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Your search found 1,386 result(s).
-
Logo pin for Personal Involvement Now membership of Alpha Kappa Alpha Sorority
- Manufactured by
- Unidentified
- Subject of
- Alpha Kappa Alpha Sorority, Incorporated, founded 1908
- Grays, Mattelia B., American
- Medium
- metal
- Dimensions
- 1 1/16 x 7/8 x 1/8 in. (2.7 x 2.2 x 0.3 cm)
- Type
- logos
- Date
- 1970
- Description
- An Alpha Kappa Alpha metal logo with a small metal loop attached to the top. The gold, circular pendant has a gavel embossed at the top. Text underneath the gavel reads “P I N / Personal Involvement Now.”
- Topic
- African American
- Education
- Sororities
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Historical Society of Washington, DC and the Alpha Kappa Alpha Sorority, Inc.
- Object number
- 2013.133.2.19
- See more items in
- National Museum of African American History and Culture Collection
- Classification
- Memorabilia and Ephemera
- Data Source
- National Museum of African American History and Culture
-
Logo pin for The Founders' Window membership of Alpha Kappa Alpha Sorority
- Manufactured by
- Unidentified
- Subject of
- Alpha Kappa Alpha Sorority, Incorporated, founded 1908
- Bernice Sumlin, American, born 1926
- Medium
- metal
- Dimensions
- 1 1/8 x 7/8 x 1/8 in. (2.9 x 2.2 x 0.3 cm)
- Type
- logos
- Date
- 1974
- Description
- An Alpha Kappa Alpha metal logo with a small metal loop attached to the top. The rectangular pendant has brass ivy vines over a yellowish background. At the top of the pendant is “SORORITY.” At the center of the pendant is “A K A” embossed vertically.
- Topic
- African American
- Education
- Sororities
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Historical Society of Washington, DC and the Alpha Kappa Alpha Sorority, Inc.
- Object number
- 2013.133.2.20
- See more items in
- National Museum of African American History and Culture Collection
- Classification
- Memorabilia and Ephemera
- Data Source
- National Museum of African American History and Culture
-
Pin for Influencing Decisions - A Design for Action of Alpha Kappa Alpha
- Manufactured by
- Unidentified
- Subject of
- Alpha Kappa Alpha Sorority, Incorporated, founded 1908
- Barbara Phillips, American, 1938 - 2013
- Medium
- metal
- Dimensions
- 7/8 x 3/4 x 1/8 in. (2.2 x 1.9 x 0.3 cm)
- Type
- logos
- Date
- 1978
- Description
- An Alpha Kappa Alpha metal logo with a small metal loop attached to the top. The pendant is a small circle that has a compass rose at center that divides the pendant’s face into four sections. The left section has a hand holding a diploma, the top section has a scale, the right section has a hand holding a gavel and the bottom section has a domed building.
- Topic
- African American
- Education
- Sororities
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Historical Society of Washington, DC and the Alpha Kappa Alpha Sorority, Inc.
- Object number
- 2013.133.2.21
- See more items in
- National Museum of African American History and Culture Collection
- Classification
- Memorabilia and Ephemera
- Data Source
- National Museum of African American History and Culture
-
Cassette of Last Poets performance at Auburn Correctional Facility
- Recorded by
- The Last Poets, American, founded 1968
- Owned by
- El-Hadi, Suliaman, American, 1936 - 1995
- Medium
- plastic and tape
- Dimensions
- H x W x D: 2 9/16 × 4 × 1/2 in. (6.5 × 10.2 × 1.3 cm)
- Type
- audio cassettes
- Place depicted
- Auburn, Cayuga County, New York, United States, North and Central America
- Date
- April 29, 1978
- Description
- Black cassette tape with white and pink label. Handwritten information appears on both sides of cassette tape. Side 1 of cassette tape has handwritten information reading, [THE Last PoEts & M.P.C. At/AubuRn CoRRECtional Facility/#2/4-29-78]. Side 2 of cassette tape has handwritten information reading, [PoEts & M.P.C.].
- Topic
- African American
- Hip hop (Music)
- Prisons
- Spoken word (Poetry)
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of Qaddafi El-Hadi in memory of Suliaman El-Hadi
- Object number
- 2014.40.6
- See more items in
- National Museum of African American History and Culture Collection
- Classification
- Media Arts-Audio Recordings
- Data Source
- National Museum of African American History and Culture
-
Black "Sex" jumpsuit owned by James Brown
- Created by
- Unidentified
- Owned by
- Brown, James, American, 1933 - 2006
- Medium
- wool, metal
- Dimensions
- H x W: 61 x 28 in. (154.9 x 71.1 cm)
- Type
- costume
- Date
- 1970-1989
- Description
- A black wool jumpsuit with sequined embellishments along the collar and waist. The letter "J" is spelled out with five sequined beads along the front of the collar. Each shoulder has six sequined beads along the top. The word "SEX" spelled out using sequined beads along the mid-section. The word is inside an oval that is also made using sequined beads. A zipper runs down the back.
- Topic
- African American
- Clothing and dress
- Funk (Music)
- Sexuality
- Soul (Music)
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture
- Object number
- 2008.7.4
- See more items in
- National Museum of African American History and Culture Collection
- Classification
- Clothing-Costume
- Exhibition
- Musical Crossroads
- On View
- NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053
- Data Source
- National Museum of African American History and Culture
-
Charlene Hodges Byrd collection
- creator
- Byrd, Charlene Hodges, 1929-2009
- name
- Bearden, Romare, 1911-1988
- Cummings, Ida R., (Ida Rebecca), 1868-1958
- Douglass, Frederick, 1817?-1895
- Grimke, Francis J., (Francis James), 1850-1937
- Hodges, Joyce Ethel Cummings, 1903-1971
- Morgan State College.
- Shimm, Erminie F., (Erminie Florence), 1867-1936
- Shimm, Sarah A., 1843-1885
- Thomas, Elizabeth N., (Elizabeth Nelson), d. 1932
- Washington, Booker T., 1856-1915
- object type
- Archival materials
- place
- Washington (D.C.)
- inclusive dates
- circa 1750-2009
- bulk dates
- bulk 1880-1960
- Physical description
- 43 linear feet (35 document boxes and 39 oversize boxes)
- Abstract
- The Charlene Hodges Byrd collection measures 43 linear feet, and dates from circa 1750-2009, with the bulk of the material dating from 1880-1960. The collection documents the personal life and professional career of Charlene Hodges Byrd, an African American teacher from Washington, D.C., along with material for several related families from Pennsylvania, Maryland, and Washington, D.C. Family members prominently represented include Sarah A. Shimm, teacher and essayist under the name Faith Lichen; her daughters Erminie F. Shimm and Grace E. Shimm Cummings, both teachers; and Byrd's mother, Joyce Ethel Cummings Hodges, also a teacher. Correspondence and writings chiefly discuss family life, religion, race, education, and the relationship with Frederick Douglass and his family. The collection is arranged in 10 series: Biographical Material, Correspondence, Writings, Subject Files, Financial and Legal Records, Printed Material, Volumes, Memorabilia, Textiles, and Photographs.
