Background The look of petticoats fluffed beneath a draped overskirt of contrasting fabric was a designer favorite at the time this dress was made. The short strapless evening design takes full advantage of its Goya-esque black silk lace underskirt, which is seductively revealed along the hemline. Description Dress: Satin; strapless pouf; calf-length; fitted bodice; lapped V-neck coming to points over each breast, straight-cut back neckline; knife-pleated below-knee length skirt, deep curving V at front hem; center back zipper closure; boned foundation bodice edged with lace; grosgrain waistband. Underskirt: Lace; full, gathered waist; dress length with scalloped hem; straight slip of black silk satin-back crepe; grosgrain waistband. Garment structure A tightly fitted boned underbodice supports the dress and is backed with plain weave silk and edged with lace. The overskirt is hand-stitched to the bodice; the lace underskirt is gathered at the waist. The couture-finished dress contains a numbered toile tape, identifying it as a model garment purchased by the client. Gift of Mrs. Wilda Symonds, 1985.

Background Taking inspiration from his textiles rather than fashion fads, Mainbocher relied on his personal fashion philosophies to achieve variety in each new collection. Executed in the designer’s signature rose red, this evening dress, with its unpressed pleats and soft, petal-like peplum evokes a flower. Description Mid-calf length; strapless, sweetheart neckline; fitted bodice; wrap-effect peplum with rounded front overlap, concealed left side closure; full skirt with grouped pleats; large self-fabric bow at center front of bodice; left side zipper closure; peplum and skirt lined in rose faille taffeta; boned bodice lining in cream faille taffeta; cream grosgrain waistband. Garment structure The closely fitted boned bodice is backed with faille taffeta; the circular cut peplum is sewn to its back. The peplum front is pleated to a self-fabric band and is finished with rounded ends which overlap, right over left, ending almost at the side seam. The upper bodice back gently rounds toward the front. Concealed by the peplum, the skirt top has grouped pleats, with an inverted pleat at center front and box pleats at the sides, and is extremely full. This original house model has pinked dress seams that are machine zig-zag finished. It was purchased by the donor, a favorite client, following Mainbocher’s closing in 1971, and subsequently lengthened for her use. Made for donor. Gift of Ms. Lillian Tucker, 2004.

Background His 1941 re-envisioning of the utilitarian cardigan sweater as a high-fashion statement was a Mainbocher sensation. It became a signature that he continued to reinterpret over the years. Here, the designer showcases his skill by transforming his client’s own cashmere twin set into a cardigan-styled shift dress and jacket, deftly reworking the pieces into an ensemble look. Description Dress: Drop-waisted shift; below-knee length; collarless round ribbed knit neckline, piped in satin; short set-in sleeves, ribbed knit cuff; hem of bodice topstitched to wool straight skirt; bodice hem caught at left hip, tacked with satin bow, hem piped in satin; center back zipper closure; neckline faced in navy georgette; skirt lined in navy china silk. Jacket: Cardigan; above-hip length; long sleeves, ribbed knit cuffs; flat square collar stitched below ribbed knit round neck; satin border along open front; lined in navy georgette. Garment structure This ensemble features a drop-waisted shift that combines a cashmere sweater top and a below-knee length wool skirt. The bodice is sewn to the skirt at the top of the ribbing and at the hem. Bust darts have been added at the side seams, georgette facings on the front and back enhance the fit inconspicuously. The bodice hem edge is draped at the left hip and tacked with a signature satin bow. A piping is inserted under the sweater hem. An extended center back zipper facilitates dressing. Gift of Mr. Robert Winthrop, 1986.

Background Mainbocher’s fashions never specifically referenced the work of another designer, but his high-waisted collection for Fall 1958 clearly offered women an alternative to Balenciaga’s unfitted sack dress of the previous year. This dress, with its strapless, deep décolleté, sent his clients a strong signal regarding silhouette and femininity. It was photographed and featured in the "New York Post" on October 4, 1958. Description Empire line; full-length; strapless, draped bra bodice, ends wrapping to left side; flared skirt, joined under bust; bias seams at center front and back; curved V hem vent at center front; boned silk bodice lining in black silk crepe de chine, grosgrain waistband; short black faille taffeta half slip; skirt lined in peacock-blue silk. Garment structure An unseen boned inner bodice supports the high-waisted bodice shell, showcasing Mainbocher’s mature approach to the strapless form he originally innovated in 1934. The skirt is bias-seamed at center front and back, featuring a curved V-shaped notched vent at center front. A silk faille taffeta half slip is joined to the bodice under the bust, beginning at the bodice bottom edge and ending about 18” below the zipper. The dress has pinked seams and a numbered tape label identifying it as a model garment. Gift of Mrs. Wilda Symonds, 1985.

