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.

Background Mainbocher was asked to design uniforms for the WAVES (Women Appointed for Volunteer Emergency Service) by Mrs. James V. Forrestal, wife of the Undersecretary of the Navy (as Josephine Ogden, she had been an editor of Vogue in the 1920s). The group’s formal name was the Women’s Reserve, United States Naval Reserve. Mainbocher charged the Navy $1 for his services. He based his uniform design on the traditional naval man’s uniform, complete with official Navy buttons, insignia and gob’s tie, but his naval woman’s suit featured a smooth, long-waisted silhouette and natural shoulders. Securing the services of Mainbocher was a great public relations coup for the WAVES’ war recruitment effort: the enormous national press coverage his design work received made Mainbocher a household name even among Americans with no other interest in fashion. Description Jacket: Fitted; four-button single-breasted; hip-length; round-end collar with separate peaked lapels; long set-in sleeve with shoulder pad; chest flaps; brass buttons with insignia; embroidered insignia patches on collar and left sleeve; four ribbon campaign bars on left chest flap; lined in black acetate. Skirt: Flared, six-gore; knee-length; 1¾" topstitched waistband; diagonal stand pockets at front hips; left side zipper closure; unlined. Shirt: Fitted; short sleeves with turn-back cuffs; point collar; front gathered into yoke with square points; grouped triple darts at waist; mother-of-pearl buttons. Necktie: Satin; oblique ends Garment structure The hip-length single-breasted jacket is fitted with a princess seam that begins at the shoulder. It fastens with machine-stitched thread buttonholes and four brass buttons with insignia. The flared knee-length skirt has six gores for easy walking, with a 1¾" topstitched waistband. Diagonal stand pockets flatter the figure at the front hips. The skirt is unlined and fastens on the left side with a slot zipper. Gift of Mrs. Gladys Schapira Moulton, 1946.

Background Like their brother officers, the WAVES wore a summer dress uniform of white, identical in every other respect to their regulation navy blue suit. Officers’ uniforms featured gold Navy eagle buttons and cotton blouses of defense blue. White blouses were restricted to officers only and were worn both for dress and everyday wear. The grey and white seersucker service uniform was for everyday summer wear. Description Dress: Knee-length; short sleeve; round-end collar; front bodice shirred to forward shoulder seam and 1¾" waistband; flared skirt, deep inverted box pleat center front; left side in-seam zipper closure. Necktie ends: Rayon; pointed ends; 13" long; button on at each side of neck. Jacket: Fitted; hip length; four-button single-breasted; no collar, rounded peaked lapels; long set-in sleeves with shoulder pad; sweetheart-shaped pocket flaps at chest and hips, pocket at right hip; brass insignia buttons; embroidered insignia patches on lapels, left sleeve, and right chest flap. Garment structure The jacket center front fastens with machine-stitched thread buttonholes and four brass buttons with the eagle insignia. It has four decorative flaps, two placed above the bust and two at the hips, and is fitted with a princess seam that begins at the shoulder. The collarless neckline features peaked lapels. An embroidered insignia patch is placed on the right flap. The jacket has a jetted pocket on the inside lining. The matching knee-length dress has short sleeves and round ends on the collar. The bodice front is shirred to a dropped shoulder seam and at the waist. It has a vertical jetted pocket on the left side above the bust and a 1¾” waistband set in between the bodice and skirt. The skirt has a deep box pleat at center front. The dress fastens on the left side with a zipper closure. Its black ribbed rayon necktie has pointed ends which button onto the bodice beneath the collar. Gift of Mrs. Gladys Schapira Moulton, 1946.

Background Shown in September 1942, Mainbocher’s fall-winter collection of wartime fashion was anything but grim. Basic black, brown, and navy dresses were brightened with gold passementerie braid and embroidered swirls of gold, bronze and jet beads, and paillettes – embellishments not impacted by other wartime restrictions. Description Full-length; scoop front neckline with folded and draped hanging panel; short sleeves, bead and sequin embroidery in three bands and foliate scroll on shoulder; natural waist, slightly gathered; four-flared skirt; 1½" wide self belt, covered D-shaped buckle; center back zipper closure; short drop lining in black georgette at lower back bodice; black grosgrain waistband. Garment structure The slim silhouette of this evening gown is complemented by an asymmetrical drape at the front neckline. The bias-cut drape is unlined and finished at the edges with a narrow hem. Worn by Miss Isabel Schults. Gift of Mrs. J. Barry Donahue, 1987.

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.