Christian LaCroix launched his Haute Couture house in 1987 and was an instant success on the worldwide stage. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always exotic, lavish affairs and his designs seemed to span the decades with their eccentric glamour pulled from multiple sources of inspiration. The twin of this cardigan was shown on the fall 1994 runway and you can see how fantastic it is on the body.

This is a beautiful example of Christian's ready-to-wear work and it is made to be slightly oversized and easy to wear. It is a piece that you can wear open and layered over other things or wrap and use the belt that comes with it or one of your own to have to feel more like a coat or to even be able to wear it on its own. It is made out of a mixed knit that is soft to the touch. Everything about it is meant to convey ease and luxury. It has no closures and just slips on. The shoulders slope down and into those fabulously long ribbed cuffed sleeves. You can push the sleeves up, wear them long or roll them. The body of the cardigan is loose and generously cut. Pockets sit low on each hip and the collar has a wide shawl feel to it. The entire bottom is one in a ribbon to pick up the cuffs. It is gorgeous and once on, you won't want to take it off. Excellent condition.

Unlined with no closures but does come with its original twist tie belt. Tagged a size M but the loose and easy for will work on a large range of sizes. The smaller you are the more it will feel oversized. 

Sleeves: 22" from he dropped shoulders
Dropped shoulders: 26"
Bust- hips: 29" flat across from side to side  and narrows to about 23"at the ribbing
Length: 32" from neck to hem and hangs a bit longer once on the body

Modern Sizing Equivalent: XS-LRG

 Item# DD4524

Reference Photo: Fall 1995 Christian Lacroix Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress in a different colour walked the Fall 1990 runway and we have included the reference photos of that so that you can see just how fabulous this one is on the body. This dress is extra special as it  includes the incredible brooches on both the front and back of the dress just like the runway piece. It is unlabeled but came to me directly from the original couture client from whom many of the other Haute Couture pieces I have had in the shop. She was fitted by Christian himself for the dress which makes it that much more special. It is a stunning example of his Couture work during this time period. 

The dress is made out of an iridescent silk taffeta. I love how the colour changes depending on how the light hits it. It can go from a deep bronze to a more iridescent blue / purple tone. The  sleeves are long and there is a row of five silk covered buttons at each wrist. It is gathered at one side at the front with the first of two incredible jewelled brooches the dress came with. The brooch is hand made from a gold toned metal with large golden topaz glass crystals mixed with brilliant blue crystals. The neckline angles down and across your shoulder to leave one shoulder bare and exposed. At the back, the neckline dips dramatically down into a deep open V that leaves your skin bare and exposed. The second huge jewelled brooch sits at the base of that. A panel of silk flares out to one side to create a half bow, half bustle feel. The interior of that panel has extra structure so that it stays perfectly in place. The skirt falls below that and depending in your height will sit at about the knee or just above. It is fabulous. Excellent condition with a minor note below.

Fully lined in a black silk organza and closes with an elaborate mix of a zipper, snaps and hooks at the back with one panel looping through the other over the inner closures. There is a fused strip of rubber ribbon along the inner neckline to help hold it in place and this has degraded a touch here and there. One stone is missing at the bottom of the front brooch. The brooches are tacked into place at present but are removable. You can see little marks on the fabric under them where the pin has been pushed through in different places. There are a couple teeny pinhead snags on the fabric where the brooches have caught on the silk near the brooches. These are all very minor and mentioned for accuracy. Sourced from the original couture client and Christian Lacroix told me through instagram that he remembers fitting her. 

Sleeves: 19.5"
Bust: to 18" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3602

Reference Photos: Fall/Winter 1990 Christian Lacroix Haute Couture Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This was meant to be a slip when it was originally sold but a modern girl might dare to wear it as a dress. It is an easy to wear piece and very flattering once on the body. The bias cut silk and chic ivory colour make it easy to wear but still have high impact. The lines are simple and it has that perfect easy but sexy feel. It is made of a single layer of silk cut on the bias. Once it is on it moves with you. The dress is suspended from the shoulders by skinny straps in the same silk. The front dips down into a V and the back dips into a very low V to leave the back bare. It skims over your waist and hips and then falls to the floor, widening out slightly as it nears the hem. A band of open cut work set in a twirling fabric runs on an angle across the waist area. I love how this gives a little glimpse of their skin through the design. It is in its original length and very sexy on. This would make a phenomenal piece for a bride. Excellent condition

Unlined and slips on to wear It ties behind the neck with the attached strap. Completely cut on the bias so the measurements have some movement. I have put the comfortable range when laying flat below.