Background This long-sleeved evening dress achieves its timeless quality through Mainbocher’s smooth-fitted silhouette. Otherwise devoid of surface ornament, it relies solely on the ornate beauty of its textile and its graceful lines. Description Full-length; wide round neckline; long, narrow set-in sleeves, slightly gathered at shoulder, elbow darts, zipper wrist; shaped to natural waist with drop-waisted 2½" bias peplum; flared skirt, extending beneath bodice to natural waist, front panel cut on bias; center back zipper; lined in pink china silk; wide cream grosgrain waistband. Garment structure The dress interior is backed with a plain weave silk; a wide grosgrain waist stay is stitched in at the natural waistline. Typical of Mainbocher garments, the zipper is hand-picked with tiny running stitches. The hem edge of the flared skirt is finished with a narrow silk binding to prevent the metallic threads of the textile from fraying. The toile tape label within distinguishes this dress as the house sample model. Gift of Mrs. Wilda Symonds, 1985.

Background Mainbocher shaped Mary Martin’s costumes for her role in the original Broadway production of "The Sound of Music" to reflect her character’s unsophisticated background. This unadorned coat and dress worn in Act II is in keeping with Maria’s subdued nature and its simplicity is consistent with her home sewing skills. (Maria makes clothes for herself and the children in the musical’s first act.) The musical opened on November 16, 1959. Description Coat: A-line; below-knee length; notched collar; bracelet-length sleeve with slashed turn-back cuff; patch pockets at front hips; no closure; lined in mint green silk shantung. Dress: Fitted; below-knee length; open round neck, tie-effect V-shaped appliqué band around neckline; sleeveless; straight skirt; attached self belt with D-shaped covered buckle; center back zipper closure; lined in pea green China silk; boned foundation bodice in cream cotton twill. Garment structure A complex inner foundation is specifically constructed for the garment’s theatrical use and is constructed of an off-white tightly-woven cotton. It is sewn into the bodice and lightly boned at the center front and side seams and has a wide petersham waist stay. Its thin straps are made of fine-gauge, flesh-tone tulle. Small bust enhancers are stitched within. The dress’s self-fabric belt is sewn to the lower portion of the bodice, concealing the waist seam. It is finished with a fabric-covered non-working buckle; it actually overlaps at center back and fastens with a snap closure. The lapped zipper at center back is hand-sewn. The dress seams, hem, and foundation garment are hand-overcast finished. Designed for Mary Martin as "Maria Rainer." Gift of Mary Martin

Background Revisiting a theme he explored in 1949 for Millicent Rogers, another Best-Dressed List celebrity, Mainbocher created this straightforward interpretation of Tyrolean folk attire for Mary Martin as "Maria Rainer" in the first act of "The Sound of Music." This dress fuses ethnic-style scrolling braid with a contemporary silhouette. The musical opened on November 16, 1959. Description Semi-fitted, mid-calf length; round neck, narrow self-ruffle collar; three-quarter length sleeve, gathered cap, elasticized ruffle cuff; draped waistband; circular cut skirt, fuller in back, pleated at waist; braid in looped design centered with row of braid "buttons" on center bodice and around lower skirt; center back zipper closure; lined in grey china silk; cream grosgrain waist stay. Garment structure The dress, with its mounting neck and gentrified dirndl skirt, is hand trimmed with scrolling braid in a stylized Tyrolean design. A half circle in width, the skirt is cut with the cross-grain at center front and has a bias seam at center back. Its front is softly gathered and features a shallow, unpressed center front box pleat. From its sides, its fullness explodes toward the center back seam, and is directed by back-facing knife pleats. The draped waistband is sewn onto the dress and shirred at the center back. In the manner of a backing, the china silk linings were first darted, then applied to the wrong side of the dress and sewn into the seams. The collar and sleeve ruffles have narrow 1/8” machine-stitched hems. All seams are overcast by hand, with a ribbon band at the waist. Gift of Mary Martin, 1968.