- Preferred Citation note
- Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.
- Scope and Contents note
- Series 1. Papers related to biographical and family histories of the Byrd, Cummings, Davage, Dews, Hodges, Shimm, Spruill, and Thomas families. Material includes family trees; school diplomas and certificates; programs; awards; marriage and divorce papers; funeral documents; and obituaries.
- Series 2: Chiefly letters from family and friends regarding family news, financial matters, school, work, neighborhood affairs, church events, travel and the weather. The majority of the letters are addressed to Charlene Hodges Byrd, Grace E. Shimm Cummings, Ida R. Cummings, Elizabeth Dews Hodges, Joyce Ethel Cummings Hodges, Erminie F. Shimm, Sarah A. Shimm, and Elizabeth N. Thomas. Other correspondence includes letters from Booker T. Washington, Bessye Beardon, Charlotte Davage, Amelia Douglass, and Harrell S. Spruill. There are also a number of greeting cards, postcards, and empty envelopes.
- Series 3. Writings include essays, speeches, papers written for school, teacher's notebooks, and a diary of Erminie F. Shimm, 1903. Topics include education, Frederick Douglass, religion, race, Africa, and the temperance movement.
- Series 4. Subject files on Charlene Hodges Byrd's involvement with Alpha Kappa Alpha Sorority; Book Lovers of Charleston, West Virginia, a women's book club organized in 1923; Church Women United radio program; and The Links, Inc., a volunteer service organization. The papers on Liberia relate to missionary work, and were probably gathered by Erminie F. Shimm; and the Shimm-Thomas Collection are papers related to the deposit and later return of family items housed as a collection at Morgan State College.
- Series 5. The financial and legal records include invoices and receipts, bank books, real estate tax assessments, deeds, and wills. There is also material related to the estate of Erminie F. Shimm.
- Series 6. Printed materials includes books, pamphlets, newspapers, newsletters, clippings, invitations and programs. The books and pamphlets are chiefly school yearbooks and newspapers and other texts related to religion, politics, music, and poetry. Also included is a copy of Frederick Douglass's autobiography and a printed copy of his speech "The Race Problem." The clippings include obituaries, articles about Charlene Hodges Byrd and her husband Charles R. Byrd, essays by Sarah A. Shimm under the name Faith Lichen, and articles on the assassination of Martin Luther King, Jr. The invitations and programs are primarily for school graduations, weddings, social events, and funerals. Other printed material includes newsletters; business cards; calling cards; postage stamps, chiefly from Liberia; and blank postcards. The binder on Frederick Douglass was prepared by Byrd and her goddaughter for the West Virginia School Studies Fair, and includes copies of Byrd family artifacts.
- Series 7. Autograph books, guest books, and scrapbooks. The autograph book of Grace E. Shimm Cummings includes autographs from Amelia Douglass, Lewis B. Douglass, Charles R. Douglass, W. H. Clair, and Francis J. Grimke. The scrapbook of Grace E. Shimm Cummings and Erminie F. Shimm consists primarily of clippings, and was assembled from an old teacher's book with a student registration and punishment pages still intact at the back.
- Series 8. Miscellaneous items in the collection including artwork, a coin purse, a piece of handwoven cloth belonging to Catherine Nelson's great grandmother, and leather hair curlers.
- Series 9: The textiles are chiefly christening gowns, children's garments, and an apron. Several garments belonged to Joyce Ethel Cummings Hodges, Charlene Hodges Byrd, and Elizabeth N. Thomas. There is also a doll that belonged to Amelia Douglass's niece, Kitty Cromwell.
- Series 10. Photographs include pictures of Charlene Hodges Byrd, Joyce Ethel Hodges Cummings, Frederick Douglass, Elizabeth Dews Hodges, Charles Gilmor Cummings, Grace E. Shimm Cummings, Erminie F. Shimm, and other friends and relatives of the Byrd, Hodges, Cummings, Douglass, and Shimm families. Subjects are primarily portraits and candids, along with some wedding, baby, and school pictures. While some of the photographs are annotated, many of the individuals are unidentified. Included are vintage photographs, cabinet cards, cartes-de-visites, tintypes, daguerreotypes, and negatives.
- Biographical/Historical note
- The Shimm, Thomas, Cummings, Hodges, Davage, and related African American families chiefly lived in Virginia, Pennsylvania, Maryland, and Washington, D.C. Numerous family members worked as teachers, barbers, or in the service industry. They were active in local churches and service organizations, and had established friendships with local church leaders as well as with Frederick Douglass and his family.
- The Shimm and Thomas families were located in Virginia, Pennsylvania, Maryland, and Washington, D.C. The Thomas family can be traced back to Philip Nelson, who owned property in Leesburg, Virginia and Philadelphia, Pennsylvania. Family genealogical papers list Nelson as a descendent of British Admiral Horatio Nelson. This lineage, however, is not supported in publically available family histories of Horatio Nelson. Philip Nelson and his wife Araminta had five children: Catherine (b. 1805?), William, Levi (b. 1820?), Henrietta, and Grayson.
- Catherine Nelson married Elias E. Thomas (b. 1816?) of Virginia in 1840. They wed in Philadelphia and had five children: Levi Nelson (b. 1841), Sarah (1843-1885), Edward (b. 1844), Elizabeth (1848-1932), and Charles (b. 1851).
- Sarah Thomas married William Y. Shimm (b. 1841), a barber in Reading, Pennsylvania, on July 26, 1863. They had 2 daughters, Erminie (1867-1936) and Grace (1865-1910). The Shimms lived in Pennsylvania and Ohio, but had moved to Washington, D.C., around 1871. Sarah was a teacher and a writer who published under the name "Faith Lichen." Her writings, primarily essays and commentaries about race and politics, were printed in several newspapers including The National Republican, The Celtic Weekly, The People's Advocate, and The Sunday Morning Gazette.
- Sarah's sister Elizabeth was also a teacher in Maryland. Her brother Charles was a lawyer in Washington, D.C., and a graduate of the first class at Howard University's law school.
- Erminie and Grace Shimm became teachers in the Washington, D.C., public school system. Erminie was active in her church and supportive of missionary work in Liberia. Grace married Charles Gilmor Cummings, a pastor in Alexandria, Virginia, on July 9, 1902. They had one daughter, Joyce Ethel (1903-1971), and second child in 1905 who died in infancy. Grace died in 1910 of heart failure. After her death, Grace's sister Erminie and Charles's family helped raise Joyce Ethel in Washington, D.C., and Baltimore, Maryland.
