Use the arrows to move around the exhibit.
Click the label markers for more information.
Mary Sloss McCormick (1863-1904) in a dress made by the Taylor Company,
circa 1889. The dress has a velvet top with large buttons and a silk skirt with
ribbons. It may have been part of her wedding trousseau, given that the
formal portrait was taken the same year as Mary’s wedding to Hershel P.
McCormick.
Afternoon dress, 1892
Worn by Martha Florence Beard
This “going away gown” was part of Martha Florence Beard's trousseau
for her marriage to Charles Claudius Russell. The bodice and skirt are
made with gray ground foulard silk, printed in a stylized design. Bodice
is trimmed with a beige high standing lace collar and cuffs. It features
rows of metal beads and sequins, brown and gold novelty ribbon, small
shoulder puffs, and self-fabric ruffles on the skirt hem. Mrs. A.H. Taylor
Company label printed inside on the bodice petersham.
Donated by Margaret Cross. Co-adopted by Herbert H. Beckwith
and Bill and Joey Powell. KM4878/1955.16.1
Use the arrows to move around the exhibit.
Click the label markers for more information.
Mary Sloss McCormick (1863-1904) in a dress made by the Taylor Company,
circa 1889. The dress has a velvet top with large buttons and a silk skirt with
ribbons. It may have been part of her wedding trousseau, given that the
formal portrait was taken the same year as Mary’s wedding to Hershel P.
McCormick.
Afternoon dress, 1892
Worn by Martha Florence Beard
This “going away gown” was part of Martha Florence Beard's trousseau
for her marriage to Charles Claudius Russell. The bodice and skirt are
made with gray ground foulard silk, printed in a stylized design. Bodice
is trimmed with a beige high standing lace collar and cuffs. It features
rows of metal beads and sequins, brown and gold novelty ribbon, small
shoulder puffs, and self-fabric ruffles on the skirt hem. Mrs. A.H. Taylor
Company label printed inside on the bodice petersham.
Donated by Margaret Cross. Co-adopted by Herbert H. Beckwith
and Bill and Joey Powell. KM4878/1955.16.1
Carrie Burnam as a child, seated with her older brother, Tom, who died at the age of 7 from cholera.
Photograph provided by Lynn Gazis, Carrie’s great-great-granddaughter.
Nelle Gooch Travelstead in her wedding gown, designed by Mrs.
A. H. Taylor Company, 1906. Nelle attended Potter College at age
17, and eventually earned her A.B. in Education from the Western
Kentucky State Normal School and an M.A. from Columbia University.
Carrie Burnam as a child, seated with her older brother, Tom, who died at the age of 7 from cholera.
Photograph provided by Lynn Gazis, Carrie’s great-great-granddaughter.
Nelle Gooch Travelstead in her wedding gown, designed by Mrs.
A. H. Taylor Company, 1906. Nelle attended Potter College at age
17, and eventually earned her A.B. in Education from the Western
Kentucky State Normal School and an M.A. from Columbia University.
"According to my mother, [Carrie] began designing dresses for her Potter College friends,
who later carried her reputation throughout the South, where small town stores could not
supply fashionable ladies clothing. My grandmother was never a seamstress. She began
as a dress designer and always hired other persons to make the dresses."
- Burnam P. Beckwith
Elizabeth Avery "Bessie" Taft, a 1907 graduate from Houston, Texas,
and her mother were accustomed to purchasing so many dresses, coats,
suits, and opera cloaks that Bessie's father claimed she had attended
Potter College only to be closer to Mrs. Taylor's establishment.
- Janice Faye Walker Centers in "A Kentucky Dressmaker" (Thesis, WKU, 1977)
"The location of the Mrs. A. H. Taylor Company and the Sumpter Sisters...
has had a great influence on local styles, and has contributed largely to the
reputation of the city as a shopping center..." - Park City Daily News, April 1917.
Evening jacket, ca. 1915 Worn by Nora McGee (1883-1967)
This tangerine velvet cocoon jacket features a large shawl-like collar
with center front tie and is lined with ivory crepe. It has covered
cording details on the collar, arms, and back. Influential French
designer Paul Poiret inspired Edwardian cocoon jackets of luxurious
materials such as velvet and fur. Donated by Mrs. Henry Thomas
Hagerman.
