Much of Mainbocher’s wartime ingenuity was in response to governmental restrictions on materials and the demands of his clients. The limits on the use of wool in the fall of 1942 led him to rely on fur, including silver fox, for outerwear, trims, and accessories. This shoulder cape tied atop a basic wool coat or one of his metamorphosis dresses (a classic black dress that relied on the use of accessories for updating and modification) would have offered clients a warm and luxurious means of altering an evening look. Description Shoulder cape; fitted; high V-neck; 6" wide fur border, tapered ends at sides of neck; long wide ties from front hem. Garment structure This versatile shoulder cape is fitted with a high V neck and trimmed with a 6” wide border of silver fox fur. The velvet lining is hand sewn. The long wide ties are tapered to the ends. (Photographed over 44.142.14.) Gift of Mr. and Mrs. Alexander Slater, 1979.

Background Fashion reporters were agog at Mainbocher’s costumes designed for Mary Martin as Venus in "One Touch of Venus," the Broadway musical that opened in October 1943. In her role, Martin wore this “Venus pink” chiffon gown, trimmed with gold beaded bands, and a long Tanagra scarf. The daring plunge of its waist-length back drew all attention to one of Martin’s best physical attributes. The gown was featured in the November 1, 1943, issue of "Vogue" in a double-page editorial spread. Description Dress: Georgette; "Grecian" style; full length; deep V-neck in front, low scoop back with narrow crossed straps; gathered under bust; full skirt, seams open below hip; trimmed with beaded bands at neckline, criss-crossing on midriff, and running down skirt front; center back zipper closure; unlined. Underskirt: Georgette; circular cut; open front; ribbon waistband with center front hook closure. Garment structure Echoing Worth’s 19th-century ethos of consistence in quality, Mainbocher used the same fine textiles and couture techniques for theatrical designs as he did for his couture collections. The bodice seams are hand-overcast and the bodice shirring is hand sewn. The beaded straps are running-stitched by hand. The full five-gore flared skirt is cut so that the center front is a quarter-circle, the side and back panels half that size. The seams are unstitched below the hips, the side front seams are trimmed with beaded bands. The dress fastens at the left shoulder with a hook and eye and has a separating zipper on the left side. Unlined, it is worn over a circular-cut georgette underskirt that opens at center front and is finished with seam binding at the waist. It has a hook closure. Designed for and worn by Mary Martin. Gift of Mary Martin, 1968.

Background Mainbocher’s 1944 Spring-Summer Collection featured slim, graceful silhouettes. Perfect for hot summer evenings, many dresses were made of lace with matching coats or boleros, gleaming with embroidered beads and paillettes. Mainbocher encouraged women to pair their basic wartime dresses with look-altering accessories, providing an alternative to the purchase of a new full garment. Although this bustle—or glamour belt—may not have been purchased specifically for wear with this garment, it was bought by the same wearer and represents the kind of combination Mainbocher would have envisioned. Description Dress: Sheath; lace backed in off-white satin-back crepe; full-length; fitted, natural waist sleeveless bodice; curved V-neck with ½" sequined shoulder straps, low camisole back; ½" sequined waistband; straight skirt, flaring slightly at hem, center back godet from knee level; attached off-white satin-back crepe slip. Bolero: Rib-length; round neckline; cap sleeve; single hook at neck; faced with net. Bustle: Looping bow with asymmetrical pendant streamers in double-layered pink satin, densely applied with assorted silk and velvet artificial flowers accented by larger silk velvet roses; black silk belt with wide back section, 1" waistband. Garment structure This full-length evening gown is fabricated of embellished machine-made cordonnet lace. The dress is backed with tulle; the bodice is lined with satin-back crepe. It has a curved V-neck with a low camisole back. The ½”-wide tulle shoulder straps are covered with iridescent sequins. The neck edge is finished with 1”-wide double tulle. The dress is fitted with French darts and a sequined band at the natural waist. The straight skirt flares slightly at the hem. At center back, a godet begins at knee level. The dress fastens with a zipper at the left underarm seam. The rib-length bolero has a round neckline with short set-in sleeves. The edges are finished with a hand-sewn tulle binding. Gift of Mr. Robert Winthrop, 1986.

