Fashions for Flying
January 21 – May 3, 2025
It is difficult to imagine modern life without air travel. Every day, approximately 45,000 domestic flights transport nearly 3 million travelers across the United States. While flying is now indispensable to personal and business travel, the aviation industry looked vastly different 100 years ago. After innovations in powered aircraft in the early 1900s, aviation quickly developed to serve military purposes. Early flight suits and apparel were designed to provide protection to aviators in open air cockpits from the elements at high elevations. Following World War I, many warplanes were repurposed through government subsidies to transport mail. Entrepreneurs instantly saw an opportunity to revolutionize transportation with commercial airlines catering to passenger travel.
In the first decades of commercial air travel in the early twentieth century, the prohibitive cost of flying made it a luxury that was reserved for the socioeconomic elite. Despite perceptions of luxury, airplanes were loud and cold. Regardless of these uncomfortable conditions, passengers would don their most fashionable dresses, suits, and accessories for air travel, thereby dressing in a manner that equaled the novelty and perceived status of this mode of transportation. In recent years, comfort and practicality have influenced how many passengers choose to dress for air travel.
In 1930, Boeing Airlines employed the first female “stewardess.” Ellen Church, a 25-year-old registered nurse, was hired to aid passengers with the physical discomfort of early air travel. The addition of women flight attendants to the existing male pilot crew radically transformed the gender politics, passenger experience, and fashions associated with air travel.
United Airlines Attendants
Uniforms worn by cabin crews reflect the evolution of the profession and innovations in air travel. In 1930, Boeing Air Transport, the precursor of United Airlines, hired registered nurse Ellen Church as the first airline “stewardess.” At this time, flight attendants were tasked with aiding passengers through the physical discomfort of early passenger air travel. However, the profession soon evolved to incorporate a broader service component.
In addition to wearing uniforms, women flight attendants were subject to bodily regulations due to the limited physical capacity of early aircraft. According to a United training manual from 1958, attendants’ heights could range from 5’2” to 5’8” and their weight from 105 to 138 lbs. Marital status was also dictated by the profession. Women flight attendants were required to remain unmarried or to leave their position upon marriage. These restrictions enabled airlines to recruit young, single women who became a marketing tool to entice male business travelers.
By the mid-1950s, commercial aircraft powered by new jet engines were larger and more powerful. The Douglas DC-8 jetliner was marketed as “the world’s newest, roomiest jet.” In 1955, United Airlines hired French-born industrial designer Raymond Loewy to update the company’s brand identity to coincide with a new era in commercial flight travel. When United added the DC-8 to its fleet in 1959, Loewy redesigned attendant uniforms to emphasize the luxury of the new jet.
1. Flight Attendant Uniform and “Sugar Scoop” Hat, United Airlines [United States, founded 1931], wool, winter 1954-58. Donors: Linda Alexander, Avenir Museum no. 2022.15.1A/B and Bunny Goshorn, Avenir Museum no. 2023.21.1
In the 1930s, early flight attendant uniforms were influenced by military uniforms. The onset of WWII restricted the availability and use of textiles, which had a profound impact on fashion. This impact extended to cabin crew uniforms, ushering in the signature style long associated with flight attendants: a sharp tailored blazer paired with a pencil skirt.
This United Airlines flight attendant uniform was introduced in 1951. It represents the final vestiges of military influence, seen in softly structured shoulders, notched lapels, and deep navy color. While military influence was waning, the qualities and skills ascribed to nursing remained valued in the growing airline industry. In 1957, Mohawk Airlines hired registered nurse Ruth Carol Taylor, making her the first Black flight attendant hired by a commercial airline in the United States.
This uniform and hat were worn in 1958 by donor Linda Alexander.
2. United Airlines Flight Attendant Uniform, Raymond Loewy Associates [France, founded 1929], wool, 1957-1962. Donor: Bunny Goshorn, Avenir Museum no. 2018.6.5A/B. Exhibited with prop blouse.
Raymond Loewy designed this robin’s egg blue attendant uniform for United Airlines in 1957. Loewy was hired again for a uniform redesign in 1959 when United added the DC-8 to its fleet, developing the pink and beige, or “peige” uniform seen to the left. What design differences do you see between Loewy’s two flight attendant uniforms?
This uniform was worn in 1958 by donor Bunny Goshorn.
