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This folder contains sketches of pencil, watercolor, and pen designs for womenswear.

This folder contains 8x10" black and white fashion photos of ensembles by Zuzu Angel.

This folder contains two identical pieces of promotional material for the Zoli Modeling Agency, images shot by Richard Avedon and styled by Newey.

This series is comprised of two identical pieces of promotional material for the Zoli Modeling Agency.

This folder contains issues numbered 15-32 of the Psycho.Moto zine created by Ethan H. Minsker.

This folder contains 8x10" black and white photograph of a Ziegfeld Follies performer in costume with press release attached, and 8x10" negative of the image.

This folder contains a sketch of pencil, watercolor, and pen design for womenswear.

This folder contains one press clipping and one black and white portrait of Esther Zeedell.

This folder contains correspondance, guest lists, handwritten notes, budgets, invitations, press clippings, ticketing records, press releases

This folder contains black and white fashion photos of ensembles by Zandra Rhodes, press releases, invitations, press clippings, correspondance, and a copy of The Sunday Times Magazine with a feature article on Rhodes,

This folder contains correspondance, bios of Zandra Rhodes, list of press coverage on Rhodes, and columns on Rhodes by Lambert.

This folder contains correspondance, invitations, black and white photographs of ensembles by Zandra Rhodes,

This folder contains sketches of pencil, watercolor, and pen designs for womenswear.

This folder contains three black and white runway photos of ensembles by Yves Saint Laurent.

This collection contains 7 design sheets, 1 sketch and 2 advertisements related to Yumiko Itoyama's millinery designs.

This folder contains the contents of a disbound scrapbook containing sketches and swatches for Young Ideas' Summer 1948 collection.

This folder contains photographs pertaining to Pauline Trigére.

This folder contains correspondence and handwritten notes.

This folder contains a copy of the August 6, 2003 of WWD featuring an article on Eleanor Lambert.

This folder contains sketches of pencil, watercolor, and pen designs for womenswear.

This folder contains sketches of pencil, watercolor, and pen designs for womenswear.

This folder contains sketches of pencil, watercolor, and pen designs for womenswear.

Scrapbook of newspaper clippings related to the debate over the wool tariff. Only about half full of clippings.

Scrapbook of newspaper clippings related to the debate over the wool tariff. Most from 1909-1911

From the front page: "A collection of 172 statements published since January, 1909, for the purpose of securing wise legislation affecting the production and distribution of wool and wool goods. 1-120 Wool Tariff, 121-138 Wool Labeling, 139-159 Textile Miscellany. Supplement 160-172 Wool and Textile Miscellany by various writers."

Volume 20 includes coverage of four of Mainbocher's biannual collections, as well as his designs for prominent socialites like Mrs. William Paley and Mrs. Winston Guest (Babe Paley and C.Z. Guest, respectively). Both ladies were repeatedly on the annual list of the World's Best Dressed Women, put out by the Couture Group of the New York Dress Institute. His Spring 1957 collection was his seventieth to date and he showed long, sheer evening gowns with trains; morning cotton coats over formal clothes; and a variety of prints on cotton and chiffon. For fall 1957, there are photos of his showroom from the September 28 opening. For spring 1958 he showed colorful clothes with both fitted waistlines and fuller sihouettes with barely any waist at all. His suits jackets and skirts were a bit shorter but intrinsically the same. For his Fall 1958 collection he placed emphasis on the top of the silhouette, achieved by the slightly raised waistline and longer line skirt. Folders include a typed contents page and an article from the New Yorker from April 6, 1957.