- Joyce Ethel Cummings Hodges graduated from Morgan College in 1924, and received her master's degree from Howard University in 1931. She taught at Douglass High School in Baltimore from 1924-1964. Joyce Ethel married Charles E. Hodges (1900--975) in 1927 and they divorced in 1953. The couple had one daughter, Charlene (1929-2009).
- Charlene Hodges Byrd grew up in Washington, D.C., but attended the Northfield School for Girls in East Northfield, Massachusetts, for high school, graduating in 1946. She received her bachelor's degree from Connecticut College in 1950, and her master's degree in English Language and Literature from the University of Chicago in 1951. She married Charles R. Byrd (1919-2004) in 1952. They had one son in 1954, but he died four days after birth. Byrd soon began a career as a teacher and education administrator, eventually working for Kanawha County Schools in Charleston, West Virginia. She was also active in her local community as a member of the Book Lovers of Charleston, West Virginia; Church Women United; and The Links, Inc.
- Charles E. Hodges was born Bridgewater, Virginia, where his father was a minister. He graduated from Morgan College in 1923 and received his master's degree from the University of Pennsylvania in 1943. He was a teacher and served as principal of the North Street School in Hagerstown, Maryland. After he and Joyce Ethel divorced in 1953, he married Elizabeth Dews (1913-1999) in 1955.
- Elizabeth Dews Hodges, born Elizabeth Virginia Waumbeeka, was adopted by James Edward (1889-1954) and Sarah Virginia Dews (1888?-1964) in Washington, D.C., in 1920. She graduated from Miner Teachers College in 1939, and worked as a teacher in Annapolis, Maryland, at Wiley H. Bates High School for 34 years. She was awarded a medal for her work there by the Freedom Foundation of Valley Forge in 1959. Elizabeth was active in local organizations in Maryland and Washington, D.C., including the SE/NE Friends of the Capitol View Branch Library; Eastern Star Chapter 4; Mount Ephraim Baptist Church; National Museum of Women in the Arts; National Association for the Advancement of Colored Peoples; and the Columbia Lighthouse for the Blind.
- The Davage family is descended from Sidney Hall (b. 1818?) and Charles Davage (b. 1815?). Sidney was a former slave at the Perry Hall mansion in Baltimore, and was manumitted by 1840. She married Charles, a coachman, on April 12, 1842. They had five children: Eliza Jane (1843-1913), Sophia (b. 1847), Charlotte (b. 1849), Charles (b. 1854), and Hester (b. 1845). Their daughter Eliza Jane married Henry Cummings (b. 1830?). They had seven children: Harry Sythe (1866-1917), Charles Gilmor (1870-1924), William (b. 1882), Ida R. (1868-1958), Estelle (1874-1944), Carroll (b. 1875), Francis (b. 1872), and Aaron (1864?-1932).
- Harry Sythe Cummings, a lawyer in Baltimore, became the city's first African American City Council member. He was first elected in 1890 and served intermittently until his death in 1917, often working on issues related to education. Cummings also delivered a speech at the Republican National Convention in 1904 seconding the presidential nomination of Theodore Roosevelt. He married Blanche Conklin in 1899, and they had three children: Harry S. Jr. (b. 1905), Lucille (d. 1906), and Louise.
- Charles Gilmor Cummings graduated from Drew Theological Seminary in 1898, and was a pastor in Alexandria, Virginia and elsewhere. After the death of his wife Grace in 1910, he married Rosa Catherine Bearden, grandmother of artist Romare Bearden, in 1912.
- Ida R. Cummings graduated from Morgan College in 1922, and was the first African American kindergarten teacher in Baltimore. She was also active in local organizations, and was president of the Colored Fresh Air and Empty Stocking Circle; chairman of the Woman's Section Council of Defense in Baltimore during the World War, 1914-1918; and president of the Woman's Campaign Bureau of the Colored Republican Voters' League of Maryland.
- Conditions Governing Access note
- Access to collection requires appointment.
- topic
- African American churches
- African American educators
- African American families
- African American newspapers
- African American women journalists
- African American--Social life and customs
- African Americans--Education
- African Americans--Maryland
- African Americans--Pennsylvania
- African Americans--Photographs
- African Americans--Washington (D.C.)
- smithsonian online virtual archive
- Record
- Data source
- National Museum of African American History and Culture
-
Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection
- creator
- Ailey, Alvin
- Mitchell, Jack, 1925-
- name
- Wood, Donna, 1954-
- DeLoatch, Gary, 1953-1993
- Jamison, Judith
- Allen, Sarita
- Chaya, Masazumi
- Truitte, James
- DeLavallade, Carmen , 1931-
- Williams, Dudley
- Tyson, Andre
- Roxas, Elizabeth
- object type
- Archival materials
- inclusive dates
- 1961-2004
- Physical description
- 16 linear feet
- Abstract
- Jack Mitchell (1925- 2013) was an acclaimed photographer who began chronicling the work of the Alvin Ailey American Dance Theater in 1961. Alvin Ailey (1931- 1989), one of the most influential African American choreographers of modern dance, dedicated himself and his dance company to creating ballets that not only accelerated the careers of young African American dancers, but also stole the attention of national and international audiences in displaying the racial perspective of dance in the African American experience. This collection serves as Mitchell's documentation of the dance company's evolution while capturing the true idiosyncrasies and physicality of movement through still images. Through Alvin Ailey and Jack Mitchell's partnership, they were able to collaborate and produce a unique production of art, fusing the meaning and movements of dance and the techniques of photography.
- Preferred Citation
- Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.
- Conditions Governing Access
- Collection is open for research. Access to collection materials requires an appointment.
- Scope and Contents
- The Jack Mitchell Photography of Alvin Ailey American Dance Theater Collection is comprised of approximately 10,000 black and white prints of solo and ensemble acts, portraits of principle dancers and various associates of the company, color slides and transparencies for private photo sessions and performances, black and white film strips and their corresponding contact sheets, and reference materials.