3. United Airlines Flight Attendant Uniform, Raymond Loewy [France, founded 1929], wool, 1959 – 1963. Donor: Bunny Goshorn, Avenir Museum no. 2018.6.4A/B. Exhibited with prop blouse.
The three United Airlines attendant uniforms in this exhibition were worn at some of the last trainings conducted on a turboprop (turbine powered propeller) aircraft in Cheyenne, Wyoming before the United training school relocated to Chicago in 1961.
This uniform was worn in 1959 by donor Bunny Goshorn.
Braniff Airlines Attendants
In 1964, Braniff Airlines hired Italian fashion designer Emilio Pucci to update flight attendant uniforms. This was part of a rebranding campaign called “The End of the Plain Plane.” Pucci’s first collection for Braniff, titled “Gemini IV” after the NASA spaceflight that same year, featured colorful mix-and-match separates. These garments were worn in layers that were removed intermittently as the flight progressed. Coats worn during passenger boarding were shed to reveal a coordinating skirt and jacket; an apron-style dress was worn during meal service; during the final descent, attendants wore a base layer consisting of coordinating tunic and culottes. Promises of these “costume changes” were part of Braniff’s marketing of a so-called in-flight “air strip.” While the intent was to showcase Pucci’s designs in an entertaining fashion show, comparisons to a sexualized striptease were unavoidable. View some of the marketing from this collection.
Pucci designed for Braniff Airlines from 1965 to 1974. This period coincides with a democratization of hiring and employment practices. The Civil Rights Act was passed in 1964 to legally prohibit discrimination based on race, color, religion, sex, or national origin. In 1973, Braniff Airlines began hiring male flight attendants for the first time since 1952. However, male attendants’ uniforms mirrored the uniforms of the pilot crew, imparting an air of authority not afforded to the female attendants.
4. Braniff Airlines Flight Attendant “Gemini IV” Uniform and “Supersonic Derby” Hat, Emilio Pucci [Italy, founded 1947], synthetic, 1965. On loan from Texas Fashion Collection at University of North Texas, no. 1969.052.001 and 1969.052.002A.
Pucci’s debut “Gemini IV” collection included plastic “bubble helmets” that evoked the “Space Age” stylistic influence and protected attendants’ bouffant hairstyles on the tarmac. The helmets were soon replaced with more practical headwear like this soft bowler style hat.
5. Braniff Airlines “727 Braniff Place” dress, Emilio Pucci [Italy, founded 1947], synthetic, 1972. On loan from Texas Fashion Collection at University of North Texas, no. 1980.006.126.
Commercial Pilot
While not evident at first glance, the modern aviation profession has ties to maritime transport. Many early planes were amphibious, meaning they could stay aloft in the air and land safely on water. This led to the planes being advertised as “flying boats”. Further, European airlines in the 1920s hired male attendants, called “stewards”, to assist travelers on their flights. The term steward was borrowed from a position on ocean liners, whose responsibilities on the ship were analogous to the role of attendants on airplanes. Airline stewards fell out of fashion after the employment of Ellen Church as the first female “stewardess” shifted the profession.
6. Pilot’s Uniform, various designers, AMR Corporation [United States, founded 1982], various materials, c. 1987. Donor: Ronald Carr, Avenir Museum no. 2023.1.19A/B/E/F and 2023.1.25. Exhibited with prop loafers.
Modern airline pilot uniforms borrow heavily from naval uniforms. Pilots are often seen wearing blue suits featuring stripes denoting the rank of the wearer, similar to navy officers. The cuffs of this jacket bear three silver stripes representing First Captain (co-pilot) status.
This uniform was worn by donor Ronald Carr during his career with American Airlines from 1987 – 2003
Military Pilots
7. World War II uniform, De Rossi & Son Co. [United States, founded 1926], wool and metal, 1945. Donor: Dr. Bonnie Titley, Avenir Museum no. 1994.80A-C. Exhibited with prop collared shirt and prop loafers.
In 1943, General Dwight D. Eisenhower requested a redesign of the U.S. Army uniforms. The result, which became standard issue for the Army in 1944, was a jacket made of olive-green wool with a waist-length silhouette, notched lapels, roomy sleeves, and patch pockets paired with button fly trousers. This jacket style has come to be known as an “Eisenhower” jacket. The Airforce adopted the “Eisenhower” jacket in recognizable “Air Force blue” as official dress from 1949 to 1964. The popularity of the Eisenhower jacket among the civilian public can be tied to army surplus stores. The distinct silhouette of the jacket has been repeated throughout the decades, with versions produced by workwear and high fashion brands alike.
