Background Mainbocher drew inspiration from beautiful fabrics like this Persian-patterned metallic brocade, a gleaming example of his ongoing fascination with Eastern-inspired motifs. Description Fitted; full-length; sleeveless; sweetheart neck with draped circular collar, fan-pleated at center front; narrow low scoop back; trumpet skirt, fuller in back; center back covered-button closure; diamond-shaped panel at center front waist; front and back neckline form overlapped points at back shoulders; unlined; self belt, 1" wide, pointed end, concealed center front closure. Garment structure This intricate bias design has no side seams; instead, seams are located where they can best flatter the figure. Accordingly, the diamond inset at center front shapes the dress to enhance the figure and provides an interesting design element. Gift of Dr. A. Hamilton Rice, 1944.

Background In Paris, Mainbocher’s collections were sold to private clients and, as models, to merchant buyers as well. American stores, such as Saks Fifth Avenue, filled their exclusive salons with Paris creations, including this evening dress and its in-house produced jacket (not shown). However, with the opening of his New York salon in 1940, Mainbocher severed his connections to commercial outlets, rejecting the haute couture tradition of sales to American stores. Description Dress: Sheath; full-length; wide V-neck, overlapped, tucks at center front into seam below bust; plunging V-back; sleeveless; bias-cut fishtail skirt with train. Jacket: Box shape; below-waist length; high round neck, narrow band collar; short set-in sleeves; self scallop trim around edges; lined in black silk organza. Worn by wife of donor. Gift of Dr. A. Hamilton Rice, 1944.

Background This day dress of black silk crepe cloqué in an asymmetrical bias drape shows the raised hemline popular in the mid-1930s. Mainbocher’s use of bows as a signature ornamentation reflects a nostalgic referencing of 18th-century design conceits. Description Dress: Bias, spiral cut; mid-calf length; asymmetric V-neck; short sleeve; right upper front of bodice extends as pointed capelet, pleated into back left shoulder seam; slightly flared bias skirt; left shoulder hook closure; unlined; set-in sleeves, with saddle at left front only. Worn by wife of donor. Gift of Dr. A. Hamilton Rice, 1944.

Background The 1930s were Mainbocher’s great creative years. Taking inspiration from extraordinary textiles, he here playfully pairs a classical draped gown with a boldly contrasting novelty poncho. The ensemble was made for actress Helen Vinson, a Warner Brothers' contract player. Description Dress: Floor-length; straight front neck, narrow straps, deep V-back; tunic effect over-panel draped from neckline, diagonally across back, extending into long pointed train; covered ball buttons at left hip; long, pointed, mitered train; center section (covered by over-panel) in black china silk. Poncho: Below-hip length, longer in back; high V-neck front and back; center front closure with large self-covered buttons; deeply draped at right back; curved hem; charmeuse lining. Made for donor Gift of Miss Helen Vinson, 1953.

Background An example of Mainbocher’s ongoing fascination with historicism, a late-19th century focus on garment back detail is apparent in the design of this evening gown. The fullness of its black satin skirt is supplemented by a draped shock of bright cerise satin, drawing attention to the wearer upon exit, as well as entrance. Description Dress: Full-length; fitted bodice; narrow shoulder straps; sweetheart neck, plunging V-back; tucked at center front bust; narrow waistband; five-gore skirt, center back panel in cerise; handkerchief hem; self-covered button closure at center back; unlined. Belt: Self fabric; 1¼” wide; topstitched; square covered buckle; black metal eyelets; black leather lining. Garment structure This dress has a plain, straightforward front with a simple sweetheart neckline and pleats to shape the bodice at the bust. In stark contrast, a cerise-satin handkerchief-shaped panel is precisely inserted at the back to create a flare. The deep V-neckline extends almost to the back waist. Unlined, the dress fastens at center back with a dozen satin-covered ball buttons and self-fabric loops. Below the waist, the opening is set into a slash on the cerise panel. The gored skirt fastens at the waist with hooks and eyes, which are flatter than the buttons and are hidden under the belt. The inside of the dress is finished by hand with overcast seams, narrow hems, and chiffon facings at the edges. Worn by wife of donor. Gift of Dr. A. Hamilton Rice, 1944.

Background Mainbocher’s love for expensive fabric included an affinity for fur of all kinds. This tunic, evocative of Paul Poiret’s early 20th-century hoop-skirted sorbet silhouette, is formed by a satin overdress layered atop a crepe georgette column and fringed in rich monkey fur, the epitome of luxury trim for the 1930s. Description Underdress: Crepe; slip; full-length; bias-cut; V-neck, lower in back; georgette overskirt with wide center back godet Tunic: Satin; raised waist; below-knee length; bolero-effect sleeveless bodice, surplice center front panels; waist lower in back; full skirt with 8" wide border of monkey fur; center back self-covered button closure. Belt: Satin; pleated front panel, 2" wide; narrower back section; concealed left side closure. Garment structure The surplice-style bodice has a sweetheart neckline with a deep V in back. The front has an underbodice to avoid gaping and to retain the essence of the design. The front and back bodice sections are finished separately with points at the shoulders; the points lapping front-over-back and stitched together by hand. The belt features four cummerbund-style centered pleats. The unlined tunic is fastened with satin-covered ball buttons and braid loops at center back. The overbodice is finished with narrow chiffon bias facing, the underbodice with narrow hems. All seams are hand-overcast. Worn by donor. Gift of Mrs. Frederick Childs, Jr., 1973.

Background A matching dress and jacket were Mainbocher staples in the years preceding World War II. This ensemble, made in Paris prior to the 1939 close of the Mainbocher salon, was imported and sold by a New York shop. The raised hemline reflects a Depression-era French conservatism toward fabric consumption, which would be magnified during the war, with its fabric shortages and short silhouettes to follow. This ensemble was paired with a post-production pair of matching gloves. Description Dress: Below-knee length; fitted bodice; 1½" wide grosgrain shoulder straps; rounded modified sweetheart neckline; mounting rounded neck back; mock placket at center front bodice; circular skirt; left side in-seam hook closure; front neckline, placket, and hem trimmed in cartridge-pleated grosgrain ribbon; unlined. Jacket: Fitted; open center front with narrow sweetheart neckline; long set-in sleeve, buttoned wrist vent; cartridge-pleated grosgrain trim at neck and wrists; whip-stitched seams; navy taffeta lining. Belt: Self fabric, cartridge-pleated grosgrain border; ¾" wide, pointed end; concealed closure. Garment structure Incorporated into the jacket are the following distinctive Mainbocher details: decorative grosgrain trim used at the sleeve vents; a collarless neckline and contrasting lining; and an interfacing located only at the hem as a structural support. In addition to maintaining a soft, rolled edge and preventing clinging at the hips, the interfacing added a little weight so the jacket would hang properly. To reduce bulk at the dress’s edges as well as on its belt, the fabric has been folded to the right side and the trim applied over the raw edges. The dress fastens at the underarm with hooks and eyes. All the raw inner edges are overcast by hand. Although fairly straight at its waist, the grain of the skirt begins to veer toward the proper left side, enhancing its hem fullness. In order to maintain symmetry, several short seamed fabric sections have been inserted into the proper right side toward hem level. To accomplish this transition without disrupting the pattern, the fabric is cut around the daisy print and then turned under, creating an irregular seam line noticeable only on the wrong side. Gift of Mrs. Ralph K. Robertson, 1944.