- Biographical / Historical
- Jack Mitchell was born on September 13, 1925 in Key West, Florida. Although he was not in the field of photography, Mitchell's father bought him his first camera when Jack was a teenager. His first published photograph was of actress, Veronica Lake, for a War Bond Tour, a tour issued by the government that promoted debt securities to soldiers to finance military operations and expenditures He enlisted in the United States army and became a photographer in Italy at the end of World War II. In 1949, Ted Shawn, a dancer and choreographer who is respected among the dance community as a pioneer of American modern dance, invited Mitchell to Massachusetts photograph his dancers at his dance center, Jacobs's Pillow. It was during this time where Mitchell's interest and appreciation for moving bodies was realized. In the lifespan of his career, Mitchell created over 150 covers for Dance Magazine1, the New York Times, Time, Life, Newsweek, Rolling Stone, Vanity Fair, and Vogue.2
- As Jack Mitchell started to photograph the poses and ballets of the American Ballet Theater throughout the late 1950s, Alvin Ailey saw some of Mitchell's photographs. By 1961, Mitchell had established himself as a distinguished photographer of dance, coining the term, "moving stills". His photographs became the benchmark and standard that other dance photographers measured their work. In November 1961, Ailey invited Mitchell to a performance space in Clark Center, NY, and with his dancers, they performed for Mitchell's camera; some of the photographs from that first photo session can be found in this collection.
- Alvin Ailey was born on January 5, 1931 in in Rodgers, Texas, during the Great Depression. As his repertory reflected, the beginning of his life was defined by a tight-knit, predominantly African American folk culture. At age 12, Ailey and his mother, Lula Cooper, moved Los Angeles, California. It is here that he was exposed to the Ballet Russe de Monte Carlo, which led him to study under the Lester Horton Dance Theater, where he danced with Carmen DeLavallade, James Truitte, and Joyce Trisler. After 3 years of performing and training, he was positioned as a choreographer and later became the director of the company when Lester Horton suddenly died in 1953. His influence from Lester Horton, Martha Graham, and Katherine Dunham help to establish his philosophy that "Everything in dancing is style, allusion, the essence of many thoughts and feelings, the abstraction of many moments. Each movement is the sum total of moments and experiences".3 After Horton's death, Ailey went to perform at Ted Shawn's Jacob's Pillow Dance Festival, and then on to New York with his longtime schoolmate and fellow dancer, Carmen DeLavallade, to perform in the 1954 Broadway production of "House of Flowers". The Alvin Ailey American Dance Theater Company was established in 1958.
- From the beginning of his journey as a dancer and choreographer, Ailey wanted to show African American experience in his performances. He embedded folk culture in his early works "Revelations" and "Blue Suites". In reflection, before his first South Asian Tour, Alvin expressed, "The cultural heritage of the American Negro is one of America's richest treasures. From his roots as a slave, the American Negro- sometimes sorrowing, sometimes jubilant but always hopeful -has touched, illuminated, and influenced the most preserved of world civilization. I and my dance theater celebrate this trembling beauty."4 "Revelations" was well- received by national and international audiences, Ailey recognized by the dance community as a choreographer with promise and his company and ballets he created were highly anticipated. By 1965, Ailey went from being a dancer to being the company's choreographer. From the onset, Ailey embraced diversity and invited interracial and interdisciplinary perspectives at of the company. He also created ballets for other notable companies including the American Ballet Theatre, Royal Danish Ballet, London Festival Ballet, the Joffrey Ballet, Paris Opera Ballet, and LaScala Opera Ballet.5 He was invited to choreograph Samuel Barber's Anthony and Cleopatra for the Metropolitan Opera at Lincoln Center in 19666, and Leonard Bernstein's Mass for the Kennedy Center for the Performing Arts in 1971.7
- As the company embraced racial diversity, Ailey never lost his sense of obligation to the African American community. In 1969, he established the Alvin Ailey American Dance Center, which became the Ailey School, formed the Alvin Ailey Repertory Ensemble, and pioneered programs promoting arts in education, particularly those that benefitted deprived communities. Among his numerous distinctions were the Dance Magazine Award (1975), the NAACP Spingarn Medal (1976), given for "the highest and noblest achievement by an American Negro during the previous year or years"8 , the Samuel H. Scripps American Dance Festival Award (1987), the most prestigious award for modern dance for a lifetime contribution to the field, the Kennedy Center Award (1988) and Honorary Doctorates from Princeton University (1972)9 , Bard College (1977)10 , and Adelphi University (1977). President Barack Obama posthumously awarded Ailey the Presidential Medal of Freedom in 2014, the country's highest civilian honor, in recognition of his contributions and commitments to civil rights and dance in America.11
- Through Jack Mitchell and Alvin Ailey's work, they were able to collaborate and create something "rich in historical connotations, the liveliest kind of permanent record of the works of important creators and creations that formed the nucleus of Ailey's remarkable vision of American dance and what it could be"12. Alvin Ailey's reputation for creating eclectic dance methods produced movements and poses that are still studied and idolized today. Mitchell was able to pay homage to many of the world's best dance artists from James Truitte, Carmen DeLavallade, Dudley Williams, Donna Wood, Renee Robinson, Gary DeLoatch, as well as Ailey, through his photography. With Ailey's longstanding and established stature within the dance community, and Mitchell's pronouncement of the detailed through his use of lighting in his photographs, this collection highlights the incredible collaboration between Ailey and Mitchell, and serves as a unique document of one of the world's most renowned American dance company's.
- Alvin Ailey's vision for a dance company was dedicated to enriching the American modern dance heritage and preserving African American culture. In a 1989 interview with Dance Magazine, shortly before his death, Ailey discussed how he took pride in knowing that "No other company around [today] does what we do, requires the same range, and challenges both the dancers and the audience to the same degree." Ailey searched for a collaborator that would help him display the value of communicative movement; he found his match in Mitchell. Ailey's influence went beyond the stage and Jack Mitchell's images in this collection document that evolution. With Alvin Ailey's passing in 1989 at age 58 and Jack Mitchell's death in 2013 at age 88, these photographs of Alvin Ailey American Dance Theater Collection serves as one of the few sources of this dynamic dance company, from its early days to an internationally recognized troupe.
- Footnotes: Footnotes, Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), viii, Bruce Weber, "Jack Mitchell, Photographer of the Arts, Dies at 88", The New York Times Obituaries (November 9, 2013):http://www.nytimes.com/2013/11/10/arts/jack-mitchell-photographer-of-the-arts-dies-at-88.html, Jennifer Dunning, Alvin Ailey: A Life in Dance. (New York; Addison- Wesley, 1996), 123, Ibid, 146., Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York: Birch Lane, 1995), 6-7., Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York; Birch Lane, 1995), 7., Ibid., Ibid., Dunning, Jennifer. Alvin Ailey: A Life in Dance. (New York: Addison-Wesley, 1996), 286., "Bard College Catalogue 2016-17: Honorary Degrees": http://www.bard.edu/catalogue/index.php?aid=1203992&sid=670122, Office of the Press Secretary, "President Obama Names Recipients of the Presidential Medal of Freedom" (November 10, 2014): https://www.whitehouse.gov/the-press-office/2014/11/10/president-obama-names-recipients-presidential-medal-freedom, Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), ix.
