Pockets and purses provide immediate access to personal possessions, satisfying the need to carry money and other useful objects. They can also display luxury or emphasize fashionable gestures. Pockets to Purses: Fashion + Function is organized by graduate students in FIT’s Fashion and Textile Studies program. The exhibition will explore the history of pockets and purses as fashionable and functional objects that have evolved to accommodate the demands of modern life.
Arranged chronologically, a selection of objects from the collection of The Museum at FIT will analyze the interplay between pockets and purses in both men’s and women’s wardrobes from the eighteenth century to the present. Themes of public versus private, fashion versus function, and masculine versus feminine will be explored through garments, accessories, fashion plates, and video footage. Highlights include an early nineteenth century reticule fashioned from a man’s waistcoat pocket, a 1930’s Cartier clutch, a Bonnie Cashin raincoat, and an Hermés Kelly Bag.
The embroidery on this 18th-century man’s jacket accentuates the shape of the pocket. During this period, pockets were an essential, integrated part of men’s clothing. Men’s clothes were tailored close to the body. Overstuffed pockets would disrupt the fashionable silhouette.
Velvet with silk embroidery, circa 1785, France, P83.19.10, museum purchase.
Velvet with silk embroidery, circa 1785, France, P83.19.10, museum purchase.
Galerie des Modes et Costumes Français, circa 1778-1787. Image courtesy of Fashion Institute of Technology | SUNY, FIT Library Special Collections and College Archives.
In this fashion plate, a ruffle at the hip highlights the location of the slit that gave the woman access to her pocket. Unlike in menswear, women’s pockets were separate pouches tied around the waist and hidden under voluminous skirts. 18th-century novels and newspapers noted that women could conceal such diverse possessions as scissors, jewelry, oranges, or bottles of gin in their pockets.
Photograph © MFIT.
Narrower silhouettes were dominant by the early 19th century. The new fashions could no longer conceal a pocket under the skirt. Instead, women began to carry small handbags on the wrist, known as reticules. The reticule seen here was fashioned from an 18th-century man’s waistcoat, as evidenced by the pocket and elaborate embroidery. Its origin and redesign blend fashionable methods for carrying belongings.
Embroidered silk, circa 1800, France, 93.132.2, gift of Thomas Oechsler.
Evening bags were another method of displaying luxury, as seen in the looped closure of jade and rock crystal in this circa 1930 Cartier clutch. During the early 20th century, the firm’s expertise in ornament and luxury extended to women’s handbags in addition to jewelry.
Wool needlepoint, suede, jade, and rock crystal, circa 1930, France, 75.109.48, gift of Mrs. William Randolph Hearst, Jr.
A circa 1925 needlepoint bag contains a matching cigarette case, cosmetic compact, and coin purse. Smoking cigarettes and applying makeup in public were previously considered improper for women. As both became more acceptable, women’s handbags began to accommodate such contents during the 20th century.
Wool and metal, 1920-1930, France, 81.60.23, gift of Charles Enders.
Wool and metal, 1920-1930, France, 81.60.23, gift of Charles Enders.
Wool and metal, 1920-1930, France, 81.60.23, gift of Charles Enders.
Wool and metal, 1920-1930, France, 81.60.23, gift of Charles Enders.
The front of this bag styled like an alarm clock features brass hands of a clock, an alarm top that is a powder case, and a wind up key that is a lipstick. Amusing bags like this were often termed “novelty” or “variety” bags.
Wool and metal, 1920-1930, France, P85.13.7, gift of Charles Enders.
In 1954, The Chicago Defender wrote: “Tree logs, hearts, lanterns, toys, and even hats will serve as handbags in Paris this summer.” This tiny bulldog is an example of this surreal and playful design aesthetic.
Leather, circa 1945, USA, P92.11.19, museum purchase.