Adopted by JoNell Hester. KM4895/1965.2.15.
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Hattie Strange Claggett (1872-1963) wearing her Bowling Green Fair
Hop evening gown, which was made by the Taylor Company. The
woman on the right is an unidentified friend or family member.
Evening coat, 1906 Worn by Nelle Gooch Travelstead (1888-1974)
This loose-fitted three-quarter-length coat cut in simple style lines with large
pagoda sleeves was created with ecru wool broadcloth and lined in silk crepe
de chine and is self-closing. The neck, front, and sleeve areas are embellished
with fine Brussels lace in a flower and vine design. The flourish of lace on the
neckline extends midway down the front of the coat. Franklin, KY native and
Potter College graduate Nelle Gooch likely had this coat made as part of her
1906 wedding trousseau.
Donated by Nelle Gooch Travelstead. Adopted by Beth Hester.
KM5716/1967.15.1
Skirt, ca. 1898.
Worn by Bettie Robertson Hagerman (1867-1926) This moiré a-line style
skirt is part of a two-piece satin and velvet dress (bodice not exhibited).
Trimmed with pink silk ribbons at the hem.
Donated by Mrs. Henry Thomas Hagerman. Available for Adoption.
KM2825/1948.11.1
"According to my mother, [Carrie] began designing dresses for her Potter College friends,
who later carried her reputation throughout the South, where small town stores could not
supply fashionable ladies clothing. My grandmother was never a seamstress. She began
as a dress designer and always hired other persons to make the dresses."
- Burnam P. Beckwith
Elizabeth Avery "Bessie" Taft, a 1907 graduate from Houston, Texas,
and her mother were accustomed to purchasing so many dresses, coats,
suits, and opera cloaks that Bessie's father claimed she had attended
Potter College only to be closer to Mrs. Taylor's establishment.
- Janice Faye Walker Centers in "A Kentucky Dressmaker" (Thesis, WKU, 1977)
"The location of the Mrs. A. H. Taylor Company and the Sumpter Sisters...
has had a great influence on local styles, and has contributed largely to the
reputation of the city as a shopping center..." - Park City Daily News, April 1917.
Evening jacket, ca. 1915 Worn by Nora McGee (1883-1967)
This tangerine velvet cocoon jacket features a large shawl-like collar
with center front tie and is lined with ivory crepe. It has covered
cording details on the collar, arms, and back. Influential French
designer Paul Poiret inspired Edwardian cocoon jackets of luxurious
materials such as velvet and fur. Donated by Mrs. Henry Thomas
Hagerman.
Adopted by JoNell Hester. KM4895/1965.2.15.
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Hattie Strange Claggett (1872-1963) wearing her Bowling Green Fair
Hop evening gown, which was made by the Taylor Company. The
woman on the right is an unidentified friend or family member.
Evening coat, 1906 Worn by Nelle Gooch Travelstead (1888-1974)
This loose-fitted three-quarter-length coat cut in simple style lines with large
pagoda sleeves was created with ecru wool broadcloth and lined in silk crepe
de chine and is self-closing. The neck, front, and sleeve areas are embellished
with fine Brussels lace in a flower and vine design. The flourish of lace on the
neckline extends midway down the front of the coat. Franklin, KY native and
Potter College graduate Nelle Gooch likely had this coat made as part of her
1906 wedding trousseau.
Donated by Nelle Gooch Travelstead. Adopted by Beth Hester.
KM5716/1967.15.1
Skirt, ca. 1898.
Worn by Bettie Robertson Hagerman (1867-1926) This moiré a-line style
skirt is part of a two-piece satin and velvet dress (bodice not exhibited).
Trimmed with pink silk ribbons at the hem.
Donated by Mrs. Henry Thomas Hagerman. Available for Adoption.
KM2825/1948.11.1
"According to my mother, [Carrie] began designing dresses for her Potter College friends,
who later carried her reputation throughout the South, where small town stores could not
supply fashionable ladies clothing. My grandmother was never a seamstress. She began
as a dress designer and always hired other persons to make the dresses."
- Burnam P. Beckwith
Elizabeth Avery "Bessie" Taft, a 1907 graduate from Houston, Texas,
and her mother were accustomed to purchasing so many dresses, coats,
suits, and opera cloaks that Bessie's father claimed she had attended
Potter College only to be closer to Mrs. Taylor's establishment.