- topic
- Dancers -- Photographs
- Alvin Ailey American Dance Theater
- Choreography -- United States
- Dance
- Dance schools -- United States
- Dance -- Production and direction
- Dance companies
- Dance -- North America
- smithsonian online virtual archive
- Record
- Data source
- National Museum of African American History and Culture
-
Costume gown, petticoat, and jacket for Addaperle in The Wiz on Broadway
- Designed by
- Holder, Geoffrey, Trinidadian American, 1930 - 2014
- Created by
- Grace Costumes Inc., founded 1966
- Worn by
- Taylor, Clarice, American, 1917 - 2011
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- Gown: synthetic fiber, satin, velvet, net, and metal
- Petticoat: synthetic fiber
- Jacket: synthetic fiber, satin, velvet, sequins, rhinestones, and metal
- Type
- ensembles (costume)
- Place used
- New York City, Manhattan, New York, United States, North and Central America
- Date
- 1975
- Description
- This costume is comprised of three (3) pieces, a teal and blue gown, a petticoat, and a matching jacket worn by Clarice Taylor as Addaperle in "The Wiz: The Super Soul Musical 'Wizard of Oz'" on Broadway.
- Topic
- African American
- Clothing and dress
- Costume
- Musical Theatre
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.10
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Data Source
- National Museum of African American History and Culture
-
Costume gown and petticoat for Addaperle in The Wiz on Broadway
- Designed by
- Holder, Geoffrey, Trinidadian American, 1930 - 2014
- Worn by
- Taylor, Clarice, American, 1917 - 2011
- Created by
- Grace Costumes Inc., founded 1966
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- synthetic fiber, satin, velvet, net, and metal
- Dimensions
- H x W x D (On form (a)): 62 1/4 × 27 1/2 × 24 in. (158.1 × 69.9 × 61 cm)
- H x W x D (In box (a)): 60 × 22 3/4 × 8 1/2 in. (152.4 × 57.8 × 21.6 cm)
- L x W x D (from center back bodice with train extended (a)): 71 in. (180.3 cm)
- H x W x D (In box (b)): 32 × 22 × 8 in. (81.3 × 55.9 × 20.3 cm)
- Waist (at widest point (b)): 34 in. (86.4 cm)
- Type
- gowns
- Place used
- New York City, Manhattan, New York, United States, North and Central America
- Date
- 1975
- Description
- This teal and blue floor-length gown and purple petticoat are part of a costume worn by Clarice Taylor as Addaperle in "The Wiz: The Super Soul Musical 'Wizard of Oz'" on Broadway. The sleeveless gown (a) has a fitted bodice and a full skirt with a ruffled hem and short train, and is decorated in a patchwork style with pieces of blue, teal, green and purple fabrics. The petticoat (b) is made of a multi-layered purple synthetic taffeta.
- The bodice of the gown is made of teal satin synthetic fiber lined with drill. The bodice is sleeveless, fitted, and has an open scoop neck. Two (2) patches of velvet, one dark blue and one dark teal, are hand-sewn to the center front of the bodice. The interior front of the bodice has five (5) pieces of boning tape sewn lengthwise from top to waist, but the boning has been removed from all but the two outermost tapes.
- The skirt of the gown is floor-length and very full, lengthening in the back with a short train. Teal satin synthetic fiber is sewn in box pleats to the bodice at the waist. The skirt has several large patches of fabric machine-sewn in a random pattern to the teal ground using a zigzag stitch. The patches are of dark blue velvet, dark teal velvet, light green satin and medium green satin. Some of the light green patches are sewn so that the wrong side of the fabric is facing out. Additionally, there are four (4) "envelopes" attached to the skirt, which are white satin rectangles with flaps trimmed in blue ribbon to look like mailing envelopes. The envelopes are only attached along the bottom and the sides, leaving the top open as a pocket. Two envelopes have Velcro closures, making them function as additional pockets. There are three (3) white gloves sewn to the skirt at the wrists and fingertips, each of which is stuffed with foam. A flounce made of medium teal synthetic fiber, trimmed at the top edge with purple velvet and at the bottom edge with purple grosgrain ribbon, is sewn along the bottom of the skirt. The skirt is not lined, but there is a net underskirt with a ruffled hem doubled over and attached across the back interior of the skirt. The interior waistband of the skirt is made of a white grosgrain ribbon that closes at the center back with a hook on the proper right back and two eyes for adjustable fit on the proper left back. A silver zipper begins below the waist of the center back skirt and ends at the top of the bodice neck. A hook-and-eye closure is sewn above the zipper at the center back neck.
- The petticoat (b) is made of a multi-layered purple synthetic taffeta. Like the gown, it is shorter in front. Two tiers of ruffles are sewn at the hemline, each edged in synthetic net stiffener. The waistband is adjustable with hook and eye fasteners, including six (6) eyes ranging from 29 - 34" waist. As an alteration, one (1) additional eye was sewn onto the waistband at 25".
- Topic
- African American
- Clothing and dress
- Costume
- Musical Theatre
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.10.1ab
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Data Source
- National Museum of African American History and Culture
-
Costume for Glinda the Good Witch in The Wiz on Broadway
- Designed by
- Holder, Geoffrey, Trinidadian American, 1930 - 2014
- Created by
- Grace Costumes Inc., founded 1966
- Worn by
- Bridgewater, Dee Dee, American, born 1950
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- Dress: synthetic fiber, net (textile), and chiffon
- Headdress: synthetic fiber, straw, wire, rhinestones, and metal
- Dimensions
- On form - dress with train (a) with hat (b): 92 × 50 × 28 in. (233.7 × 127 × 71.1 cm)
- Type
- ensembles (costume)
- Place used
- New York City, New York County, New York, United States, North and Central America
- Date
- 1975
- Description
- This costume is comprised of two (2) pieces, a gown and an accompanying headdress, worn by Dee Dee Bridgewater as the character Glinda in the Broadway production of "The Wiz".
- Topic
- African American
- Clothing and dress
- Costume
- Musical Theatre
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.11
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Data Source
- National Museum of African American History and Culture
-
Costume jumpsuit for a Quadling in The Wiz on Broadway
- Designed by
- Holder, Geoffrey, Trinidadian American, 1930 - 2014
- Created by
- Grace Costumes Inc., founded 1966
- Worn by
- Edmead, Wendy, American, born 1956
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- chiffon, crepe, muslin, passementerie, metal, and elastic
- Dimensions
- H x W x D (In box): 59 × 22 1/2 × 2 3/4 in. (149.9 × 57.2 × 7 cm)
- H x W x D (On form): 61 × 28 × 15 1/2 in. (154.9 × 71.1 × 39.4 cm)
- Type
- jump suits
- Place used
- New York City, Manhattan, New York, United States, North and Central America
- Date
- 1975
- Description
- This jumpsuit is part of a costume worn by Wendy Edmead as a Quadling in "The Wiz: The Super Soul Musical 'Wonderful Wizard of Oz'" on Broadway. The jumpsuit is made from a diaphanous, coral-colored synthetic fabric. The bodice of the jumpsuit and its lower section attach only at the center front, leaving exposed the sides of the wearer's stomach and lower back.