A brightly colored Louis Vuitton “Speedy” bag remains recognizable because of its shape, size, and capacity. During his tenure as artistic director of Louis Vuitton, Marc Jacobs partnered with artist Takashi Murakami and others to transform the “LV” logo. Limited edition artist collaborations enabled the company to retain its design roots while updating its styles. Quality materials, luxury craftsmanship, and emphasis on practicality make “it” bags enduring status symbols.
Multicolor monogram canvas, leather and metal, 2003, France, 2010.56.2, museum purchase.
Multicolor monogram canvas, leather and metal, 2003, France, 2010.56.2, Museum purchase.
The Hermès “Kelly” bag remains relatively unchanged from its original 1930s design. Quality leather, luxury craftsmanship, and Hermès’s emphasis on practicality make it an enduring status symbol. In 1956, it became one of the first bags named after a celebrity – in this case, former movie star and then princess, Her Serene Highness Grace Kelly of Monaco.
Leather and brass, 2000, France, 2002.96.18, gift of Laura Solomon in memory of Sally Solomon.
Chanel’s 2.55 bag, with its black quilted exterior and sliding chain strap, was designed to transition from day to evening with practical versatility. It was often advertised as a hands-free handbag for convenience, with many interior pockets for organizing lipstick and other small items.
Leather, circa 1965, France, 78.57.67, gift of Ethel Scull.
The Chanel 2.55 bag was often advertised as a hands-free handbag for convenience, with many interior pockets for organizing lipstick and other small items.
Leather, circa 1965, France, 78.57.67, gift of Ethel Scull.
Mary Ping took elements of recognizable luxury brands and applied them to a nondescript canvas tote to create a hybrid between status bag and functional tool. On her “Ultimate bag,” she combined Chanel’s chain and quilting with Gucci’s bamboo handle and red and green stripe.
Unbleached cotton and bamboo, USA, 2002, 2005.63.3, gift of Mary Ping.
The embroidered watch pocket at the hip of a circa 1878 bodice of this ensemble draws attention to its design and purpose. During this period, watches indicated status and helped women maintain their homes through regular timekeeping.
Silk taffeta, circa 1878, France, 70.65.6, gift of Bernice Margulies.
Silk taffeta, circa 1878, France, 70.65.6, gift of Bernice Margulies.
Moons, birds, and floral motifs can be seen in the variety of watches and pins available in this advertisement. Gold and silver elements on the chains and the pocket watch could embellish an ensemble like a piece of jewelry. The Ladies’ Home Journal in 1892 noted: “The fancy which has arisen for wearing the watch on the outside of the bodice has created a demand for fancy watches.”
“Our Special Ladies’ Gold Filled Watches,” Sears, Roebuck & Co. Catalog, 1902, page 52.
The small pocket on the right of this man’s overcoat was specially designed to hold tickets for the train, theater, or other activities. During the 19th century, men requested ticket pockets in their garments from their tailors. A label sewn into an interior pocket of this coat indicates it was made by Savile Row tailors, Meyer & Mortimer, for the Prince of Wales, later King Edward VII.
Photograph © MFIT.
This Meyer & Mortimer 36 Conduit St label reads “H.R.H, 1900, The Prince of Wales.”
Wool, circa 1900, England, 76.196.39, gift of Fernanda Munn Kellogg.
Bonnie Cashin designed the leather pocket on this coat to look like a shoulder bag. The leather, canvas, and twist locks are signatures of Cashin’s work, and the sketch illuminates construction details with a note: “Look ma, no hands! Let your coat carry your bag.” The trompe l’oeil design is Cashin’s fusion of fashion and function.
Bonnie Cashin, raincoat, green cotton canvas and leather, circa 1965, USA, 99.56.1, museum purchase.
Bonnie Cashin, raincoat, green cotton canvas and leather, circa 1965, USA, 99.56.1, museum purchase.
Bonnie Cashin Sketch, July 1969, image courtesy of Fashion Institute of Technology | SUNY, FIT Library Special Collections and College Archives.
