Fashion has always been more than looking good — it mirrors the changes in our society. The New York Historical Society’s exhibit, “Real Clothes, Real Lives,” shows the evolution of women’s lives through their wardrobes.
Composed of exclusive pieces from the Smith College Historic Clothing Collection, this display is sectioned into five eras: Home, Service, Public Dress, Rites of Passage and Pushing the Boundaries. Each outfit tells the story behind everyday fashion and the lives, struggles and accomplishments of the women who wore them.
Smith College professor, Kiki Smith, curated the collection, beginning with garments from the late 19th century at the entrance point of the exhibit. Coined with the motto, “All Work, No Play,” this era displayed the traditional practical cotton dresses designed to disguise stains, endure daily chores and adjust for pregnancies. These dainty, well-worn garments, like the ‘morning wrapper’ button-up dress, were designed for indoor use, exuding the historical notion of the 1890s that women belonged at home.
As you progress through the exhibit, the garments gradually shift from the private sphere of the home to the public realm of work and service. There were different service outfits displayed, including waitress and nurse uniforms. Made of polyester with deep pockets and long hemlines, these 20th century uniforms represented the transition of women into the workforce as they began primarily domestic, “feminine” professions.
This exhibit also demonstrates the presence of societal rules for women. The Public Dress collection incorporated how women of the 19th and 20th centuries dressed according to class, age and race. Wealthier families could afford multiple types of outfits, whereas poorer classes repaired the same garments for continual wear. This collection included plantation produced cotton dresses, fabric differences due to World War II and a “rust pant suit” designed by Wrangler and worn by women as they entered the workforce alongside men.
The “Rites of Passage” collection varied in time and instead centered on how fashion supported significant life events for women. This featured grief attire for women in the 19th century, wedding wear from the 1970s and a modern quinceañera dress. This collection shows how dress codes evolved as women strayed from standard norms to embrace their identities.
The last section, “Pushing Boundaries”, showcases “rebelwear” representing opposition, protest and resistance by women. From 19th century women entering stereotypical male roles to 70s fashion coinciding with key events like the Civil Rights movement, protests of the Vietnam War and environmentalism, women have rebelled through clothing. This activism continues through contemporary times with political t-shirts, showing the extent to which fashion has remained a source of identity and expression to inspire change.
Throughout this exhibit, each piece of clothing not only recounted the evolving roles and aspirations of women but also revealed how fashion has actively helped shape these social changes. The 1920s grey two-piece wool suit in the Pushing Boundaries collection defied the gender norms of the 20th century and initiated a cultural shift in workplace dynamics for women. Similarly, the Go-Go dancer beaded costume from 1972 contributed to women’s rights and body positivity movements, as modeled by former Playboy Bunny, Gloria Steinem. This personal story from Pamela Bostelmann and many other original costume owners provided a unique sense of sincerity and actuality to the exhibit.
Many of the displayed garments balance practicality with style, catering to the diverse roles women were expected to fill. Simple, home-worn cotton dresses were designed with loose sleeves to scrunch up during housework and were made of easily washable material due to the labor it took to heat water, rinse clothes and wring them to dry. The first mannequin wore a black and white work dress with additional panels in the side and hem to expand for growth in size and height. This emphasis on functionality was also seen in the “Tan Riding Skirt” which was designed with the front fabric buttoned to one side, creating ease and modesty for participating in leisure activities.
One of the most powerful features of the exhibit was the intimate connection between the garments and identity. Information sheets accompanied each outfit, providing details about the garment, its purpose and its historical significance. At the bottom of each sheet, there were photos of women in history wearing these outfits or specific stories included in the description. Authentic examples of women wearing the clothing on display helped vividly depict how these garments reflected their identities. The photos of women included in the “Rites of Passage” collection were especially influential. Special life moments like weddings and celebrations showcase not only the elegance of these garments but also the emotional and cultural significance they held for the women who wore them.
“Real Clothes, Real Lives” is on exhibit until June 17 in the women’s history department of the New York Historical Society. This display offers more than a simple overview of changing fashion styles and invites us to explore how fashion, as both a reflection and a motive for social change, has helped shape the way women are seen and how they see themselves. Clothing carries defining moments of personal and cultural growth. As women continue to defy social norms and find their identity, this exhibit is a reminder that fashion is not only who they are, but also who they have been and how they shape the world around them.