- The bodice of the jumpsuit is made of a coral crepe synthetic fiber that is covered in pleated coral chiffon synthetic fiber. The full length sleeves are made of the same coral chiffon fabric, which has been ironed into an accordian pleat and cut in a flared trumpet shape. Elastic loops are attached to the wrist area of each sleeve. The bodice is lined in plain muslin, and closes at the center back with a zipper and a hook-and-eye closure at the neck.
- On the lower section of the jumpsuit, coral chiffon synthetic fiber attaches at the waist and reaches to the ankles to form wide-legged, accordian-pleated pants. There is a bikini bottom attached to the waistband. The bikini bottom is a coral crepe synthetic fiber on the recto, lined in plain muslin on the verso, and has an open crotch. This lower section of the jumpsuit closes at the center back with a zipper and a hook-and-eye closure at the waist. A length of coral tape is sewn in a loop at the interior proper left and proper right sides.
- Coral passementerie is sewn to the bottom edge of the bodice, forming an x at the center front attachment, and continuing along the top edge of the pants. Two (2) metal discs, each stamped with a head in profile and surrounded by a circle of five-pointed stars, are sewn to the top and bottom of the x and at the center front attachment. Coral tasseled fringe is sewn along the collar line of the bodice and at the hip line of the lower section of the jumpsuit, below the passementerie decoration. Stamped metal discs are sewn all along the fringe at the collar and the hip.
- Topic
- African American
- Clothing and dress
- Costume
- Musical Theatre
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.12
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Data Source
- National Museum of African American History and Culture
-
Cream fur coat similar in style to a fur coat worn in the movie Super Fly
- Designed by
- McQuay, James P., American, born 1924
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- fur, synthetic fiber, plastic, and elastic
- Dimensions
- H x W x D (Flat, in box): 41 × 22 × 4 in. (104.1 × 55.9 × 10.2 cm)
- Type
- coats
- Place made
- New York City, Manhattan, New York, United States, North and Central America
- Date
- 1970s
- Description
- This cream-colored fur coat with a tourmaline mink collar is similar in style to a fur coat worn by the character Georgia, played by Sheila Frazier, in the movie "Super Fly." The coat is a cream fur with a wide notched lapel collar of tourmaline mink fur. The coat has a three (3) button closure and a parallel row of three (3) decorative buttons, creating a double-breasted coat silhouette. The buttons are large, made from cream pearlized plastic, and have a smooth front. The coat closes in the front using three (3) white elastic loops attached on the edge of the proper left side. The sleeves are full length and taper toward the wrist. There are two (2) exterior set-in pockets on the proper left and proper right fronts, both lined with a gray flannel fabric. On the back of the coat, there is a large center vent, and a decorative belt at the waist made from the same cream fur as the coat body. The belt is sewn into the proper left and proper right side panel seams.
- On the interior, the coat is fully lined with a synthetic satin weave fabric. The lining fabric has a silvery gray ground with a woven design of dark brown squares. There is one (1) interior set-in pocket at the upper right edge of the proper right front side, located at the seam where the lining meets the fur. It is lined with the same fabric as the coat.
- Topic
- African American
- Clothing and dress
- Fashion
- Film
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.15
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Data Source
- National Museum of African American History and Culture
-
Dress designed by Ann Lowe
- Designed by
- Lowe, Ann, American, 1898 - 1981
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- silk satin, silk faille, lace, tulle, cotton, plastic trimming, elastic, and metal fasteners
- Dimensions
- H x W (flat): 59 1/4 × 36 in. (150.5 × 91.4 cm)
- Type
- dresses
- Place made
- New York City, New York, United States, North and Central America
- Date
- mid 20th century
- Description
- Ivory lace and satin evening dress designed by Ann Lowe. The dress is sleeveless with a scalloped front neck and plunging V back neckline. The skirt is floor length with a slightly ruffling hem. The dress consists of an under dress made of ivory silk faille with a thin covering of white tulle, including a thicker ruffled tulle section at the bottom of the skirt. It is hidden from the exterior by an over dress made of ivory floral net lace with ivory satin accents. It mirrors the shaping of the under dress, but is slightly longer. The lace is embellished with trim made from thin short strips of iridescent white plastic attached at the middle to white thread, with the thread sewn onto the lace outlining the floral design of the lace. The lace extends beyond the under dress around the neckline and onto the shoulder straps and upper back where it is only backed with white tulle, with the edge cut in a scallop outlining the neck and arm openings. An ivory satin ribbon is wrapped around the waistline. A band of ivory silk satin is sewn on the skirt in a diagonal that begins at the hip of the proper left side and then extends downward across the skirt near the hem of the proper right side, bisecting the lace portions of the skirt. The satin band is continuous around the front and back of the skirt. Pieces of the trim-embellished floral lace are cut so that floral elements extend onto the sides of the satin band. Two wide satin streamers are pleated and sewn at the proper left back, one at the top of the satin band and the other at the waist underneath the ribbon waistband. The top streamer reaches nearly to the hemline of the skirt, the bottom streamer extends slightly beyond the skirt hem. The dress closes at the center back with a zipper and one (1) hook-and-eye. The waist band closes separately at the center back on top of the zipper with one (1) metal snap.
- The interior bodice is lined in the ivory silk faille used for the under dress. Boning is sewn around the bodice between the faille layers. A thin band of elastic is tacked across the bodice outlining the breast cups. A wider band of elastic is tacked at the center front under the bust line that fastens at the center back with two (2) metal hook-and-eyes. An interior waistband made of ivory ribbon is sewn around the interior empire waist that closes at the center back with two (2) metal hook-and-eyes. The interior of the under dress is lined in white cotton. The interior of the over dress is lined in the white tulle used to cover the under dress. The edge of the skirt hem on the over dress is trimmed in plastic buckram. Hanger loops made from the faille are sewn at each interior front side. A white fabric label with black embroidered text is sewn at the center front of the interior waistband that reads "ANN LOWE / A. F. Chantilly, Inc. / NEW YORK" with a woman in a ball gown at the right.
