To promote the creation of the Great Lady perfume, Baroness von Langendorff, known as "Miss" Evyan and the president of Evyan Perfumes, embarked on a captivating marketing strategy that combined elegance with history. She commissioned replicas of formal gowns worn by 29 first ladies, spanning from Martha Washington to Rosalynn Carter, to create a collection titled "200 Years of Great Lady Fashions." This collection, covering the years 1789 to 1977, showcased the evolution of American fashion as influenced by these iconic women.
The press release eloquently captured the essence of the campaign, stating, "These are the women who directly or more quietly have exerted their influence and left the imprints of their personalities on 200 years of American history and on the customs, manners, and mores we know as our American heritage." This statement emphasized not only the historical significance of the first ladies but also the timeless elegance and grace they embodied—qualities that the Great Lady perfume sought to capture and convey to its audience. Through this unique blend of fashion history and fragrance, Miss Evyan masterfully linked the legacy of America's great ladies with the luxurious allure of her perfume.
George McManus, the promotion director for Evyan, revealed that Miss Evyan had a deep-rooted passion for America's fashion heritage, which inspired her to embark on a remarkable project. Drawing from her own extensive collection of fabrics, lace, and ornamentation, Miss Evyan worked in close collaboration with the Smithsonian Institution to create an authentic display of historical gowns. The original gowns, preserved at the Smithsonian, served as the foundation for her ambitious project.
Miss Evyan, who had developed a strong admiration for American history, was particularly captivated by the First Ladies' exhibit at the Smithsonian. In 1952, with the institution's permission, she took it upon herself to design four-foot doll figures, personally overseeing their hairdressing and designing each gown's duplication with meticulous attention to detail. Her own seamstresses were entrusted with sewing the first set of these miniature replicas.
McManus highlighted that this project was the result of a year's worth of intensive research into the First Ladies' gowns. The team sought out the appropriate materials, laces, and elegant trims to ensure the replicas were as accurate as possible. In addition to the physical details, they also delved into the "inside" stories of the former presidential wives, adding a layer of historical richness and authenticity to the collection. This dedication to historical accuracy and craftsmanship reflected Miss Evyan's commitment to celebrating American heritage through the lens of fashion.
The collection of 29 meticulously crafted miniature dolls embodies an extraordinary level of refinement, each standing at an impressive 48 inches tall. These mannequins serve as a testament to the evolution of American fashion over two centuries. Faithfully replicating the originals displayed in the First Lady Hall at the Smithsonian Institution in Washington, these miniatures capture the essence of historical elegance with remarkable precision. While most of the dolls are dressed in replicas of inaugural ball gowns, a few showcase dinner and reception dresses, offering a comprehensive view of the diverse styles that have graced America's First Ladies. This collection is not just a display of fashion but a celebration of the intricate craftsmanship and rich heritage that define each era.
According to a press release, these meticulously crafted replicas were created using historical fabrics and trimmings sourced from around the world, including exquisite period lace trims from Evyan's own renowned collection, valued at half a million dollars. Every detail was faithfully reproduced, stitch-for-stitch, from the luxurious fabrics and intricate laces to the elaborate embroideries, beading, and fringes. The ribbons and hairstyles of these miniatures were also crafted to mirror the style and craftsmanship of the original garments, creating a vivid and accurate representation of America's sartorial heritage. Each gown is an exact replica of its historical counterpart, capturing the elegance and grandeur of the original attire, and offering a glimpse into the rich legacy of fashion that has graced America's First Ladies.
The dolls embarked on a nationwide tour as a public service, gracing the nation’s leading department stores and institutions for two-week intervals, according to the press release. These four-foot-tall dolls traveled in cylindrical containers, carefully packed inside boxes, with their wigs and arms detached for safe transport. Accompanying the display, communities received written materials that highlighted the historical significance of each First Lady. Each doll was accompanied by a placard that offered intriguing details about the woman it represented, providing insights into their personalities, major interests, and the legacies they left behind during their time in the White House. Together, these displays enriched the public’s knowledge of these influential women and their roles in shaping American history.
Life-Sized Replicas:
In addition to the miniatures, the "Great Lady Fashions" show also featured a collection of life-size replicas of inaugural ball gowns worn by the most recent First Ladies, including Mamie Eisenhower, Jacqueline Kennedy, Lady Bird Johnson, Pat Nixon, and Rosalynn Carter. Evyan commissioned Madame Barbara Karinska, the esteemed costume designer for the Metropolitan Opera Company and a former collaborator with Cecil B. DeMille, to create these exquisite reproductions.
Under the meticulous supervision of the curator of the Smithsonian Institution, who granted permission to copy the original dresses, Madame Karinska embarked on this ambitious project. She began by sketching each dress and then crafting muslin prototypes, which were carefully fitted to the women who would wear them. The final gowns were made using materials that closely matched the originals, ensuring an authentic recreation of these iconic pieces. The costs of reproducing these lavish gowns were generously underwritten by Miss Evyan of Evyan Perfumes. By 1960, Karinska had successfully produced twelve costumes for the exhibit, each one a testament to her artistry and attention to detail.