- Janice Faye Walker Centers in "A Kentucky Dressmaker" (Thesis, WKU, 1977)
"The location of the Mrs. A. H. Taylor Company and the Sumpter Sisters...
has had a great influence on local styles, and has contributed largely to the
reputation of the city as a shopping center..." - Park City Daily News, April 1917.
Evening jacket, ca. 1915 Worn by Nora McGee (1883-1967)
This tangerine velvet cocoon jacket features a large shawl-like collar
with center front tie and is lined with ivory crepe. It has covered
cording details on the collar, arms, and back. Influential French
designer Paul Poiret inspired Edwardian cocoon jackets of luxurious
materials such as velvet and fur. Donated by Mrs. Henry Thomas
Hagerman.
Adopted by JoNell Hester. KM4895/1965.2.15.
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Hattie Strange Claggett (1872-1963) wearing her Bowling Green Fair
Hop evening gown, which was made by the Taylor Company. The
woman on the right is an unidentified friend or family member.
Evening coat, 1906 Worn by Nelle Gooch Travelstead (1888-1974)
This loose-fitted three-quarter-length coat cut in simple style lines with large
pagoda sleeves was created with ecru wool broadcloth and lined in silk crepe
de chine and is self-closing. The neck, front, and sleeve areas are embellished
with fine Brussels lace in a flower and vine design. The flourish of lace on the
neckline extends midway down the front of the coat. Franklin, KY native and
Potter College graduate Nelle Gooch likely had this coat made as part of her
1906 wedding trousseau.
Donated by Nelle Gooch Travelstead. Adopted by Beth Hester.
KM5716/1967.15.1
Skirt, ca. 1898.
Worn by Bettie Robertson Hagerman (1867-1926) This moiré a-line style
skirt is part of a two-piece satin and velvet dress (bodice not exhibited).
Trimmed with pink silk ribbons at the hem.
Donated by Mrs. Henry Thomas Hagerman. Available for Adoption.
KM2825/1948.11.1
Bowling Green Postman, circa 1910,overloaded with many packages.
One of the packages is addressed to the Mrs. A. H. Taylor Company.
"What a joy! When you tried on your dress there was nothing to do.
Nothing to be lengthened - nothing to be tightened. Every hook and eye
was in place. When Mrs. Taylor made you a dress, she made you a dress!"
- Kate Duncan
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Bowling Green Postman, circa 1910,overloaded with many packages.
One of the packages is addressed to the Mrs. A. H. Taylor Company.
"What a joy! When you tried on your dress there was nothing to do.
Nothing to be lengthened - nothing to be tightened. Every hook and eye
was in place. When Mrs. Taylor made you a dress, she made you a dress!"
- Kate Duncan
Afternoon dress, 1903
Worn by Corinne Ayres (1875-1945)
The high neck bodice is made with printed pink ground silk satin with
Art Nouveau-inspired design of white, green, and yellow. Plastron front
of off-white net, bodice and sleeves trimmed with off-white silk twill and
beige lace with a standing collar and long sleeves. It features a label from
the Mrs. A.H. Taylor Company on interior petersham. The skirt is trimmed
with self-fabric inset pleated sections and beige lace with train.
Completed with pink cotton and silk petticoat. Corinne attended Potter
College around 1894.
Donated by Mrs. Howard Compton. Adopted by JoNell Hester.
KM2014.21.1
Unfinished Log Cabin variation quilt top, circa 1907, created from
discarded fabric samples from Taylor’s factory. This quilt is attributed to
Frances Clarke Matlock (1834-1917) and was used by the family for years.
Dinner dress, ca. 1916.
Worn by Eleanor May Heriges Denhardt (1886-1977)
This dress illustrates how silhouettes had evolved from the cinched corseted waist of
the fourth quarter of the nineteenth century to the more tubular style indicative of
the 1910s. While the bodice and skirt are made of black silk faille (a plain-woven silk/
cotton blend), the underbodice is constructed of black silk satin-faced organza.
Trimmed with black jet beading, a silk satin belt, and black cotton net cuff ruffles.