Bust: 14-17.5" flat across from side seam to side seam
Waist: 13.5-16.5" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Total length: approx 60" from to hem and that length can be adjusted up or down an inch or so by how tight you tie the straps at the back of the neck

Modern Sizing Equivalent: XS-MED

Item# DD4982

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is from the high end lingerie line that Valentino did at one point. It was meant to be a slip when it was originally sold but a modern girl might dare to wear it as a dress. It is an easy to wear piece and very flattering once on the body. The bias cut silk and chic ivory colour make it easy to wear but still have high impact. The lines are simple and it has that perfect easy but sexy feel. It is made of a single layer of silk cut on the bias. I love how that silk has a floral pattern woven through it that gives it a bit of extra added detail. Once it is on it moves with you. The dress is suspended from the shoulders by skinny straps in the same silk. The front dips down into a scoop and the back scoops as well. It skims over your waist and hips and then falls to the floor, widening out slightly as it nears the hem. A band of fine ivory coloured lace has been set between the silk of the bodice and skirt at the front. This runs on an angle across the waist area. I love how this gives a little glimpse of skin through the design. It is in its original length and very sexy on. This would make a phenomenal piece for a bride. Excellent condition

Unlined and slips on to wear. Completely cut on the bias so the measurements have some movement. I have put the comfortable range when laying flat below.

Bust: 16-20" flat across from side seam to side seam
Waist: 15.5-17.5" flat across from side seam to side seam
Hips: 17-23" flat across from side seam to side seam
Total length: 57" from top of the shoulders to hem

Modern Sizing Equivalent: XS-MED

Item# DD4984

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Christian Lacroix launched his Haute Couture house in 1987 and instantly caused a sensation around the world. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always exotic, lavish affairs and his designs seemed to span the decades with their eccentric glamour pulled from multiple sources of inspiration. This dress is from the Fall 1999 collection and Its twin walked the runway. The runway version had bows added at points where the skirt is gathered up and the model wore a spectacular head piece with the dress. It was one of my favourite looks in the show and its a truly wonderful dress. 

This Lacroix is magical. The dress is made of a stunning silk brocade that hold the colours and shape of the dress beautifully. The silk is woven through with an oversized floral print and the flowers are scattered over the dress from the bodice to the hem. It is like wearing a full bouquet of flowers and the slightly metallic feel of the thread that makes up the flowers makes it even prettier. The bodice is strapless and is cut to be fitted to the body and hug you right down to the waist. The skirt is gathered into pleats along the sides of the waist and then under that are offset tiers that fall all the way to the floor in a cascade of silk brocade. There are yards and yards of silk that have gone into the construction of that skirt. It is gathered in and around the poufed tiers by wide bands of a black velvet. These give it the proper weight and structure to hold the gorgeous shape of the skirt. An inner net and sheer silk layer is set inside the skirt. This inner layer is finished with pleats and velvet ribbon along its edge. This inner skirt peaks out from under the edge of the top silk layer and adds a beautiful feminine detail. The skirt is cut longer at the back so that you get a beautiful sweeping feel behind you. The combination of that stunning silk and the way that it has been cut combined with the gathered tiers creates this stunning effect when you move and walk. It is that perfect mix of elegance, femininity, romance and fantasy that Christian excelled at. Excellent condition

Fully lined in a black silk and is lightly boned through the inner bodice. It zips to close at the back and has a hooked waist stay inside. In its original uncut length and appears to have been worn very little if at all. Tagged a vintage Lacroix 42.

Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Total length: 53" from top of bodice to front hem and is 61.5" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4976

Reference Photos/Video: Fall 1999 Christian Lacroix.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Louis Feraud opened his first boutique in 1950 in Cannes selling sundresses to the jet set. When Brigitte Bardot was photographed in a white pique and lace number, he became the darling of the fashion world. By 1956 he had moved to Paris and opened a couture atelier and in 1960s made his first official couture presentation. Ready-to-wear followed in 1970. He won the Golden Thimble in in 1978 and again in 1984.

I love this pretty and unusual dress. It is made out of a black jersey that has an inner dress that you step into and zip to close at one side. At the front there is an attached panel that runs down the full side of the dress and you wrap this over that inner dress and two long attached ties hold it in place at the waist. I love that you can just tie them at one side as I have or you can also wrap them around your waist if you want a really cinched in feel. The dress is suspended from two tiny straps that curve over your shoulders and drop into a V at the front. The back is scooped and you can control how loose or cinched it is at the waist. It skims over the hips and down to that very unusual hemline. The entire bottom of the skirt is made up of cut out circles that have been strung on long strings at different lengths all the way around you. This gives it tremendous movement as you move and is a very unusual treatment. I love how unique the dress is and how it is so easy to wear. Excellent condition.

The inner dress that the panel wraps over is lined with its black own silk chiffon lining. It zips to close with a hidden set zipper at the side and then the panel wraps over and ties into place that with attached ties at the waist. Tagged a FR38, D36.

Bust: 17-18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam and then you can cinch it with the ties
Hips: to 22" flat across from side seam to side seam
Total length: 56" from top of shoulder to the longest point that the detailing piece is dangle.

Modern Sizing Equivalent: SML-MED

Item# DD4971

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Richard Tyler was the designer to wear in the 1990s. He won the Council of Fashion Designers of America New Talent award in 1993 and in 1994 and 1995 he won the Council's Womenswear Designer of the Year award. Julia Roberts, Janet Jackson and Sigourney Weaver were just a few of the stars who loved his work and wore it on various red carpets. He was known for his impeccable tailoring and finishes. He employed some of the best tailor and seamstresses in the business at the time. This is a stunning example of how much impact one of his minimalist pieces could have.

This sleek little number is in perfect condition and is cut beautifully. It is suspended from the shoulders by tiny straps that curve over and down the back. The dress is completely bias cut to follow the curves of your body but without being super tight. The neckline dips in a V at the front and I love the detailing that you see there. The front bust has an inset that angles into a point to about the waist area. The inset is made from little strips of a black velvet that have been applied over a black silk chiffon and then backed in a nude silk chiffon. So you have coverage but there is still a touch of transparency. It is very sexy. Another V dips down for a bare expanse of skin to show at the back. The shape through the waist is created by vertical seams that curve over the body. The silk skims over the waist and hips and then falls to the floor. The lower part of the skirt widens out as it reaches the hem and extra fabric has been worked into the back so you get a bit of a sweeping feel as you walk away. It looks so simple on my dress form but this is a dress that is a bombshell piece once it is on an actual body. It is so good. Excellent condition.

The panel at the front is lined in nude silk chiffon as described above and the rest of the dress is unlined. It closes at the side with a hidden set zipper. It appears to have been worn very little if at all. Tagged a vintage Richard Tyler US8.

Bust: 17-19" flat across the back from side seam to side seam
Waist: to 15" flat across the back from side seam to side seam
Hips: 18-21" flat across the back from side seam to side seam
Total length: 64" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4948

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This spectacular dress is the twin of the dress that was worn on the runway for the Fall 1995 Karl Lagerfeld show. The dress is from Karl Lagerfeld's own label. He launched his self-named label in 1984 and by the 1990s it was firmly established. Pieces from his personal label were far edgier then the work he did for Chanel. It was a label where he explored a more avant garde feel with his designs and pushed the envelope more. This is a fantastic example of his work for that label and I love that you can see how it moves in the video we have. 

