This thesis examined a group of five Bonnie Cashin-designed showroom and runway garments and other design- and marketing-related materials (sketches, patterns, and press essays) in the Textiles and Clothing Museum (TCM) at Iowa State University. Her manufacturer, Philip Sills, donated these materials. Cashin was an American ready-to-wear fashion designer well-known for her use of leather, suede, textured fabrics, and hardware-style closures. The recognizable "Cashin look" was layered using ponchos, capes, coats, and other garments such as jumpsuits that all incorporated leather or suede as trim or major design and structural elements.;The materials analyzed in this study are typical of Cashin's work with Sills and date from 1962 to 1975. Research goals were to: (1) connect these garments to Cashin's design process and philosophy; (2) understand the Sills manufacturing process; (3) understand Cashin's role in marketing such pieces; and (4) determine if these artifacts were produced commercially. The overarching purpose was to document and interpret the TCM collection of Cashin artifacts. Research methods included a material culture analysis of the artifacts guided by Prown's sequential three-step model of description, deduction, and speculation. History research methods were used to investigate Cashin's work, design process and philosophy, and the manufacturing and marketing of her designs. Primary sources on design and marketing of the garments were sought in major Cashin archives and through a search of contemporaneous press and industry sources. The artifacts were documented and interpreted using these source materials. The five TCM artifacts, in connection with their related materials and the materials found in additional archival sources, are a rich source of data to address the study's goals. Cashin's philosophy was consistently part of her clothing designs and was the basis for her rhetoric about them. This consistency created and strengthened her brand.;This research is significant because it provides extensive documentation for the TCM, builds a strong descriptive connection between artifacts and designer, and explores Cashin's design process and the marketing of her work. The descriptive and interpretive connections made between these artifacts and Cashin's work and branding is new to the body of research about Bonnie Cashin.