Donated by Mrs. J.G. Denhardt. Adopted by JoNell Hester. KM4776
Unfinished Log Cabin variation quilt top, circa 1907, created from
discarded fabric samples from Taylor’s factory. This quilt is attributed to
Frances Clarke Matlock (1834-1917) and was used by the family for years.
Dinner dress, ca. 1916.
Worn by Eleanor May Heriges Denhardt (1886-1977)
This dress illustrates how silhouettes had evolved from the cinched corseted waist of
the fourth quarter of the nineteenth century to the more tubular style indicative of
the 1910s. While the bodice and skirt are made of black silk faille (a plain-woven silk/
cotton blend), the underbodice is constructed of black silk satin-faced organza.
Trimmed with black jet beading, a silk satin belt, and black cotton net cuff ruffles.
Donated by Mrs. J.G. Denhardt. Adopted by JoNell Hester. KM4776
Unfinished Log Cabin variation quilt top, circa 1907, created from
discarded fabric samples from Taylor’s factory. This quilt is attributed to
Frances Clarke Matlock (1834-1917) and was used by the family for years.
Dinner dress, ca. 1916.
Worn by Eleanor May Heriges Denhardt (1886-1977)
This dress illustrates how silhouettes had evolved from the cinched corseted waist of
the fourth quarter of the nineteenth century to the more tubular style indicative of
the 1910s. While the bodice and skirt are made of black silk faille (a plain-woven silk/
cotton blend), the underbodice is constructed of black silk satin-faced organza.
Trimmed with black jet beading, a silk satin belt, and black cotton net cuff ruffles.
Donated by Mrs. J.G. Denhardt. Adopted by JoNell Hester. KM4776
“A La Sprite” corset with thirty-two whale bone stays, a silk covering,
and silk lace, circa 1904.Worn by Ibbie Beard Allen (1864–1958).
When she used to get kinda upset and she'd start her dentures clicking (pop, pop, pop)
you could hear her from one end of the building to the other. She would purse up those
lips and stomp up those stairs and fold her arms. She'd get after you for nothing then,
so we'd all quiet down and pass it along. 'The boss is on a rampage!' - Zelma Wilkerson
Doll Clothes created with scraps of discarded fabric from Taylor’s factory.
George Anna Hobson Duncan(1907-1988) remembered visiting the factory
as a child with her mother and being given scraps of “luxurious materials” to
construct doll dresses, stating, “Carrie allowed any youngsters who came
into the store to choose material from a bin of scraps and trimmings to be
made into doll clothing.”
Pins, pins, pins! Jane Morningstar remembered playing with discarded
pins from the Taylor company, stating, “My brothers collected the pins.
They tossed the pins out. I don’t know why in particular; maybe they
dropped them on the floor and swept them out. They would collect the
pins and we would use them as barter in our play and games.”
Group of Bowling Green, KY, women, in 1902, likely employees of the Taylor
Company. Carrie is the woman wearing a black tie and pin at her neck, front center.
Others identified in the photograph are Blanche (Jamison) Potter,[Elizabeth] Lite
(Motley) Adams, Mattie (Burnam) Hines, Lelia Gossom Downer, Mamie (Anderson) Barr,
Dixie (Robinson)Mayo, Lizzie (Coombs) Porter, Annie Hines, and Elizabeth(Valentine)
Matlock.
Wedding dress bodice, ca. 1898
Worn by Myrtle Vass Jackson (1874-1975)
This off-white cotton organdy bodice is trimmed with a decorative cross-tucked,
self-fabric yoke, yoke ruffles edged with lace, and a ruched silk satin ribbon.
Waist-length, it has long sleeves and a high neck. (Matching skirt not exhibited).
Donated by Douglas Bradford. Available for Adoption. KM1985.82.1
Bodice, 1899
Worn by Elizabeth Lucy Snow Ansley (1848-1905), Howard County, AR
Black striped silk bodice trimmed with lace. Interior label Mrs. A. H. Taylor & Co.
According to Ansley’s granddaughter, her grandmother’s family “always went to
Kentucky to get their ‘good’ clothes made.”
Donated by William Utterback. Adopted by Beth Hester. 1986.26.1
“A La Sprite” corset with thirty-two whale bone stays, a silk covering,
and silk lace, circa 1904.Worn by Ibbie Beard Allen (1864–1958).