Volume 19 includes coverage of Mainbocher's Spring 1956 and Fall 1956 collections, as well as miscellaneous coverage of his designs for socialites like Mrs. William S. Paley (Barbara "Babe" Cushing Mortimer Paley). For spring, the designer did not embrace one particular silhouette, but rather included several different ones, hoping one would make a woman look her best. The collection had lots of colors and printed fabrics, especially florals. Suits and dresses were paired with an elbow-length stole, often made of the same fabric as the suit blouse. For fall he featured a wide range of evening gowns, including some with trains and others with the Turkish or harem hem. This volume includes articles in German; coverage of Paley's tie for first place of the world's best-dressed women; and several articles in which the Duchess of Windsor calls Mainbocher "the most important fashion influence in her life." Folders include a typed contents page; Five large black and white photographs of women (perhaps models in the salon) wearing what are presumably Mainbocher dresses; and a two-page article entitled "Women of Two Wars" in which some of Mainbocher's designs for uniforms are depicted.

Volume 12 contains mostly coverage of Mainbocher's biannual collections, but also includes coverage of his designs for the Passavant Hospital nurses' uniforms; the wedding dress for Mrs. Romaine Simpson; some miscellaneous articles on his designs for Mary Martin; the opening of La Galerie, his new, less expensive shop below the salon; his designs for the wife and daughters of Connecticut governor-elect John Lodge; Wallis Simpson's donation of her wedding dress to the Metropolitan Museum of Art; and his designs for debutantes for the Benefit Opera for the Free Milk Fund. Folders include a typed contents page; two pamphlets from 1950 from the Passavant Memorial Hospital; The Pink Door Caterer's Menu; a document from the Institute for the Crippled and Disabled Theatre Benefit; a press release from October 3, 1950 for his fall collection; and a 1948 booklet put out by Warner Brothers entitled "Always Starting Things." Volume 12 includes an article from the Scandinavian press and some Spanish coverage.

Volume 22 includes coverage of Mainbocher's biannual collections, as well as miscellaneous articles and photographs of his designs for socialites and coverage of him being the first person in the fashion field to receive an official Navy award. For fall 1959 he showed a slightly lowered waistline and a longer suit jacket. In the spring of 1960 his clothes looked both forward and back. He revived some of his own bias cuts from the 1930s, but introduced longer suit jackets with low cut, collarless necklines worn with high neck blouses. For fall 1960 the big news was the he endorsed the culotte, or divided skirt. This was surprising since nearly all Seventh Avenue designers were also making them. He also introduced his "rain suit," which consisted of a three-quarter length flared coat over an equally flared skirt in beige water-repellent canvas. In this and other volumes there are random newspaper photographs of brides (i.e. Kate Roosevelt, grandaughter of FDR) without a caption, but since they were clipped by Mainbocher's service we are to assume that Mainbocher designed the wedding gowns. In the timespan covered in this volume he designed gowns for several of his clients for high-profile events. They include Mrs. Winston Guest and Glora Vanderbilt Lumet for the Embassy Ball in November 1959; for Guest, Diana Vreeland, Mrs. Edsel Ford and Ms. Benson Ford to wear to Charlotte Ford's coming out party in December 1959; and for Mrs. Charles Engelhard and daughter Anne Engelhard for Anne's engagement party and wedding in March 1960. Folders include a typed contents page; a program from the Waves National Reunion in Dallas, Texas from July 1960; and two large photographs of two of Mainbocher's models wearing clothing from his Fall 1960 collection.

Volume 21 begins with a continuation of coverage from his Fall 1958 collection and also includes coverage from his Spring 1959 collection. He said the latter grew out of his desire to express his conviction that "a good dress attracts and does not distract." He maintained his use of the higher waistline for some silhouettes, though most of the clothes had a normal waistline. In April, Ladies' Home Journal asked he and Lanvin's designer Castillo to create special wardrobes to be featured in the magazine. Mainbocher designed three ensembles, and the editorial spread is one of the highlights from this scrapbook. In May, there is a lot of newspaper and magazine coverage of the yellow sari gown he designed for Mrs. Henry Ford II for the Metropolitan Opera. This volume also includes articles and photographs of his designs for other prominent socialites such as Mrs. Winston Guest, Mrs. Alfred Corning Clark and Charlotte Ford. The final page is a large original photograph of five Mainbocher models wearing Fall 1958 daytime and evening looks. The single folder contains two small original photographs of Macalester cheerleaders wearing uniforms designed by Mainbocher.