These life-sized replicas were not just static displays; they were actively worn by models who handed out samples while promoting Evyan fragrances. The gowns graced exclusive luncheons, presentations, charity balls, conventions, and special VIP events, allowing the luxurious character of the fragrances to be showcased alongside the celebrated historical fashion of America's First Ladies. These events created a unique blend of glamour and history, captivating audiences and reinforcing the prestige of the Evyan brand.
In 1961, one of the collections of these First Ladies’ Gowns was donated to the Congressional Club Museum and Foundation in Washington, DC, where congressional wives have traditionally entertained First Ladies. This donation was made by Baron Langendorf, further cementing the connection between Evyan and American heritage. The original life-size collection, a testament to both artistry and historical reverence, was given to the Chicago Historical Society, ensuring that these remarkable replicas would continue to be appreciated by future generations.
Previously, no First Lady had permitted copies of her inaugural ball gown to be duplicated by the designer, a tradition that remained unbroken until Mrs. Lady Bird Johnson took a bold step. Motivated by a desire to share a piece of her historic moment with women across America who might not have the opportunity to visit the Smithsonian, Mrs. Johnson allowed John Moore of Texas to recreate her inaugural ball gown for Evyan, albeit in a slightly smaller scale.
This decision marked a significant departure from tradition and highlighted Mrs. Johnson’s inclusive spirit. The miniature replica, painstakingly crafted using leftover scraps of yellow silk from the original gown and the same luxurious Russian crown sable fur for the cuffs, cost $1,500 to produce. The doll, a generous gift from Evyan Perfumes, was presented to the Congressional Club's collection of First Lady fashions in 1965, adding a unique and personal touch to the prestigious collection.
Following Mrs. Johnson's lead, Mrs. Pat Nixon also permitted a reproduction of her inaugural gown. Designer Karen Stark of Harvey Berin took on the task, ensuring that the intricate details and elegance of Mrs. Nixon’s gown were faithfully captured in the miniature. These gestures from Mrs. Johnson and Mrs. Nixon not only broke long-standing traditions but also brought a new level of accessibility and connection to the public, allowing more Americans to share in the grandeur and history of their First Ladies.
Inside the Workroom:
Evyan dedicated a permanent workroom, meticulously staffed with skilled designers and seamstresses, to ensure that the historical and detailed significance of the original gowns was preserved. This sewing room, vast in scale and the size of a small auditorium, served as a hub of creativity and craftsmanship.
Within this space, unemployed mannequins awaited their next assignment, while dry cleaning equipment stood ready to maintain the pristine condition of the garments. The room was dominated by enormous cutting tables, where bolts of exquisite and often elusive fabrics were carefully measured and prepared. Lace trimmings, delicate and intricate, were handled with the utmost care. Every stitch, embroidery, and beadwork was executed by hand, a testament to Evyan's commitment to authenticity and detail. This dedication ensured that each replica gown retained the elegance and grandeur of its historical counterpart, allowing these creations to serve as both works of art and faithful representations of America's sartorial heritage.
Evyan's commitment to authenticity and excellence was evident in their choice of creative talent, including the esteemed designer Ann Lowe. In 1957, Lowe crafted six sets of inaugural gowns, each a faithful reproduction of the originals. Her work exemplified the company's dedication to preserving historical accuracy and elegance.
Mrs. Verdell Boykin, a former dressmaker for Ann Lowe, took on the responsibility of costuming the miniature First Ladies for a decade. She recounted the challenges involved, noting that replicating the original materials required extensive searches through New York's fabric supply houses. Many of these fabrics were imported from Europe or China, making them rare and difficult to find. The fine laces used in the costumes were also scarce, adding to the complexity of the task.
Ms. Lily Argilagoa, a Parisian dressmaker renowned for her meticulous craftsmanship, provided insight into the labor-intensive process. Working from measurements rather than patterns, Argilagoa described the precision required for each gown. "It takes two months to complete the beading for Mrs. McKinley," she explained. "Each bead must be sewn individually; you cannot rush the process. The quality of the work reflects the investment in both time and materials. The fabric alone can cost up to five thousand dollars. It’s incredibly expensive and demands the highest level of care and attention."
The exquisite miniature gowns were meticulously fitted to models crafted by the renowned Hirschberg-Robbins Co. of New York. This prestigious display house, known for providing mannequins to elite department stores such as Saks Fifth Avenue, ensured that each model was a perfect canvas for the historic costumes.
Besides their expertise in mannequin production, Hirschberg-Robbins was responsible for styling the wigs that accompanied each miniature. These wigs were crafted with precision to replicate the unique hairstyles of each First Lady, including the iconic bangs of Mrs. Mamie Eisenhower. The attention to detail extended to every aspect of the display, capturing the essence of the original fashion with remarkable accuracy.
Over the years, it was not uncommon for Evyan to commission the recreation of two versions of certain dresses worn by First Ladies, sometimes producing both life-sized and miniature replicas. This practice often stemmed from Evyan's generous donations to museums and historical societies. Creating these intricate garments was a meticulous process: life-sized costumes took approximately five months to complete, while miniature versions were crafted in about four months. The overall expense of this extensive collection was a significant $105,000. Notably, the meticulous reproduction of a single gown, rendered in life-size with impeccable detail, cost $9,800.