- Topic
- African American
- Clothing and dress
- Fashion
- Fashion design
- United States--Social life and customs
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.28
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Fashion
- Data Source
- National Museum of African American History and Culture
-
Miniature dress inspired by First Ladies Collection made by Ann Lowe
- Created by
- Lowe, Ann, American, 1898 - 1981
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- silk satin, synthetic fiber, passementerie, and metal zipper
- Dimensions
- H x W (flat): 44 1/2 × 12 in. (113 × 30.5 cm)
- Type
- dresses
- Date
- late 1960s - early 1970s
- Description
- A miniature brown dress inspired by the First Ladies Collection created by Ann Lowe. The dress has a fitted bodice to the natural waist with a sweetheart neckline and full-length tapered sleeves. The skirt is full and floor-length with a train at the back. The bodice is made from light brown silk satin while the skirt is made from the same shade of light brown satin with an all-over monotone brocaded pattern of medium-scale flowers with stems and leaves. Passementerie made of embroidered bronze toned flowers are appliquéd onto the dress around the front sides of the neck, at each front side bodice, at each outer forearm sleeve, and sporadically around the front and back of the skirt. The dress closes at the center back with a metal zipper.
- The interior of the bodice is lined in light weight cream fabric. The skirt is lined in a medium weight ivory colored fabric. There are no labels.
- Topic
- African American
- Clothing and dress
- Fashion
- Fashion design
- United States--Social life and customs
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.30
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Historical
- Data Source
- National Museum of African American History and Culture
-
Miniature dress inspired by First Lady Hayes made by Ann Lowe
- Created by
- Lowe, Ann, American, 1898 - 1981
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- silk satin, faille, lace, sequins, beads, fringe, and metal fasteners
- Dimensions
- H x W (flat): 53 × 21 1/2 in. (134.6 × 54.6 cm)
- Type
- dresses
- Date
- late 1960s - early 1970s
- Description
- A miniature ivory dress inspired by First Lady Hayes made by Ann Lowe. The dress is made of ivory silk satin with heavy embellishments of lace, beading, sequins, and fringe. The bodice is fitted to the natural waist with a round neckline and full-length tapered sleeves. The front bodice and neckline are embellished with ivory and metallic floral lace that is further hand decorated with faux pearl beads and metallic sequins. Panels of the lace trim the neck and outline a stomacher-type center front bodice, reaching a point at the center front waist. A single panel of lace is also sewn on the outer side of each sleeve, with the cuffs trimmed in lace. A pre-tied ivory satin bow without tails is tacked at the outer side of each cuff. The skirt is gathered and tacked down at each front side thigh to reveal a heavily embellished petticoat. Both the skirt and the petticoat have a train at the back. The passementerie decorating the petticoat is arranged in tiers and includes the same floral ivory and metallic lace used on the bodice also decorated in beads and sequins, rosettes made from ivory satin, and gold colored fringe. The bottom hem of the petticoat has rounded deep cut outs resembling petals all the way around, with a pleated ivory ruffle sewn underneath the cut outs. The top front edges of the skirt are tacked down at the waist, then folded outward and sewn down at each front side thigh with the sequined and beaded floral lace covering the seams, each piece of the lace backed in the satin and with short strands of faux pearl fringe hanging from the tips. Flowers from a larger piece of metallic floral lace have been fussy cut and then sewn in a random scattered pattern onto the skirt around the sides and back. The back of the skirt has deep pleats at the center back waist to accommodate a bustle. The hemline of the back train is slightly shorter than the hemline of the petticoat train, revealing the petal shaped cut outs and pleated ruffle hem details. The dress closes at the center back with a zipper and one (1) metal hook-and-eye.
- The interior bodice is made from ivory faille and includes shoulder straps made from the faille. Some of this lining shows through underneath the lace covering the stomacher section of the bodice on the facing side. There is an underskirt made from the ivory faille seamed to the bodice lining. The petticoat is fully lined in the ivory faille. The skirt is lined in the ivory silk satin. There are no labels.
- Topic
- African American
- Clothing and dress
- Fashion
- Fashion design
- United States--Social life and customs
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.31
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Historical
- Data Source
- National Museum of African American History and Culture
-
Miniature dress inspired by First Lady Garfield made by Ann Lowe
- Created by
- Lowe, Ann, American, 1898 - 1981
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- silk satin, lace, silk faille, synthetic fiber, and metal fasteners
- Dimensions
- H x W (flat): 55 × 37 1/2 in. (139.7 × 95.3 cm)
- Type
- dresses
- Date
- late 1960s - early 1970s
- Description
- Miniature taupe satin dress inspired by First Lady Garfield made by Ann Lowe. The dress has a fitted bodice with a standard collar and a faux-button front that has a keyhole above the center bust. The dress is made from taupe silk satin with cream floral lace detailing. The bodice has pre-tied taupe satin bows sewn at the center front neck, below the center of the keyhole, at the center front waist, and at each outer cuff. The keyhole is filled in with the cream floral lace and metallic floral lace is used to embellish the standard collar. Cream lace also trims the sleeve cuffs, which end with deep cut-out detailing at the hemline of the satin similar to petals. Seven (7) self-fabric covered buttons are sewn down the center front of the bodice for decoration. The skirt is full-length with a back train and a peplum. It is also made from the taupe satin. Three (3) ruffled flounces of the cream floral lace are sewn down the center front of the skirt with two (2) additional flounces trimming the front side edges of the peplum. A strip of the satin with a pre-tied bow in the middle is sewn along the top edge of each skirt flounce. A self-fabric strip pleated into ruffles is sewn along the bottom of the skirt across the back where it trains on the floor. At each front side of the bottom skirt there are two (2) deep cut-outs similar to petals like on the bottom of the sleeves. Behind them and continuing across the back is a pleated ruffle of the satin that is sewn on the underside of the skirt. The dress closes at the center back with a zipper and one (1) hook-and-eye.
- The interior bodice is lined in pink silk faille with interior shoulder straps also made from the pink faille. There is an attached interior under skirt made from the pink faille that extends nearly to the hemline of the center front portion of the skirt. The skirt and the peplum are lined in cream synthetic fabric that is light weight but slightly stiff. There are no labels.
- Topic
- African American
- Clothing and dress
- Fashion
- Fashion design
- United States--Social life and customs
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.32
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Historical
- Data Source
- National Museum of African American History and Culture
-
Costume dress for Lady in Red from for colored girls... on Broadway
- Designed by
- Dearing, Judy, American, 1940 - 1995
- Worn by
- Beverley, Trezana, American, born 1945
- Subject of
- Dr. Shange, Ntozake, American, born 1948
- Black Fashion Museum, American, 1979 - 2007
- Medium
- synthetic satin and crepe with metal closures
- Dimensions
- H x W x D (on form): 61 × 26 1/4 × 17 in. (154.9 × 66.7 × 43.2 cm)
- Type
- dresses
- Place used
- New York City, Manhattan County, New York, United States, North and Central America
- Date
- 1976-1978
- Description
- Sleeveless dress costume for the character Lady in Red from the original Broadway production of Ntozake Shange's choreopoem "for colored girls who have considered suicide / when the rainbow is enuf." The dress is made from red satin synthetic fabric with the crepe finished wrong side facing. The bodice has a sweetheart neckline, scooped back, and front shaping with princess darts, ending at the natural waistline. The neckline and armholes are edged with the red satin, with the shiny satin side facing. There is a length of self-fabric piping around the waist, again with the shiny satin side facing. The full circle skirt falls at the knee and is hemmed with serged stitching in black thread. The dress closes at the center back with a metal zipper, with two (2) small metal hook-and-eye fasteners, one at the top of the back and the second at the waist. There is a length of black grosgrain ribbon sewn to the interior proper right waist with a large metal eye on the end, which closes with a large metal hook sewn to the interior proper left waist just inside the zipper. The bodice is lined with red synthetic satin, while the skirt is not lined.