Volume 18 includes coverage of three of Mainbocher's biannual collections. For Fall 1954 he emphasized a lower waistline and a longer/slimmer silhouette. The Spring 1955 collection was marked by jackets, the absence of black, navy blue suits and silhouettes that had the lowered waistline as well as the natural one. For Fall 1955 the collection was all about simplicity and the ensemble costructed from balanced proportions. Articles continuously reiterate that his clothes were never revolutionary. Throughout his career he made style changes but Main's deviations were never radical, which would often frustrate many fashion journalists who were looking for a "newsworthy" element to their stories. Folders include a typed contents page and a large color program from the Fete de Versailles, October 28, 1954. Also in this volume are articles from German newspapers; style tips from Mainbocher that reflect his "points on dressing beautifully;" a couple of color spreads in Woman's Home Companion in which Mainbocher's stage designs for Mary Martin are featured; and miscellaneous newspaper photographs of his designs for wealthy socialites like Mrs. Winston F.C. Guest. Becky L. noted that there's material on page 46 from the Dallas Times Herald noted as being from the New York Times Herald.

Volume 16 includes coverage of Mainbocher's Fall/Winter 1953 and Spring/Summer 1954 collections. In the fall, newspaper headlines were dominated by his "shunning [of] extremes" in fashion, while for spring he was recognized for two big innovations in his pairings of fabrics: tweed with polka dots and gingham under lace. This volume also contains miscellaneous coverage of his designs for high society women such as Mary Frances Griffin and Mrs. William Paley; coverage of the top ten best dressed women, several of whom were Mainbocher clients; articles on his designs for theatre; and articles that quote the designer on his thoughts about Christian Dior's latest silhouette. Folders include a printout document dated September 17, 1953 with large photographs of the fashions from his fall collection, and a program from the Versailles Ball, which lists Mainbocher as serving on the men's committee.

Volume 7 contains coverage of Mainbocher's Fall/Winter 1946 and Spring/Summer 1947 collections. For fall, he showed several trend-making innovations, including the fur evening dress--a simple black dress trimmed in mink and chinchilla. His spring collection was hailed a "new fashion era" by New York Times fashion critic Virginia Pope. Mainbocher designed clothes with an absence of material and pattern restrictions. The final third of Volume 7 is miscellaneous coverage of the designer's public appearances and articles he wrote that were published in various newspapers. The final leaf has an original copy of a press release from The Fashion League, for release on or after October 20, 1947. Mainbocher is mentioned twice: First, he is credited with his masterful use of fabric as a trimming; and second, for turning out his most beautiful collection in recent years.

Volume 6 contains coverage of Mainbocher's Fall/Winter 1945 and Spring/Summer 1946 collections. His fall collection was the first since the Americans won the war. It featured embroidery placed on bodices, draperies, peplums and belts. Black was the basic color. Short, double-breasted flannel jackets looked deceptively simple on the outside but were lined in ermine or seal skin. His jeweled necklines that he had introduced three years earlier prevailed. The spring collection had a "young and contemporary" look with emphasis on the slim line. He used less black. Yellow was the dominant color. The volume includes an article from LIFE entitled "Mainbocher is 'Cheapest' Dressmaker," published May 20, 1946. Folders contain a contents page; an original copy of Magazine Madeleine from November 1946; and an International News photograph of Mainbocher and Mrs. John C. Wilson, in which she wears the same dress she models in the May 1946 edition of Vogue.