Martha Washington - First Lady from 1789-1797:
Among the most distinguished creations in the collection was Martha Dandridge Washington's salmon pink faille dress, a true testament to late 18th-century fashion. This exquisite gown featured a modest neckline, elegantly framed by a delicate inch-wide lace trim. The bodice was meticulously fitted, lacing down the back to accentuate the wearer's silhouette, while the voluminous skirt was lavishly decorated with hand-painted motifs of native North American wildflowers and insects. This thoughtful detailing not only underscored the gown's connection to American heritage but also celebrated the beauty of the natural world, making it a standout piece in the promotional campaign. Reflecting the conservative style of its era, this gown was believed to have been purchased in London, further enriching its historical significance.
Abigail Adams - First Lady from 1797-1801:
Abigail Smith Adams' daytime dress was a striking example of early 19th-century elegance, crafted from sumptuous blue Canton crepe. The skirt of the gown was adorned with a 20-inch border of intricate Chinese embroidery in a matching shade of blue, providing a luxurious contrast to the fabric's rich texture. The bodice, with its simple yet sophisticated design, featured tight-fitting diagonal tucks across the bustline, tapering to the waist and flowing into the full, graceful skirt. The sleeves were fitted at the shoulders and puffed from elbow to wrist, creating a balanced and refined silhouette. Completing the ensemble was a white lace drape that gracefully fell across her shoulders, held in place by an ornate gold and pearl brooch. This ensemble highlighted Abigail Adams' refined taste and the meticulous craftsmanship of her era.
Dolly Madison - First Lady from 1809-1817:
Dorothea "Dolley" Payne Madison’s early Empire-style sacque dinner gown exuded an air of elegance and sophistication. The gown featured a yellow satin overdress, lavishly brocaded with sprays of wheat in striking black, white, and silver, which opened gracefully down the front to reveal a complementary petticoat. The white satin underdress was richly embellished with intricate Chinese embroidery, showcasing delicate motifs of wild roses, cherry blossoms, and blue forget-me-nots, adding a touch of floral splendor to the ensemble. Dolley Madison's ensemble was completed with a matching turban, an elaborate headdress that became her signature accessory. The dress's color palette was thoughtfully chosen to harmonize with the hues of the Oval Drawing Room, where she frequently entertained guests, reflecting both her personal style and her attention to the visual harmony of her surroundings.
Elizabeth Monroe - First Lady from 1817-1825:
Elizabeth Kortright Monroe’s 1817 reception dress is a stunning example of early 19th-century elegance. Crafted from deep cream taffeta, the gown is distinguished by its brocade of large, lush bouquets of deep red roses. This striking floral embellishment reflects the opulent style characteristic of the "sacque" period, a fashion era noted for its graceful and flowing silhouettes. The rich cream fabric, paired with the vivid red roses, creates a striking visual contrast that captures both the sophistication and the vibrant style of the time. The dress stands as a testament to Monroe's refined taste and the period’s penchant for luxurious and intricate design.
Louisa Adams - First Lady from 1825-1829:
Louisa Catherine Adams’s reception gown epitomizes the refined elegance of the early 1820s. The dress features a delicate white net overlaying sumptuous white satin, creating a soft and sophisticated effect. Adorned with intricate silver braid embellishments, the gown highlights the bodice and skirt with a subtle sparkle that complements the understated opulence of the fabric. This elegant design reflects the fashion of the era, characterized by its graceful simplicity and attention to detailed ornamentation. The gown not only captures the aesthetic of its time but also exemplifies Adams’s impeccable taste and the period’s affinity for refined, yet striking, attire.
Julia Tyler - First Lady from 1841-1845:
Julia Gardiner Tyler's dress, crafted from sheer white mull, is a stunning example of early 19th-century elegance. The gown is intricately embroidered with delicate pink, blue, and yellow flowers, adding a touch of floral charm to its refined design. The bodice, which is stiff-boned for a structured fit, was meticulously chosen for a notable occasion: her presentation at the court of Louis Philippe of France in 1841. This event, which occurred during a European tour prior to her marriage to President Tyler, was an important highlight in her social debut. The dress not only reflects the sophistication of the period but also signifies the intersection of American and European fashion influences.
Sarah Polk - First Lady from 1845-1849:
Sarah Childress Polk's 1845 inaugural ball gown exemplifies refined sophistication. Crafted from richly textured blue ribbed silk and satin, the gown features intricate poinsettia designs, adding a touch of festive elegance. The design is further enhanced by layers of delicate blonde lace flounces cascading down the front, meticulously trimmed with floral ribbons that evoke the opulent Pompadour style. The gown's tight bodice accentuates a narrow waist and high bosom, epitomizing the understated grace and meticulous attention to detail characteristic of the period. This ensemble perfectly captures the essence of 19th-century haute couture, reflecting both the elegance of the wearer and the grandeur of the occasion.
Abigail Fillmore - First Lady from 1850-1853:
Abigail Powers Fillmore's ball gown, rendered in elegant lavender taffeta, was a reflection of her own striking features, including her strawberry blond hair and fair complexion. The soft lavender hue of the fabric complemented her natural coloring, enhancing her graceful presence at formal events. The choice of taffeta, known for its lustrous finish and structured drape, added a touch of sophistication and refinement to the gown, perfectly suited for the dignified and stylish image of the First Lady.
