neckline, a fitted bodice, and a small train in the back. This structured silhouette and complex tailoring of this ensemble are evidence of Lowe’s outstanding artistry.

This purple velvet dress by Elizabeth Keckley was created for First Lady Mary Lincoln during the 1861-1862 winter social season in Washington, D.C. Keckley designed the ensemble to include a skirt and two bodices -- one for the daytime and one for the evening. The daytime bodice, seen here, features white satin piping and mother of pearl buttons. Keckley, who was born enslaved, frequently designed dresses for Mrs. Lincoln. The two developed both a business partnership during Mrs. Lincoln's time in the White House as well as a friendship during that time. To see the evening bodice, see image 1135054.

These men’s stars and stripes boudoir slippers are attributed to Elizabeth Keckley. These were likely commissioned in circa 1865 by Mrs. Gideon Welles as a gift for her husband, Gideon Welles, Secretary of the Navy under President Abraham Lincoln. The body of the shoes is composed of red and white crochet stripes with a navy band and scattered white stars across the vamp. They contain a flat, leather sole and are edged in a twisted blue and red cord. Keckley, who was born enslaved, frequently designed dresses for First Lady Mary Lincoln. The two developed both a business partnership during Mrs. Lincoln's time in the White House as well as a friendship during that time.

This purple velvet dress by Elizabeth Keckley was created for First Lady Mary Lincoln during the 1861-1862 winter social season in Washington, D.C. Keckley designed the ensemble to include a skirt and two bodices -- one for the daytime and one for the evening. The evening bodice, seen here, features white satin piping and black and white lace-decorated sleeves. Keckley, who was born enslaved, frequently designed dresses for Mrs. Lincoln. The two developed both a business partnership during Mrs. Lincoln's time in the White House as well as a friendship during that time. To see the daytime bodice, see image 1135052.

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. This dress was made in 1958 and was worn by Patricia Schieffer. It is made from cream silk faille and features embroidered floral appliqué embellishments throughout. The bodice has cap sleeves and a scoop neck front and back. An excellent example of Lowe’s gift for dress construction, this dress features boning sewn at regular intervals throughout to provide structure and support. Pannier-like structures underneath the petticoat provide fullness to the skirt.

This photograph of the Blue Room was taken by Robert L. Knudsen on June 4, 1963, following its restoration under the guidance of First Lady Jacqueline Kennedy. Mrs. Kennedy worked with French interior designer Stéphane Boudin on the restoration of the White House. The continuous valance encircling the top of the room was a technique used by Boudin to unify the room. A 19th-century Savonnerie carpet, a gift of Mary Lasker, was placed on the floor at the center of the room. The Blue Room is located on the State Floor of the Executive Mansion. The oval-shaped parlor has been known as the Blue Room since Martin Van Buren’s 1837 redecoration. The room is often used for receptions, photo opportunities, and during the holiday season is home to the official White House Christmas Tree.

This photograph, taken by Robert L. Knudsen on August 28, 1963, shows the Family Dining Room on the State Floor following the refurbishment and repurposing of the room during the John F. Kennedy administrations. The redecoration of the room followed a vibrant yellow color scheme, featuring a gold lattice and pink rose rug personally selected for the room by interior designer Sister Parish. Other additions to the room included yellow silk curtains, a French white and dark green marble mantel, a New York convex mirror, and an 1859 portrait of Virginia planter Brig. Gen. John Hartwell Cocke by artist Edward Troye, From 1825 to 1962, presidents and their families traditionally dined in the Old Family Dining Room. In 1962 with the addition of a new private family dining room on the Second Floor of the White House, the room was repurposed for small official dinners, working lunches, and also serves as a staging area for state dinners. Located on the State Floor of the White House, the room features architectural details such as elegant plasterwork and vaulted ceilings. During the Barack Obama administration, the room was opened to public tours for the first time.

This photograph of the seating area next to the fireplace in the Oval Office shows the newly installed carpet that had been selected by President John F. Kennedy and French interior designer Stéphane Boudin. Cecil Stoughton photographed the office on November 23, 1963, the day after President Kennedy's assassination. Although the restoration of the White House is most closely associated with First Lady Jacqueline Kennedy, President Kennedy himself guided the choices for the redecoration of the Oval Office. Tragically, he never saw the completed room, as the curtains and carpet were being installed while he was in Dallas in November 1963.

This photograph of the Oval Office with recently-installed new carpet and drapes was taken by Cecil Stoughton on November 23, 1963, the day after the assassination of President John F. Kennedy. President Kennedy and French interior designer Stéphane Boudin selected the carpet and drapes. Although the restoration of the White House is most closely associated with First Lady Jacqueline Kennedy, President Kennedy himself guided the choices for the redecoration of the Oval Office. Tragically, he never saw the completed room, as the curtains and carpet were being installed while he was in Dallas in November 1963.

This photograph of the Oval Office with recently-installed new carpet and drapes was taken by Cecil Stoughton on November 23, 1963, the day after the assassination of President John F. Kennedy. President Kennedy and French interior designer Stéphane Boudin selected the carpet and drapes. Although the restoration of the White House is most closely associated with First Lady Jacqueline Kennedy, President Kennedy himself guided the choices for the redecoration of the Oval Office. Tragically, he never saw the completed room, as the curtains and carpet were being installed while he was in Dallas in November 1963.

This photograph of First Lady Jacqueline Kennedy's dressing room was taken by Robert L. Knudsen on May 7, 1962. The room featured newly installed draperies on the windows and family photographs on the wall. The room was designed by French interior designer Stéphane Boudin, who collaborated with Mrs. Kennedy on her White House restoration and redecoration project..

This photograph of the newly restored and refurbished Blue Room was taken by Robert L. Knudsen on June 4, 1963, during the John F. Kennedy administration. That year, First Lady Jacqueline Kennedy changed the room into a ceremonial room and used furnishings from the James Monroe administration to incorporate a French Empire style. The room also featured a 19th-century Savonnerie carpet. The Blue Room is located on the State Floor of the Executive Mansion and is famous for its oval shape, central location, and views of the Jefferson Memorial through the South Portico windows.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts a pheasant among flowering branches. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts a woman holding a parasol during a gentle snowfall. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts a woman holding the three-stringed instrument or shamisen. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts two cranes beneath a crabapple tree. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.