The large pockets at the hips of this dress protrude even when empty. Edward Molyneux added them as design features to accentuate the fashionable postwar silhouette. The dimensional pockets are tacked to the dress and function to emphasize a small waist rather than to carry the contents of a woman’s handbag.
Houndstooth wool, circa 1948, France, 78.134.27, gift of Mrs. Ephraim London, Mrs. Rowland Mindlin & Mrs. Walter Eytan In Memory of Mrs. M. Lincoln Schuster.
Houndstooth wool, circa 1948, France,The Museum at FIT, 78.134.27, gift of Mrs. Ephraim London, Mrs. Rowland Mindlin & Mrs. Walter Eytan In Memory of Mrs. M. Lincoln Schuster.
The two Bonnie Cashin for Coach purses seen here have coin purse pockets on the exteriors of the bags rather than inside. Cashin was known for playing with proportions, materials, and practicality. Her unusual and recognizable designs defined Coach handbags for many years.
Photograph © MFIT.
“Men have pockets to keep things in, women for decoration”- Christian Dior
This Dior quote juxtaposed with Elsa Schiaparelli’s “Cash and Carry” suit design and Edward Molyneux’s post war era dress show differing opinions on practical and decorative pockets. Schiaparelli designed her “Cash and Carry” suits in 1939 just prior to the outbreak of World War II. During the war, women used large pockets to carry essentials such as travel papers, ration books, and groceries.
Photograph © MFIT.
This hat by Rod Keenan has a pocket on the crown that contained a foil-wrapped condom when it arrived at the museum. The subversion of this traditional item of men’s fashion is underscored by the hot pink satin lining. The unusual placement of the zipper and contrasting materials are surprising choices for a bowler hat.
Wool, grosgrain, and synthetic satin, fall 2006, USA, 2009.14.2, museum purchase.
Wool, grosgrain, and synthetic satin, fall 2006, USA, The Museum at FIT, 2009.14.2, museum purchase.
Jean-Paul Gaultier added pockets to the outside of this man’s suit jacket, transforming them into decorative elements rather than hiding them inside. Abundant storage space in businessmen’s suits enabled them to forgo the use of a handbag, but pockets could easily become overstuffed and possessions misplaced.
Wool, spring 1990, France, 90.109.2, gift of Richard Martin.
Yohji Yamamoto added large cargo pockets to the sides of the trench-coat-style jacket on view here. The Japanese designer combined the extended sleeve of traditional women’s kimonos with Western military and menswear details. Yamamoto’s amalgamation of design elements created a new style.
Photograph © MFIT.
Opulent materials embellish this Bill Blass evening dress to show status and style.The metallic gold embroidery on the pocket and cuffs mimic the design and placement on 18th-century suits, demonstrating how fashion borrows from the past to create new style.
Cashmere and satin, fall 1986, USA, 2001.41.3, gift of Mrs. Savanna Clark.
Cashmere and satin, fall 1986, USA, 2001.41.3, gift of Mrs. Savanna Clark.
Designer Judith Leiber creates minaudieres – Swarovski crystal encrusted bags. Carried by celebrities on the red carpet and by U.S. first ladies to the Inaugural Ball, these novelty bags use audaciously luxurious materials to create highly visible decorative sculptures. Leiber partially credits her survival during the Holocaust to her daydreams of whimsical purses.
Pavé rhinestones with gold metal, 1994, USA, 97.62.1, gift of Judith Leiber, Inc.
Pavé rhinestones, 1980, USA, 88.95.1, gift of Mr. Gerson Leiber.
A Versace Versus man’s jacket includes gold studs and leather details on the pointed breast flap and hip pockets. Similarly, the metallic gold embroidery on the pocket and cuffs of this Bill Blass dress mimics the design and placement on 18th-century suits. The design of both the pockets and their embellishments demonstrate how fashion borrows from the past to create new style.
Photograph © MFIT.