Jane Pierce - First Lady from 1853-1857:
The tragic loss of her only child in a train accident just before the inauguration deeply affected Jane Appleton Pierce, leading her to don a somber black dinner gown for the occasion. This dress, made from taffeta and tulle, was crafted with a muted elegance befitting her grief. The gown's surface was adorned with subtle embroidered metallic accents that shimmered delicately, offering a restrained yet refined touch. The understated embellishments and the choice of fabric reflected a dignified style that aligned with the mournful and contemplative mood of the time.
Mary Todd Lincoln - First Lady from 1861-1865:
Mary Todd Lincoln’s preference for elegant simplicity is epitomized in a striking two-piece dinner gown featuring a form-fitting evening bodice paired with a voluminous hoop skirt. Crafted from sumptuous royal purple velvet and accented with white satin piping, the gown made a commanding statement of regal sophistication when worn to a White House state dinner. Mary Todd Lincoln's affinity for intricate details is evident in the gown's design: the collar is a shawl of black Alençon lace and white net, adorned with a cluster of pansies, creating short puffed sleeves that elegantly drape over her shoulders. The gown’s seams are detailed with white satin cord, enhancing its refined appearance.
Favoring shades of lavender and purple, Mrs. Lincoln wore this ensemble to the inauguration dinner, where she was escorted by her former suitor, Senator Stephen A. Douglas. The gown was created by Mrs. Lincoln’s personal seamstress, Elizabeth Keckley, who was known for meticulously crafting dresses tailored to Mrs. Lincoln’s specifications.
Julia Grant - First Lady from 1869-1877:
Julia Dent Grant's 1873 second inaugural gown exemplified the dramatic flair of the era’s fashion with its striking bustle, low neckline, and extended train. This iconic garment is celebrated as one of the earliest examples of bustled gowns, reflecting a refined yet bold silhouette. Crafted from a luxurious white and silver rose-patterned gold silk brocade with a subtle green hue—an exclusive gift from the Emperor of China—the gown was detailed with intricate lace trim. Beneath the overskirt, the elegant rosewood satin underskirt peeked through an opening, adding a touch of sophistication.
The gown’s replica was a challenge to reproduce, as the original fabric was unique and sourced from the Chinese emperor, making its duplication exceptionally difficult. The replica was recreated in gray embossed lamé, mirroring the original’s opulence while navigating the constraints of its rare and irreplaceable material.
Lucy Hayes - First Lady from 1877-1881:
Lucy Webb Hayes made a memorable impression at the New Year's Eve reception for the Grand Duke Alexis of Russia in 1880, wearing a striking gown of gold brocaded damask and bone-colored satin. Designed by New York dressmaker M.A. Connolley, this gown marked a departure into the elaborate fashion typical of the late 19th century. The ensemble featured a prominent bustle, an extended train, and opulent trimmings, epitomizing the era's grandeur.
The gown’s high-necked bodice and long sleeves, crafted from ivory taffeta, were adorned with intricate rose designs in gold, while the underskirt and hip puffs were fashioned from matching ivory satin. The train was embellished with beaded cut-out appliqués of duchesse lace, complemented by bandings draped with pearl fringe and lavish satin roses. Despite the gown’s elaborate details, Lucy Hayes, known for her modesty, chose conservative designs that covered her throat and arms, reflecting her preference for elegant yet modest attire even in formal settings.
Lucretia Garfield - First Lady from 1881-1885:
In 1881, Lucretia Rudolph Garfield dazzled at the inaugural ball in a sumptuous gown of pale, lustrous silvery lavender gray and off-white satin. This heavy, opulent dress was a masterpiece of late 19th-century fashion, featuring a long, elegantly draped bodice and panniers that added volume to the silhouette. The gown's full train was adorned with looped bows and rosettes, creating a lavish display of fabric and embellishment.
The dress was meticulously crafted with a tiered inset underskirt, showcasing layers of Brussels lace flounces that covered the entire skirt in delicate, intricate patterns. The high neckline and fitted elbow-length sleeves were trimmed with matching lace and fine white tulle, enhancing the gown's refined and elegant appearance. This ensemble highlighted not only the grandeur of the era but also Lucretia Garfield's impeccable taste and grace.
Frances Cleveland - First Lady from 1885-1889 and 1893-1897:
Frances Folsom Cleveland captivated at a formal dinner in a resplendent gown of heavy pale apple green silk satin brocade. The gown featured clusters of vivid pink roses that added a striking contrast to the soft green fabric. The fitted waist was accentuated by a rose-colored velvet girdle, diamond-shaped and laced up the back for a tailored silhouette.
The design was characterized by a gracefully simple full skirt and a wide off-the-shoulder neckline. A deep collar frill of Valenciennes lace adorned the neckline, with ruffled cape sleeves adding an elegant touch. Sequined butterfly brooches, twinkling with light, were strategically placed on the shoulders and at the bosom, enhancing the gown’s refined charm. Rejecting the bustle style popular at the time, Mrs. Cleveland opted for a bell-shaped skirt, reflecting her personal taste for understated elegance.