When she used to get kinda upset and she'd start her dentures clicking (pop, pop, pop)
you could hear her from one end of the building to the other. She would purse up those
lips and stomp up those stairs and fold her arms. She'd get after you for nothing then,
so we'd all quiet down and pass it along. 'The boss is on a rampage!' - Zelma Wilkerson
Doll Clothes created with scraps of discarded fabric from Taylor’s factory.
George Anna Hobson Duncan(1907-1988) remembered visiting the factory
as a child with her mother and being given scraps of “luxurious materials” to
construct doll dresses, stating, “Carrie allowed any youngsters who came
into the store to choose material from a bin of scraps and trimmings to be
made into doll clothing.”
Pins, pins, pins! Jane Morningstar remembered playing with discarded
pins from the Taylor company, stating, “My brothers collected the pins.
They tossed the pins out. I don’t know why in particular; maybe they
dropped them on the floor and swept them out. They would collect the
pins and we would use them as barter in our play and games.”
Group of Bowling Green, KY, women, in 1902, likely employees of the Taylor
Company. Carrie is the woman wearing a black tie and pin at her neck, front center.
Others identified in the photograph are Blanche (Jamison) Potter,[Elizabeth] Lite
(Motley) Adams, Mattie (Burnam) Hines, Lelia Gossom Downer, Mamie (Anderson) Barr,
Dixie (Robinson)Mayo, Lizzie (Coombs) Porter, Annie Hines, and Elizabeth(Valentine)
Matlock.
Wedding dress bodice, ca. 1898
Worn by Myrtle Vass Jackson (1874-1975)
This off-white cotton organdy bodice is trimmed with a decorative cross-tucked,
self-fabric yoke, yoke ruffles edged with lace, and a ruched silk satin ribbon.
Waist-length, it has long sleeves and a high neck. (Matching skirt not exhibited).
Donated by Douglas Bradford. Available for Adoption. KM1985.82.1
Bodice, 1899
Worn by Elizabeth Lucy Snow Ansley (1848-1905), Howard County, AR
Black striped silk bodice trimmed with lace. Interior label Mrs. A. H. Taylor & Co.
According to Ansley’s granddaughter, her grandmother’s family “always went to
Kentucky to get their ‘good’ clothes made.”
Donated by William Utterback. Adopted by Beth Hester. 1986.26.1
Hats were standard items in most women's wardrobes. This toque-style hat
which resembles a ship's prow about to launch was briefly in fashion from
1903 to 1905. Donated by WKU IDFM program.
White cotton ladies drawers or pantaloons with embroidered trim and a
thick ribbon for closure. Date unknown. Donated by Kate Clagett Duncan.
"She is a living example...that initiative, courage, and ability will win
success in large measure in a small town just as easily as it will in a
large city." - Courier Journal, October 20, 1912.
Petticoat of fine white muslin with lace trim and inserts and a ribbon drawn
through the lace. Purchased at the Taylor Company as part of Nelle Gooch’s
wedding trousseau in 1906.
Chemise of white muslin with holes or large eyelets around the neckline for a
ribbon or cord and floral and ribbon motif machine embroidery. Reportedly
purchased at the Taylor Company as part of Nelle Gooch’s wedding trousseau
in 1906.
Hatpins of varying sizes were utilized. Designs include those shown here,
such as large ball-shaped glass heads, violet cut glass, and engraved gems.
Others featured more ornate designs, such as engraved gold leaves or the
Egyptian-influenced scarab beetle design.
Fans also came in a variety of styles, typically utilizing feathers. Popular
from the1880s to 1910, they were considered a year-round accessory. This
peacock fan features a woven handle and was donated as part of the
Calvert Family estate of Bowling Green, KY.
Women could choose from a variety of purse styles when accessorizing their
look. Worked using fine linen, cotton and silk threads, dainty Irish crochet
purses were the perfect accessory for the fine white cotton and linen dresses
popularly known today as lingerie dresses.
The small metal purse in this case is a chatelaine purse. Worn hooked onto
the wearer's belt, its elegant frame exhibits the free flowing, organic elements
of the Art Nouveau style. Made by Whiting & Davis Company of Massachusetts.
Donated by Ella Campbell.