- Topic
- African American
- Broadway Theatre
- Clothing and dress
- Costume
- Poetry
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.35
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Exhibition
- Taking the Stage
- On View
- NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054
- Data Source
- National Museum of African American History and Culture
-
Costume dress for Lady in Purple from for colored girls... on Broadway
- Designed by
- Dearing, Judy, American, 1940 - 1995
- Worn by
- Collins, Risë
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Dr. Shange, Ntozake, American, born 1948
- Medium
- synthetic satin and crepe with metal closures
- Dimensions
- H x W x D (On form): 40 3/4 × 17 × 14 1/2 in. (103.5 × 43.2 × 36.8 cm)
- Type
- dresses
- Place used
- New York City, Manhattan County, New York, United States, North and Central America
- Date
- 1976-1978
- Description
- Sleeveless dress costume for the character Lady in Purple from the original Broadway production of Ntozake Shange's choreopoem "for colored girls who have considered suicide / when the rainbow is enuf." The dress is made from purple satin synthetic fabric with the crepe finished wrong side facing. The bodice has a sweetheart neckline, scooped back, and front shaping with princess darts, ending at the natural waistline. The neckline and armholes are edged with the purple satin, with the shiny satin side facing. There is a length of self-fabric piping around the waist, again with the shiny satin side facing. The full circle skirt falls at the knee and is hemmed with a chain stitch in purple thread that is covered with serged stitching in pink thread. The dress closes at the center back with a metal zipper, with two (2) small metal hook-and-eye fasteners, one at the top of the back and the second at the waist. There is a length of cream grosgrain ribbon sewn to the interior proper right and left back waist with a single metal hook-and-eye closure on the ends of the ribbon. The bodice is lined with purple synthetic satin, while the skirt is not lined. There are two (2) male metal snaps, one at each front armhole interior, sewn over the seam of the bust dart; there is no evidence of the corresponding female sides of these snaps.
- Topic
- African American
- Broadway Theatre
- Clothing and dress
- Costume
- Poetry
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.36
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Exhibition
- Taking the Stage
- On View
- NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054
- Data Source
- National Museum of African American History and Culture
-
Costume dress for Lady in Orange from for colored girls... on Broadway
- Designed by
- Dearing, Judy, American, 1940 - 1995
- Worn by
- Dr. Shange, Ntozake, American, born 1948
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- synthetic satin and crepe with metal closures
- Dimensions
- H x W x D (on form): 43 1/2 × 15 × 15 in. (110.5 × 38.1 × 38.1 cm)
- Type
- dresses
- Place used
- New York City, Manhattan County, New York, United States, North and Central America
- Date
- 1976-1978
- Description
- Sleeveless dress costume for the character Lady in Orange from the original Broadway production of Ntozake Shange's choreopoem "for colored girls who have considered suicide / when the rainbow is enuf." The dress is made from orange satin synthetic fabric with the crepe finished wrong side facing. The bodice has a sweetheart neckline, scooped back, and front shaping with princess darts, ending at the natural waistline. The neckline and armholes are edged with the orange fabric, with the shiny satin side facing. There is a length of self-fabric piping around the waist, again with the shiny satin side facing. The full circle skirt falls at the knee and is hemmed with serged stitching in orange thread. The dress closes at the center back with a metal zipper, with two (2) metal hook-and-eye fasteners, one at the top of the back and the second at the waist. There is a length of cream grosgrain ribbon sewn to the interior proper left waist with a large metal eye on the end, which closes with a large metal hook sewn to the interior proper right waist just inside the zipper. The bodice is lined with orange synthetic satin, while the skirt is not lined. There are six (6) male metal snaps, three at each armhole interior; there is no evidence of the corresponding female sides of these snaps.
- Topic
- African American
- Broadway Theatre
- Clothing and dress
- Costume
- Poetry
- Women
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.37
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Exhibition
- Taking the Stage
- On View
- NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054
- Data Source
- National Museum of African American History and Culture
-
Dress worn by Diahann Carroll on the television show Julia
- Designed by
- Travilla, William, American, 1920 - 1990
- Worn by
- Carroll, Diahann, American, born 1935
- Subject of
- Black Fashion Museum, American, 1979 - 2007
- Medium
- taffeta, chiffon, rayon thread, lace, and metal closures
- Dimensions
- H x W x D (Dress on form): 61 × 26 1/4 × 17 in. (154.9 × 66.7 × 43.2 cm)
- Type
- dresses
- Place used
- United States, North and Central America
- Date
- 1968-1971
- Description
- Dress worn by Diahann Carroll as the character Julia Baker on the television show "Julia." The pink and cream dress is a full-length, long-sleeved gown with a high neck. A sleeveless bodice and full skirt made from pink taffeta is overlaid with a double layer of pale cream chiffon, with the chiffon covering the entire skirt and forming the upper bodice and sleeves. Large floral sprays are machine embroidered in cream thread on the chiffon. The hem of the skirt, the cuffs of the sleeves, and the neck are edged with cream lace in an openwork design. The dress closes with a zipper at the center back. The cuffs and the neck fasten with metal hook-and-eye closures, two (2) at each cuff and three (3) at the center back neck. There is a pale pink satin belt with a self fabric-covered decorative buckle at the high waistline that closes with three (3) metal snaps and three (3) metal hook-and-eyes.
- The pink lower bodice and skirt of the dress are self-lined, with an additional paler pink petticoat attached under the lining of the skirt. The upper bodice is lined with a brown net, giving a darker hue to this section of the gown under the chiffon overlay. The sleeves are not lined.
- Topic
- African American
- Clothing and dress
- Costume
- Sitcoms
- Credit Line
- Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
- Object number
- 2007.3.38
- Restrictions & Rights
- No Known Copyright Restrictions
- See more items in
- National Museum of African American History and Culture Collection
- Collection title
- Black Fashion Museum Collection
- Classification
- Clothing-Costume
- Data Source
- National Museum of African American History and Culture