Caroline Harrison - First Lady from 1889-1893:
For her husband's inauguration, Caroline Scott Harrison wore an exquisite ball gown that showcased a harmonious blend of foam-green silk faille and apricot orange silk taffeta. The gown's bodice, crafted from foam-green silk faille, was complemented by a skirt of matching silk damask layered over apricot orange silk taffeta. Pleated inset panels added a sophisticated touch to the skirt, while gold fringe highlighted the lace edging along the neckline and sleeves.
The gown's intricate design was inspired by the Indiana burr oaks, a nod to the battleground at Tippecanoe, and featured a brocade of the burr oak pattern on the body and train of the skirt, as well as on the front panels. The silk used for the gown was woven by the Logan Silk Co., an American manufacturer, and the design was created by artist Mrs. Williamson. The gown was expertly constructed in New York City by William Ghormley's firm, Ghormley, Robes et Manteaux, ensuring a garment that was both artistically refined and emblematic of American craftsmanship.
Ida McKinley - First Lady from 1897-1901:
Ida Saxon McKinley's gown, crafted from heavy white satin peau de soie and adorned with lace, was renowned as the most extravagant dress of its time. This opulent creation was lavishly embellished with faux seed and baroque pearls, beads, and crystals. The gown featured intricate lace trimming on the cuffs and bodice, a flared and scalloped circle skirt, and a sweeping full court train, all adorned with heavy double fringe and lace.
A quintessential example of fin de siècle luxury, the dress embodied the pinnacle of fashion indulgence with its long, wrist-length sleeves and high neckline, reflecting the modesty of the era. McKinley wore this sumptuous gown to the inaugural ball, marking one of her few public appearances due to her delicate health. The weighty garment, which weighed 40 pounds, was reproduced at a cost of $9,800. This high expense was due to the need for custom fabric, as the original material had long since disappeared.
Edith Roosevelt - First Lady from 1901-1909:
In 1905, Edith Kermit Carrow Roosevelt dazzled in an exquisite American-made gown of antique pale blue silk brocaded damask. The dress featured an intricate pattern of gold plumes and birds, enhancing its regal appearance. It was designed with a full, flowing skirt and a tightly cinched waist, complemented by a Bertha of rose point heirloom lace that adorned the neckline and cascaded over the puffed net sleeves.
The gown, worn at the second inaugural ball, was a masterpiece of craftsmanship and elegance. To preserve its exclusivity, the unique pattern of the fabric was deliberately destroyed to prevent replication, ensuring that Mrs. Roosevelt's dress remained a singular, iconic creation.
Helen Taft - First Lady from 1909-1913:
Helen Herron Taft made a striking impression at the inaugural ball in her Empire-style gown, crafted from ivory silk chiffon. This elegant creation, produced by the American dressmaker Francis Smith Company and embroidered in Tokyo, showcased a revival of the Empire fashion. The gown's bodice and flowing skirt were adorned with silver lace, which was further embellished with silver threads, sequins, and crystal beads, creating a shimmering effect.
The gown featured a long, pleated train that cascaded from the high waistline, adding to its graceful and regal silhouette. Mrs. Taft made history by being the first First Lady to donate her inaugural dress to the Smithsonian’s First Ladies Collection, setting a precedent for future First Ladies and their contributions to the museum.
Ellen Wilson - First Lady from 1913-1921:
Ellen Axson Wilson's 1913 dinner gown exemplified the refined elegance of the era with its soft white brocade cut chiffon velvet, adorned in a delicate rose pattern. This distinctive gown featured a 'hobble' skirt, characterized by its peg-top design that cinched around the hips and included a dramatic side slit. The demi-train, which elegantly revealed an underskirt of white heirloom duchesse lace over satin, added a touch of intricate detail and sophistication.
The bodice of the gown was a masterpiece of craftsmanship, with a net yoke embroidered with rhinestones, steel beads, and ropes of pearls, enhancing its visual appeal. The gown’s short train was rounded, complementing the fashionable hobble skirt silhouette that defined the Wilson administration's style.
Although no formal Inaugural Ball was held during President Wilson's term, Mrs. Wilson suggested hosting inaugural dinners with legislators instead. The original gown, designed by the esteemed House of Worth in Paris, is mirrored in Mrs. Wilson's official White House photograph, capturing the elegance and grace of the period.
Florence Harding - First Lady from 1921-1923:
Florence DeWolfe Harding's dinner gown, crafted in draped cream satin, was a stunning example of early 20th-century opulence. Adorned lavishly with pearls, rhinestones, and crystals, this gown made a striking statement. Its hemline, cut to just reveal the ankles, highlighted the elegant footwear beneath, marking a notable departure from the floor-length styles typical of the era.
The gown featured a low décolleté, subtly filled with netting to ensure a refined yet captivating neckline. The skirt, with its graceful drape, was complemented by a flowing train at the back, adding to the gown's grandeur. This piece was celebrated as "the first costume in the collection that actually shows the feet and shoes," reflecting a modern touch in an otherwise traditionally luxurious design.
