Background Mainbocher favored a muted grey palette in his Spring 1952 collection. The neckline of the single-breasted suit jacket is cut low enough to showcase the small bow at the neck of its accompanying silk blouse. Its look would have been completed by a triple strand of pearls, a Mainbocher signature that season. Description Jacket: Worsted; four-button single-breasted; waist-length; low, narrow square neck, flared collar; cuffed elbow-length sleeve; inserted bust panel with unpressed tucks from neckline; 1¾" waistband; grey composition buttons; printed silk lining. Skirt: Worsted; flared; below-knee length; 1" waistband; single front panel with small tucks at waist; 3-gore back; left side zipper closure; lined in black silk taffeta. Blouse: Silk; fitted; short sleeve, high round neck; front asymmetrically draped into stitched tucks at left side; bias binding at neckline, small self-bow at center front neck; center back zipper closure. Garment structure Mainbocher’s mastery of line, in tandem with the use of sculptural jacket tucks, softens the firm hand of this densely woven worsted woolen fabric. The coordinating silk blouse is finished at the neck edge with a bias binding and a small bow. The same silk is used to line the jacket, a unifying amenity quoted by numerous contemporary prêt-a-porter labels. Belonged to Miss Losch. Gift of the Estate of Tilly Losch, Lady Carnarvon, 1976.

Background Rejecting the printed fabrics available for Spring 1952 collections, Mainbocher chose to create his own patterned fabric looks by layering, using contrasting fabrics and cutwork to create his motifs. This long-waisted silhouette with its flared skirt was typical of his short evening dresses that season. Description Below-knee length; boned, fitted bodice; sweetheart neck, edged in nude cotton net; flat spaghetti straps; hip yoke with zig-zag edge; full, circular-cut skirt panels; center back zipper closure; unlined. Garment structure The design of this dress relies on its interior construction rather than its tiny shoulder straps, which are decorative rather than functional. The bodice is built over a taffeta corselet, with a single bone and elastic stay under the bust at center front. The full, circular panels of the skirt are sewn to a yoke to reduce bulk. Gift of Mrs. C. M. Monell, 1985.

Background Surplice necklines were favored by Mainbocher in his Spring 1952 collection, one which relied on sophisticated fabric manipulation and draping rather than surface embellishment for interest. Description Wrap dress; below-knee length; dual-level surplice neckline with shawl collar, begins high and overlaps low at left front closure with large covered buttons edged in leather; bracelet-length, set-in sleeves, darted elbow; straight skirt, lightly gathered waist; skirt lined in black china silk; black grosgrain waistband. Garment structure Consistent with many couture-produced garments, this dress has been created without a full lining. Although an amenity intended as much for the wearer’s comfort as its ability to disguise seams and darts, a full lining might interfere with a garment’s flow. Mainbocher here affords priority to drape, using a china silk panel stitched to the skirt’s inner back to prevent stretching. A grosgrain waistband supports the skirt and controls the slight blouson of the bodice. Gift of Mrs. Wilda Symonds, 1985.

Background The textile chosen by Mainbocher for this short evening dress and matching bolero mimics the multi-dimensionality he earlier achieved by cutwork and layering. The complex printed and woven floral has been worked into a sophisticated cut, its seams underlining the bust from the front and plunging dramatically to below-waist level in the back. Description Dress: Strapless; below-knee length; free-floating bandeau bodice extending from diagonal waist seam, tucked at center seam, low V-back; flaring dress body cut from single fabric length, seamed on bias at center back, tucks at waist sides; tailored bow at center back waist; center back zipper closure; boned bodice liner; stiffened lining of fuchsia/gold changeable silk twill. Bolero: Slightly shorter in front with rounded corners; wide round neckline; elbow-length set-in sleeves with narrow slashed turn-back cuff; lined in violet silk crepe. Garment structure The dress bodice bias panels are seamed at the center front and shaped by folding and overlapping lower half over top, thus creating a fullness that functions as a rounded bra cup. In the process of this shaping, the front bodice panels return to the straight grain on the sides and are seamed with bias-cut half-back panels. These are joined center back with a metal zipper. The bodice is basted to a boned, cotton structural lining, which stabilizes the placement of its panels as well as offering support. The slightly flared skirt is cut in one piece with a seam at center back, and is backed with a stiff interfacing to preserve its shape. The motifs of the fabric mirror one another on both the dress bodice and bolero front panels. This placement is in contrast with the actual repeat pattern of the textile and reflects an extravagance on the part of the designer. All seams on the dress are finished with pinking instead of hand-overcast, perhaps distinguishing the ensemble as model rather than a production piece. Gift of Mrs. Wilda Symonds, 1985.

Background This double-breasted fur topper is representative of one of Mainbocher’s greatest style innovations: the fusion of high-fashion with functionality. This versatile boxy jacket, executed in black sealskin, was made for ballerina Vera Zorina, a favorite offstage and theatrical client. Description Thigh-length; box cut, eight-button double-breasted; convertible shawl collar; bracelet-length set-in sleeves; large black composition buttons; lined in black satin. Garment structure The upper body of the jacket is straight cut, flaring into a soft fullness toward hem level. The convertible collar can be worn open as a shawl collar or buttoned high for warmth, engaging its silk crocheted loop and satin-covered button closure. In keeping with Mainbocher’s proscription for ladylike demeanor—a proper lady keeps her white-gloved hands visible at all times—pockets are purposely excluded from this design. (Photographed over 73.144.1A.) Gift of Vera Zorina, 1990.

Background Unusual collar treatments were featured by Mainbocher in his Fall 1953 outerwear collection. Snaking around the neck and shoulders of this full-cut satin evening jacket, a band of natural haze mink delineates a phantom bolero. Description Hip-length; high round neck; full, three-quarter length kimono sleeve with underarm gusset; bolero-effect outline of single-skin width mink, concealing join with very full, box-pleated peplum; lined in cream silk taffeta. Garment structure This lavish design has a high round neckline with a deep, applied hand-padded collar that holds a single-width fur pelt. This “collar” continues down jacket front to the side seams, delineating the contours of a bolero. The bolero line is continued across the back by a fur band alone. The panel outer edge surmounts the structural seam of an extravagant, box-pleated, hip-length skirt. The full three-quarter length kimono sleeves have two seams, one at the center and one at the underarm. Gussets are inserted at the underarm (Photographed over 85.69.2.). Gift of Mrs. Wilda Symonds, 1985.

Background Playing the U.S. delegate to the United Nations in "The Prescott Proposals," a Broadway play that opened in December 1953, Katharine Cornell was costumed by Mainbocher as a modern businesswoman. The femininity of the dress’s green silk lace sharply contrasts with the severe collegiate cardigan neckline, emphasizing the character’s duality. Description Dress: Lace; shirtwaist; below-knee length; V-neck and button placket edged in shantung; three-quarter length set-in sleeves; pleated waist; full skirt; green composition buttons. Slip: Shantung; fitted; sweetheart neck; narrow shoulder straps in nude marquisette; light green lace border at neckline and hem, backed in marquisette at neckline; left side zipper closure. Garment structure The three-quarter length sleeves are cut in one piece, with both a dart and an ease at the elbow. The narrow hem has an elastic cord inside to ensure a snug fit. The full skirt is pleated at the waist with two pink tulle underskirts sewn into the dress at the waist. Interior details – including seam hand overcasting, lingerie tabs, and hand finishing of all applied elements – are consistent with Mainbocher’s couture equation. There was no technical compromise, whether designing for stage, or off. Gift of Mrs. Margaret H. Eaton, 1971.