How H.F. du Pont Shaped Jacqueline Kennedy’s Vision for the White House
Photo courtesy of Winterthur Museum, Garden & Library
When Jacqueline Kennedy took on the enormous task of restoring the White House in the early 1960s, she wasn’t just redecorating a home—she was reclaiming history. Many don’t realize that one of her most influential guides in that mission was Henry Francis du Pont, founder of Winterthur Museum, Garden & Library and one of the 20th century’s foremost champions of American decorative arts.
At a time when America’s most famous residence had become a patchwork of outdated styles and neglect, Jackie Kennedy saw potential: not just for a facelift, but for a full-scale reimagining rooted in heritage. She wanted the rooms to reflect America’s cultural legacy—to feel intentional, dignified, and distinctly American. And for that, she turned to du Pont.
H.F. du Pont had long been passionate about antiques, American craftsmanship, and the power of interiors to tell a story. At Winterthur, he had meticulously built a home-turned-museum that celebrated early American design with unparalleled scholarship and flair. Jackie, a fan of elegance and history, saw in du Pont someone who could help elevate her White House project into something far more meaningful than a simple style update.
As chairman of her Fine Arts Committee, du Pont became a trusted advisor, helping identify period-appropriate furnishings, connecting her with top curators and collectors, and guiding the overall vision. His influence can be seen in the refined mix of Federal and Empire styles, the reverent attention to detail, and the way the public rooms began to tell the story of a nation through its design.
Photo courtesy of Winterthur Museum, Garden & Library
But more than that, du Pont helped Jackie Kennedy bring intentionality to the restoration. His approach at Winterthur—where every room was carefully planned for harmony and history—inspired her to see interiors as storytelling tools. With du Pont’s support, she brought in museum-quality pieces, published an accompanying guidebook, and even televised a tour, bringing decorative arts into American living rooms and cementing the idea that design and legacy were inextricably linked.
In many ways, du Pont’s quiet elegance and scholarly eye helped frame what would become known as a marriage of beauty, tradition, and modern pride in America’s artistic roots.
Today, as we walk the rooms of Winterthur or view photographs of the White House, we see echoes of that shared vision—one rooted in reverence, scholarship, and the belief that good design can inspire a nation.