Grace Coolidge - First Lady from 1923-1929:
Grace Anna Goodhue Coolidge's Jazz Age dinner dress, rendered in dusty rose chiffon and velvet, epitomized both classic and modern elegance. This flapper-length gown showcased a sleek, sleeveless bodice with a graceful low V-neckline, blending simplicity with sophistication. The dropped waistline was subtly highlighted by a four-strand belt adorned with pearls, rhinestones, and gold tones, which elegantly cinched the waist and added a touch of refinement.
The gown featured a fairly full, detachable skirt with three pointed tiers, crafted from the same rose-hued fabric. This skirt flowed into a dramatic pointed train, which was gracefully attached at the shoulders, infusing the dress with an air of regal sophistication. Worn by Mrs. Coolidge to a formal White House dinner, this ensemble captured the essence of the Jazz Age, reflecting the stylish yet understated elegance of the Coolidge era.
Lou Hoover - First Lady from 1929-1933:
Lou Henry Hoover selected a refined, draped Grecian-style dinner dress in a subtle pale greenish ice blue silk satin. The gown was designed to be both classy and flattering, eschewing embellishments in favor of its elegant simplicity. Falling gracefully to ankle length, the dress featured a loose, bloused back and a low waistline that accentuated its timeless Grecian silhouette. Known for her discerning taste, Mrs. Hoover consistently chose American-made garments, reflecting her commitment to supporting domestic fashion while maintaining a sophisticated, understated style.
Eleanor Roosevelt - First Lady from 1933-1945:
For her third inaugural gown, Anna Eleanor Roosevelt selected a striking design in warm-tinted satin, transitioning gracefully from ivory to pale peach. The gown featured a full double train that cascaded elegantly from the shoulders, complemented by petal sleeves that added a sense of grandeur to the ensemble. The dress showcased a softly feminine curve with its wide sweetheart neckline, enhanced by delicate seed pearl trim that contributed to its opulent appearance and underscored Eleanor's dignified style. This pearl trim was also echoed at the waistline, while the skirt, bias-cut and full, offered a flowing silhouette. The low décolleté at the back was tastefully filled with pink net, completing the gown's refined look. Designed by Arnold Constable, Roosevelt's gown embodied both sophistication and grace, reflecting her impeccable taste and the formal occasion's grandeur.
Bess Truman - First Lady from 1945-1953:
Bess Wallace Truman's inaugural ball gown in silver lamé was a striking example of opulent design, valued at approximately $7,500, making it the second most expensive replica gown ever created. This exquisite ensemble was initially designed by Ducharne of Paris, and the original fabric, no longer available, was imported from France. To replicate the intricate feather design featured on the pewter satin gown, Evyan's team of seamstresses and designers undertook extensive and meticulous hand embroidery sessions. The reproduction of the material alone cost $3,800. Designed by Pola Kostrukoff of New York City, this gown exemplified timeless elegance and sophistication.
In addition, a second gown, also recreated for Evyan, was a simpler design in taupe-colored brocade. This version, featuring short sleeves, was re-embroidered to echo the intricate details of the original, offering a more understated yet refined alternative.
Mamie Eisenhower - First Lady from 1953-1960:
Mamie Eisenhower’s inaugural gown, a dazzling creation by Nettie Rosenstein of New York, epitomized glamour and sophistication. Crafted from sumptuous heavy pink peau de soie, the gown was adorned with over 2,000 meticulously hand-sewn rhinestones, which shimmered with every movement. The dress featured a fitted bodice and a bouffant skirt, accentuated by a self-belt that cinched the natural waistline and offset the lowered waistline. The gown’s lustrous fabric and sparkling embellishments perfectly showcased Mamie Eisenhower’s refined taste, transforming her appearance into a radiant spectacle. The distinctive shade, known as "Mamie Pink," became emblematic of the 1950s, further cementing her impact on fashion during the era.
Patricia Nixon - First Lady from 1969 to 1974:
For the 1969 inauguration, Patricia Nixon opted for a striking gown of mimosa silk satin, designed by Karen Stark for Harvey Berin of New York. The golden gown was distinguished by its opulent detailing, including a long-sleeved bolero jacket adorned with jewels. The gown’s trim featured intricate gold and silver embroidery, complemented by hand-set Swarovski crystal beads and opalescent sequins, creating a radiant effect that underscored its luxurious nature.
President Nixon specifically requested that his wife wear this elegant ensemble at the first White House reception for the Diplomatic Corps before it was donated to the Smithsonian. George McManus from Evyan noted that the miniature replica of the gown, with its jewel-encrusted jacket, matched the cost of the original. Remarkably, the replica jacket weighed about 8 pounds, while the original, worn by Mrs. Nixon to the Inaugural Balls, was estimated to weigh around 20 pounds.
Jacqueline Kennedy - First Lady from 1961-1963:
For her 1961 Inaugural Gown, Jacqueline Bouvier Kennedy took a hands-on approach, collaborating closely with designer Ethel Frankau of Berdorf Custom Salon in New York City. Kennedy provided detailed sketches and suggestions, resulting in a gown that epitomized elegance and refinement. The gown, crafted from pure white peau d'ange silk, featured a strapless bodice adorned with intricate beading, rhinestone crystals, and silver embroidery, while the satin skirt offered a smooth, flowing contrast.