This uniform was worn by David Leland while serving in World War II.
8. Winter flight suit, H. Bernstein & Co., nylon and metal, 1958. Donor: Major Carr, Avenir Museum no. 2023.1.5. Shown with prop boots.
Summer flight suit, Mason & Hughes, Inc., cotton and metal, 1966. Donor: Major Ronald Carr, Avenir Museum no. 2023.1.4. Shown with prop boots.
Flight suit design developed in tandem with technological advancements of airplanes, such as enclosed and heated cabins. Although Object 8 is dated to 1958, it was given to Major Ronald Carr, the donor, in 1966. By this time the characteristics of the nylon winter flight suit were no longer needed inside the planes being flown by Major Carr. The cotton summer flight suit was often worn with the L-2B bomber jacket shown in the vitrine opposite (Object 9). Major Carr wore this outfit when performing as Trapper Don McCloskey, an alter-ego he created to help teach new Air Force recruits.
Accessories and Other Looks
9. L-2B Bomber jacket, Skyline Clothing Corporation, United States, rayon, wool, metal, 1966. Donor: Major Ronald Carr, Avenir Museum no. 2023.1.6
Aviator sunglasses, metal, c. 1966. Donor: Major Ronald Carr, Avenir Museum no. 2023.1.31
The L-2B bomber jacket was produced under military contract in the early 1950s. A high visibility, anti-camouflage orange lining was chosen so the jacket could be turned inside out to be a visual aid in search and rescue missions. Aviator sunglasses were first designed by American Optical in 1935 on a U.S. military commission for protective pilot eyewear that could fit under headgear. Subsequent revisions of the design produced the recognizable teardrop shape of the lenses and expanded color options for the lens tint.
10. Mrs. Edith O. Berg with Wilbur Wright, September 1908, Photograph, Smithsonian National Air and Space Museum (NASM 2002-11883)
Flight passengers also had an impact on civilian fashion. In 1908, Mrs. Edith O. Berg became the first American woman passenger on an airplane. The hem of Berg’s skirt was tied with twine to keep it in place during the gusty flight. The resulting tapered hem captured in this photograph is said to have inspired the “hobble skirt” trend attributed to French designer Paul Poiret that was popular in the first few years of the twentieth century.
11. “Classic Collection” Uniform Scarf, Emilio Pucci [Italy, founded 1947], polyester, 1974. On loan from Texas Fashion Collection at University of North Texas, no. 1901.999.120
Emilio Pucci was an Italian-born fashion designer known for his use of bold color and prints inspired by global textile patterns. Many of his pieces feature a small, black signature within the kaleidoscopic patterns. Can you find the handwritten scrawl on the Pucci designed pieces in the exhibition?
12. United Airlines Flight Attendant Accessories, various material, c. 1958. Donor: Bunny Goshorn, Avenir Museum no. 2018.6.1A-C, 2018.6.2-3.
The navy purse, navy and white spectator style pumps, and coordinating “sugar scoop” style hats were the accessories worn with each of the three United Airlines flight attendant uniforms in this exhibition. Here, the hat has been displayed backwards to show the ribbed binding at the back which insinuates the shape of a plane’s wings.
The Mainliner Stewardess Guide is the training manual that outlines the schedule for the attendant trainings, featuring handwritten notes from our donor during her time at the attendant school in Cheyenne, Wyoming. Postcards featuring the menu for the in-flight meal served by the attendants illustrate the stark differences in service between 1958 and the present day.
Credits
Brooklyn Wenzel
Collections Assistant, Avenir Museum
Paula Alaszkiewicz, Ph.D.
Curator, Avenir Museum
Megan Osborne
Assistant Curator, Avenir Museum
With gratitude to:
The Avenir Foundation
The Dean’s Office, College of Health and Human Sciences
The Department of Design and Merchandising
Avenir Museum Volunteers
Colorado State University Custodial Services
Special thanks:
Texas Fashion Collection at University of North Texas
Smithsonian National Air and Space Museum Archives
Support provided by:
Avenir Museum Exhibition Education Fund