Volume 4 covers the designer's bi-annual collections from the fall of 1942 through the spring of 1945. During this time, he created his "changeabout basic dress," "glamour belts," and bejeweled cardigans. The press continuously reiterated Mainbocher's belief that a woman need only a simple black dress sans ornament and various accessories to make that one dress do the work of a dozen. The volume includes a Harper's Bazaar article from November 1941 about Mrs. John C. Wilson (Natalie Paley), "the 9-to-5 muse at Mainbocher," as well as a copy of the May 1944 cover that features a Mainbocher white straw hat with two white roses on the brim worn with his silk patterned dress and jacket. Folders include a typed list of the contents in the scrapbook, press lists, a loose page from Harper's Bazaar November 1943 and a card that credits Mainbocher for dressing singer Libby Holman in "Early American Blues."

Volume 3 contains mostly coverage from 1941 and 1942 but also includes miscellaneous articles from 1943, 1947 and 1955. In addition to clippings about his biannual collections and 1942 designs for the Waves, it includes articles on clothing he designed for Wallis Simpson, the Duchess of Windsor; his appointment as head designer for Twentieth-Century Fox Studios in September 1942; and Spanish coverage from publications out of Buenos Aires. Folders contain a contents list; press lists; an article from the Boston Post, September 8, 1947; an article from Harper's Bazaar, November 1941; an article from Collier's, November 22, 1941; original photographs released from the U.S. Navy that show the different styles of women's uniforms; 4 loose Parade magazine pages; a miscellaneous article about the Waves; an article from Woman's H ome Companion, January 1955; color pictures of Mainbocher gowns modeled by socialites.

Volume 2 contains extensive coverage of the opening of Mainbocher's establishment in New York City in October 1941, as well as his first and second New York collections in the fall of 1940 and the spring of 1941. His fall collection consisted of approximately 80-100 ensembles and featured dresses with the Swan silhouette and bold leaf patterns. His spring collection incorporated capes, peplums, long white gloves and small bouquets of artificial flowers as buttons down a dress or jacket. This scrapbook has a copy of the exclusive radio release put out by the Bureau of Fashion Trends in anticipation of Mainbocher's first collection, coverage of wedding gowns he designed in the summer of 1941 and articles about how his sketches for Paris couture were exhibited at the Museum of Costume Art in New York. It includes clippings from newspapers in Spanish, Hebrew and German. Folders contain a typed contents page that outlines what is in Volume 2, a periodicals list and an article entitled "The Flight of Fashion," from the July 1941 issue of Coronet magazine.

Volume 8 contains coverage of Mainbocher's Fall/Winter 1947 and Spring/Summer 1948 collections; his designs for elite weddings; and his role in dressing Wallis Simpson, the Duchess of Windsor, named one of the "Best Dressed Women of 1947." For fall, corsets were back. Mainbocher's collection was esentially a total recall of the past seven years executed in more opulent materials of post-war opportunity. He said the two key "battle-points" of fashion change were skirts and shoulders. For spring, the main idea of his collection was to merge "prettiness and chic." Included in this volume are several press releases from Eleanor Lambert's agency, as well as excerpts from radio programs that either Mainbocher himself appeared on, or his fashions were discussed by the host. The highlight of Volume 8 is a six-page color spread from the March 1948 issue of House and Garden magazine entitled "Self-Portrait in Two Rooms." It is a rare glimpse of the designer's New York City apartment with numerous Kertesz photographs. The single folder has a typed contents page. There are a handful of articles written in French.

This folder is comprised of 2 mounted illustrations of women in a Galey & Lord advertisement.

Volume 15 includes coverage of Mainbocher's four biannual collections from Fall 1951 to Spring 1953. In the Fall 1951 collection he presented front-fullness in skirts and used both wool and lace for evening. For Spring 1952 he stressed beauty above trends and turned out gingham checked cotton in jewel-necked sleeveless sheaths. Fall 1952 was about classic simplicity, with his suits receiving much editorial coverage. In Spring 1953 the neckline was the point of interest of the collection that received the most press. This volume also includes coverage of society women such as Mrs. Winston Guest and Mrs. Edward F. Hutton wearing Mainbocher's latest fashions; coverage of his designs for school uniforms for Westover School in Middlebury, CT; miscellaneous articles on Mary Martin, some of which also appear in other scrapbooks; coverage of his designs for U.S. Lady Ambassador Mrs. Fleur Cowles's wardrobe for the coronation of Queen Elizabeth; and numerous articles with photographs of the wedding dress he designed for Sara Delano Roosevelt, FDR's grandaughter. Folders include a typed contents page; Two loose pages from December 1951 Vogue; and two loose magazine pages dated December 1951 from an article about Fifty-Seventh Street, in which Mainbocher is mentioned.