Adding to the gown’s sophistication, a sleeveless, floor-length mantle in white satin complemented the ensemble. The mantle, with its collarless natural neckline, was secured by two delicate clasps, enhancing the overall grace and poise of the outfit. This bespoke creation highlighted Kennedy’s impeccable taste and attention to detail, setting a high standard for inaugural fashion.
Lady Bird Johnson - First Lady from 1963-1969:
For her husband's inauguration in 1965, Claudia "Lady Bird" Johnson drew inspiration from the yellow rose of Texas for her attire, selecting a striking Robe de Style gown and coat crafted in double-woven jonquil yellow satin. Both pieces were elegantly unadorned, reflecting a minimalist sophistication.
The coat, designed by John Moore of Texas through Neiman Marcus, featured three-quarter sleeves that culminated in wide, elbow-length cuffs trimmed with luxurious Russian sable fur. This detail added a touch of opulence and warmth, enhancing the coat's refined appearance. The choice of yellow, symbolizing optimism, resonated strongly in the wake of the Kennedy presidency.
Lady Bird Johnson's decision to embrace a simple yet timeless design ensured that her ensemble would remain stylish and relevant for future generations, making it a fitting addition to the Smithsonian collection.
Betty Ford - First Lady from 1974-1977:
Betty Ford's mint green dinner gown, designed by Frankie Welch of Alexandria, Virginia, is a notable example of refined elegance. Crafted from jade-colored fabric imported from China by the Fords, the gown features a mandarin-style collar, reflecting its exotic origins. Despite the absence of a formal inaugural ball, Mrs. Ford wore this distinctive gown to several state dinners at the White House in 1975 and 1976, showcasing its timeless grace and her sophisticated style.
Rosalynn Carter - First Lady from 1977-1981:
Rosalynn Carter's inaugural dress, designed by Mary Matise for Jimmae of Georgia, radiates with the elegance of starlight blue silk chiffon. The gown features a fitted bodice, a gracefully flowing full skirt, and voluminous sleeves, all adorned with intricate gold braid and beading. Complementing the dress is a long, sleeveless chiffon coat (redingote) with a mandarin collar. This coat is interwoven with sapphire and gold lurex threads and embellished with jewels, imparting a touch of regal sophistication to the ensemble.
Originally worn to her husband’s 1971 Georgia Governor’s Inaugural Ball, the gown’s distinctive fabric presented challenges when reproducing a miniature version. The original fabric was no longer available, so designers painstakingly recreated the look by hand-painting both the gold "tapestry" design and delicate tracery of lurex in blue, achieving a near-perfect match to the original gown.
Nancy Reagan - First Lady from 1981-1989:
Nancy Davis Reagan's inaugural ball gown, designed by the esteemed American designer James Galanos, epitomizes classic elegance and sophistication. This striking white gown features a single shoulder adorned with intricate beadwork, creating a look that pays homage to Mrs. Reagan's renowned glamour. The design reflects her refined taste and personal style, merging timeless sophistication with contemporary flair. The gown's minimalist, yet opulent detailing captures the essence of Mrs. Reagan’s approach to high fashion.
Barbara Bush - First Lady from 1989-1993:
Barbara Bush’s inaugural dress, an exquisite creation by the Canadian designer Arnold Scaasi, stands out for its asymmetrical blend of royal blue satin and velvet. This gown, distinguished by its rich, classic appeal, perfectly captured Mrs. Bush's sophisticated style. Notably, the dress was among a limited series, and upon Mrs. Bush’s selection, Scaasi chose to discontinue the style, marking it as a unique piece in the fashion world.
Each gown in this collection was more than just a replica; it was a testament to historical fashion and meticulous craftsmanship. These designs were prominently showcased during promotional events for Great Lady. Throughout the 1970s and 1980s, the First Lady dolls, including those dressed in such iconic gowns, played a significant role in promoting the Most Precious and White Shoulders fragrances.
White House Wedding Gowns:
In 1977, Evyan undertook a remarkable project to recreate six historic wedding gowns, meticulously crafted using authentic fabrics and trimmings from the era. These stunning replicas were donned by brides who celebrated their weddings in the White House, adding a touch of historical elegance to their special day.
The Von Langendorffs, who spearheaded this initiative, expressed their gratitude for the opportunities they had in America. They saw this project as a meaningful way to demonstrate their appreciation and pride in the United States, blending historical reverence with personal sentiment.
Most of the replicas were meticulously crafted based on original gowns held by heirs or preserved in memorial museums. For some of the pieces where the original garments no longer existed, recreations were based on artist's renderings or historical photographs. In cases like the dresses worn by Mary Hellen and Maria Monroe, the reproductions were carefully designed from detailed descriptions found in letters and diaries.
The headpieces and veils for these replicas are also authentic reproductions, reflecting the intricate details of those worn by the six White House brides. Additionally, the slips, underdresses, and petticoats are faithful to the originals, with some featuring complex boning and wire frames. Each gown and veil is a hand-stitched, handcrafted life-size replica, capturing the essence of historic bridal fashion with precision and artistry.
An Italian artisan was brought to America to craft the sequins, lace, and other intricate materials required for the miniature collection of inaugural gowns. Her expertise was crucial not only for this project but also for the creation of the bridal collection. She collaborated closely with a French seamstress, who was also imported to the United States specifically to sew the gowns for both collections. Together, their combined skills ensured the highest quality and authenticity in the craftsmanship of these historic garments.