Background In his somber post-war collection for Fall 1945, Mainbocher refused to lighten his designs with any nostalgic nods to the pre-war past. Although this victory collection looked to the future, it retained references to the still vivid shadows of war. Based in black and dark “night” shades of blue, brown, green, and wine, the clothes featured hopeful touches of gold, pearl, and beaded embroidery sparkling down the fronts of suits, dresses, and gowns. Description Stylized shirtwaist dress; below-knee length; high round neck; long semi-raglan sleeve; center front placket, neck to waist, round buttonholes with bead embroidery; bodice gathered into front armhole and 1" waistband; flared skirt; curved diagonal darts at front hips with cartridge pleats below; left side in-seam zipper; skirt back half-lined in purple ribbed silk, short drop lining in purple georgette in upper front of skirt and lower back of bodice. Although not darted, the dress bodice accommodates the bust through light folds falling from the shoulder. A silk georgette stay is used beneath the gathers at the waist, to control the fullness. The dress has two working closures, a designer amenity intended to facilitate getting in and out of the dress. The skirt front is shaped with curved, diagonal darts and hand-stitched cartridge pleats transitioning the fullness from waist to hip. In front, the silk georgette drop-lining ends 6” above the hemline, with a half-lining used on the skirt back. Although originally conforming to the short length proscribed by war restrictions, the skirt has been lengthened with a facing to below the knee for continued post-war usage. Worn by the donor. Gift of Miss Isabel Shults, 1958.

Background Viewed from the stage, the Mainbocher touch was unmistakable. "Born Yesterday," which opened in February 1946, starred Judy Holliday as "Billie Dawn." This hostess robe, styled as a fitted, full-length cardigan with neat bows, slender lines, and silver beads, embodies the character’s desire for dignity and respect. The robe’s design, with its high set armholes, parallels Mainbocher’s concurrent work for the Duchess of Windsor. Description Fitted; full-length; round neck; short sleeves, small shoulder pads; center front closure with three self bows, open below hip; full skirt; bodice lined in yellow net; skirt lined in yellow and pink net; yellow grosgrain waist stay. Mainbocher’s deceptively simple design is characteristically technically complex in execution. Its lace ground is entirely over-embroidered in beads and sequins and given dimension through the hand-application of tinted net backings. The full skirt is made up of four quarter-circle gores—a design Mainbocher frequently used on evening designs. It is supported by three layers of variegated net. Gift of Ms. Corinne Bishop, 1980.

Background This was one of two navy blue suit models Mainbocher showed in his upbeat collection for Spring 1946. Stressing simplicity and basic line, he lowered skirt lengths to below the knee and kept his designs free of gimmicks. Featuring turn-back cuffs and two triple rows of large imitation pearl buttons, this suit embodies Mainbocher’s youthful, clean American styling. Description Jacket: Fitted; hip-length; single-breasted; flat tapered collar; deep V-neck; long set-in sleeves; curved welt pockets at chest; double row of three buttons; pointed turn-back cuffs, buttonholes for linked buttons at wrist; lined in black silk crepe. Skirt: Flared; below-knee length; five-gore with two inset gores on front; 1" waistband; left side zipper closure; back lined in black faille. Garment structure The jacket back is seamed from the shoulders to the waist where they are joined by short horizontal seams, a detail that adds interest to the back and improves the fit of the jacket. Decorative pearl buttons flank those of the center front working closure. Two curved double-welt pockets echo, but do not duplicate, the curve of the collar. The flared below-knee length five-gore skirt is inset with two front godets and has a 1” wide waistband and a left side zipper closure. The seat area is lined to create a smoother skirt back. The hem has been modified from its original length with a 2” inch false hem. Made for donor. Gift of Miss Isabel Shults, 1953.

Background This two-piece costume was one of Mainbocher’s innovative sweater treatments from Spring 1947. Fashioned from a silk crepe hand-blocked knit print with beaded embroidery, the short-sleeved dress and its matching cardigan-style vest employ multiple trompe l’oeil effects to suggest a three- rather than two-piece garment. Description Dress: Below-knee length; semi-fitted integral tunic; round neck; short sleeve; tacked knit printed belt with center front bow knot; large, dense cluster of beads at chest; bolero-effect back, open edge concealing low back neckline with wide nude tulle straps; slightly flared skirt; unlined; knit printed borders at neck, sleeves, and “tunic” hem. Vest: Cardigan-style with knit printed borders; hip-length; open front with brown plastic non-working buttons on either side. Garment structure The basic below-knee length dress is printed in a stylized basketweave pattern. It has a semi-fitted tunic-length bodice with the natural waist defined by a tacked knit printed belt. Two opposing left-side zippers converge to close at the waist, obscured by concealed hook-and-eye belt closure. Fashioned in two layers, the bodice is held in place by 1½” nude marquisette straps. The upper back floats over the interior 5” wide lower back, creating a bolero effect. The open front cardigan-style vest is trimmed with “knit” borders and non-functional buttons on each side. The buttonholes are hand-finished. Gift of Miss Isabel Shults, 1953.