Unsigned sketches of women's suits, coats, sportswear, and swimwear from the late 1940s, in pencil and/or watercolor. In several cases, it appears that signatures may have been purposely cut off of the sketches. Some sketches are grouped with letters from from Lea Thompson to Adam Gimbel, dated in 1947.

Correspondence from Gimbel-Saks Purchasing S.A. in Paris to Ms. Gimbel. The letters are dated 1950 and include reports detailing the colors, materials, and silhouettes employed by major French fashion designers. These letters originally accompanied sketches of French designs and many of the unsigned sketches bear numbers that, in some cases, correspond to the sketch numbers cited in the letters.

Unsigned sketches of women's suits and coats from the 1940s and 1950s.

This folder contains black and white press photos of Ginger Rogers, fashion photos, some with press releases attached, of ensembles by Correges, Grès, Philippe Venet, Maria Carine, Bob Krieger, and photos of a fashion runway show circa 1943.

Sketches of women's eveningwear and sportswear (1950s-60s) done in a variety of media: ink, watercolor, and pencil. Each sketch is stamped "Made in France." Seven flat technical sketches of women's suits and coats (1940s) drawn to scale on graph paper with attached fabric samples and two patterns.

Unsigned sketches of 1950s women's evening and sportswear. These sketches are done on tissue or tracing paper in pencil and watercolor.

Unsigned sketches of 1950s women's evening and sportswear, done on tissue paper in pencil and watercolors.

Publications, blank and completed test answer sheets, and ephemera.

This folder contains photographs from the series "Window People"

This folder contains photographs of Lord and Taylor window displays. The bulk of the photographs relate to Holiday window displays, including historical New York Christmas scenes.

This series is comprised of photographs of Newey's work as a window dresser and display artist for various department stores and professional display companies.

This folder contains 8x10" black and white photograph of Mrs. Bryon C. Foy and Mrs. Harrison Williams, as labeled en verso. Stamped en verso "Photo by/ Edward Ozern/ 620 Lexington Ave., N.Y./Plaza 9-4339" and a 3x4" glass negative of an image inside an envelope with Eleanor Lambert's return address, labeled "Photo-Plate of Mrs. Harrison Williams."

This folder contains correspondence and press clippings.

This folder contains press clippings, black and white portraits of William Poole, press releases, a short story by William Poole, a publication entitled The Liberty Story by James Laver, and 8x10 black and white negatives of portraits of William Poole.

This folder contains a press release announcing the election of William M. Klothe as president of the Pellon Corporation in 1959 and 2 copies of a black and white 8x10 portrait of William Kloth.

This folder contains 4 8x10 and 3 5x7 black and white portraits of Hollywood decorator William Haines, and an article about him written by Eleanor Lambert.

This folder contains a clipping from the March 7, 1969 New York Post that features an article about Bonwit Teller's new president, William Fine.

This collection consists of postcards with color lithograph fashion illustrations by Mela Koehler and Edouard Joseph Wimmer-Wisgrill on the face and Wiener Werkstätte graphics on the reverse. From a series of six designs by Koehler created on the occasion of a Wiener Werkstätte fashion show held in April 1911; cards number 518A, 519-522 and 523B. Wimmer-Wisgrill cards are numbered 865 and 868.

This folder contains photocopies of press clippings, typewritten manuscripts and handwritten notes.

This folder contains invitations, press clippings and advertising, Press releases, correspondence, display window specifications, itineraries, and dress form photographs related to the "Who Dresses America?" Promotion at Lord and Taylor.