The recreated wedding gowns, much like the First Lady fashions, were showcased across the nation in department stores that carried Evyan products. These stores, hosting the traveling exhibit, had to find models capable of wearing these historically accurate dresses. Known as the "White House Brides' Gowns Collection," this unique display by Evyan Perfumes spanned over a century, from 1820 to 1966. Remarkably, it was the only collection of its kind and was not even housed at the Smithsonian Institution. The collection offered a rare glimpse into the evolution of bridal fashion through American history.
Maria Monroe - 1820:
Maria Hester Monroe Gouverneur was the first presidential daughter to marry in the White House, tying the knot in 1820. Her wedding gown, crafted from pristine white satin, featured a bell-shaped skirt and a fitted bodice. The gown was distinguished by its elbow-length sleeves and a neckline adorned with delicate blonde lace, which also trimmed the sleeves. Timeless bows accentuated the hemline and other parts of the dress, adding a classic touch. Completing the ensemble was a long tulle veil secured by a white satin coronet, adorned with orange blossoms and satin bows that echoed those on the skirt, creating a harmonious and elegant look.
Mary Adams - 1828:
Mary Catherine Hellen Adams, who married John Quincy Adams II in 1828, wore a gown that exemplified understated elegance. The dress was crafted from white satin, featuring a molded bodice that gracefully transitioned into a full skirt with a subtle back flare. A wide Bertha collar of French lace, intricately embroidered with pearls, adorned the neckline. The same lace was used to trim the elbow-length sleeves, adding a touch of refinement. Her tulle veil, cascading from a delicate circlet of orange blossoms, completed the ensemble with a subtle yet charming flourish.
Nellie Grant - 1874:
In 1874, Nellie Grant Sartoris's wedding gown was a splendid vision of elegance. The bell-shaped dress, crafted from white satin imported from France, featured a design of three horizontal tiers of intricate rosepoint lace ruffles. These delicate layers were interwoven with flounces adorned with wax-created orange blossoms and miniature oranges, adding a unique and charming detail to the ensemble. Long sleeves, which flared gracefully below the elbow, were also embellished with lace. The gown's slight train was enhanced with matching lace and soft box pleats, contributing to its opulent appearance. Completing the look, her wedding veil was adorned with a wreath of white flowers and cascaded elegantly beyond the train of the gown, creating a harmonious and enchanting bridal silhouette.
Frances Cleveland - 1886:
In 1886, Frances Folsom Cleveland's wedding gown was a paragon of classical elegance, reflecting both her personal style and the grandeur of the era. The gown, crafted from corded ivory satin, was complemented by abundant silk muslin imported from India. Its Grecian-inspired design featured a draped skirt that gracefully crossed in the front, lifting into folds and secured at the waist with a charming nosegay of orange blossoms. This delicate floral motif extended along the V-neckline and continued down the entire left side of the skirt, overlaying a cascade of gossamer silk muslin. The gown's three-quarter sleeves were adorned with folds of silk muslin, trimmed with matching orange blossoms. A coronet of orange blossoms, which secured her tulle veil, allowed the veil to trail an impressive five yards behind, adding a touch of regal splendor to her bridal ensemble. Frances Folsom Cleveland's wedding was a momentous occasion, marking not only her marriage but also her transition into the role of First Lady.
Alice Roosevelt - 1906:
In 1906, Alice Roosevelt Longworth's wedding gown was a stunning display of opulence and intricacy. The gown, which weighed approximately 40 pounds, featured an elaborate 18-foot train crafted from silver brocade and satin, adorned with a Chinese tiger lily pattern. This majestic train was fastened at the shoulders in a courtly style, cascading into rich folds down the back. The high-necked yoke, fashioned from delicate lace, framed a cream satin princess-line gown, its bodice and sleeves highlighted by clusters of orange blossoms nestled within the lace. Notably, the lace trimming on the bodice and sleeves was repurposed from her mother’s wedding gown, adding a personal touch of family heritage. Completing the ensemble, a three-yard tulle veil, worn gracefully off the face, was attached to a coronet of orange blossoms, further enhancing the gown's regal and timeless allure.
Luci Johnson - 1966:
In 1966, Luci Johnson Nugent's wedding gown epitomized refined elegance and intricate craftsmanship. The gown, a slim Empire silhouette, was crafted from white rosepoint Alençon lace, lightly embroidered with seed pearls—a departure from the satin commonly used in the collection. This distinctive lace dress featured an Empire bodice and a semi-molded skirt, both outlined in scalloped lace, and was fastened by small buttons on the sides. The peau de soie underdress, embroidered with the bride's name and marriage date along the hemline, added a personal touch to the ensemble. The gown’s Watteau-paneled, cathedral train was adorned with matching lace, scallops, and pearl embellishments, and topped with a double bow of peau de soie. The starched illusion veil, shaped into a pouf and trimmed with matching lace and pearl appliqués, was gathered at the back. Luci Johnson Nugent made history as the first presidential daughter not to be married in the White House, with her reception held in the White House Rose Garden.