This is a fantastic dress that is made out of a mix of a light weight black net that is backed in more layers of netting and silk chiffon. Then onto that is a pattern made from black velvet fused onto the netting.  I love that the velvet is set to really highlight the cut and lines of the dress. It has a slightly more bare and fitted feel through the upper bodice and then flares and widens out very dramatically to the hem. The fabric is light in weight but the layering underneath the top layer of netting gives it enough weight and structure to hold the shape. The bust drops into a V and the velvet details on the bodice are set on angles to work into a centre vertical velvet line. This same striping runs horizontally all the way around the hem. The line that runs down the centre of the bodice extends all the way to the hem and then more vertical lines go all the way around the skirt to break up it up into panels. The waist comes in a touch, but has a more generous feel to it, and the skirt swings in a a wide A-line. At the back, the dress completely opens with a series of silk covered buttons that run from neck to just above the hem. I absolutely love this unexpected detail. I also love how he used those little bands of velvet to highlight where the buttons are set. The buttons become an integral design detail in themselves. It is a very collectible and rare dress from the earlier years of his self named label. Excellent condition.

The bodice is lined in another layer of the same netting and the skirt has three more layers of netting under the top layer and an inner nude silk chiffon layer under those. It closes at the back with the series of buttons that you see. 

Bust: to 16" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: approx 15" from top of the shoulder to waist
Total length: 55" from top of the shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4926

Reference Photos/Video: Fall 1995 Karl Lagerfeld.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The beading technique used on this dress is distinctive and it led us to finding that he did in entire series of dresses in several variations for the Spring 1993 collection. The twin of this dress was a part of the runway show and we have included it here. We  also added some other shots from the collection for you to see since these dresses were an integral part of the collection that year. Examples of Karl's work during this time period are held in museums around the world and are rare finds. This is an important piece of his fashion history. 

The cut of the dress is simple but it is very sexy with its long silhouette and see through lower skirts. The dress is made out of a black crepe that has a slight bias cut to it that allows it to drape well over the body once on. The strap detailing that crisscrosses over the body, edges the bust area, and is used for the straps that go up and around the neck, are all made from a wide cotton weave looking ribbon that is applied directly onto the dress. Black seed beads were applied onto that ribbon and they catch the light beautifully when you move. The bodice is extensively beaded, sequinned and embroidered. The colours there are bright and brilliant and I love how they give the dress a fantastic pop of colour. The work completely covers each triangle of the front bust and then wraps all the way around the back. The straps are intricate and hook behind the neck and become a design detail in themselves. I love the wrapped illusion created by the way the beading is applied over the dress and how the straps of the neckline continue that feel. The dress skims over the body, following your curves, and then flares out with that inset of silk chiffon for the very lower part of the skirt. It is magic once on an actual body. Excellent condition

Fully lined in a black silk. The lower chiffon part of the skirt is unlined. It closes with a hidden set back zipper and hooks to close at the back of the neck. Hand finishes and beautifully constructed.

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 58" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4901

Reference Photos/Video: (1-5) Spring 1993 Karl Lagerfeld Runway.  /  (6-7) Kristen McMenamy for Spring 1993 Karl Lagerfeld Ready to Wear Advance.  /  (8) Helena Christensen for Spring 1993 Karl Lagerfeld Ad Campaign.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is a very rare runway documented Givenchy Couture dress from the Spring 1998 ready-to-wear collection "Rhinestone Cowgirls". It is the twin of the one that walked the runway. This is from the small period of time that Alexander McQueen was the Creative Director for the house. At just 27 years old he succeeded John Galliano as head designer in 1996. In 2001 his contract ended and he departed, telling the press that his creativity was constrained. His appointment had been tumultuous from the start. Hubert de Givenchy had describe his appointment as a "total disaster” and McQueen had shot back that the founder was “irrelevant”. Of course now in hindsight we see his collections for the genius that they were. It also showed his ability to design Couture. He said in later interviews that he walked away from the label with a greater knowledge about the process and techniques of couture, which benefited his own label afterwards. 

In the 'Givenchy Catwalk' book they note that the collection was heavily influenced by Westerns and said that "the hairstyles were inspired by the 1970s, especially Farrah Fawcett's iconic look with thick hair and flicked out ends. Dresses and suits made out of dip, lambskin, covered with flames and star motif created with insets of fabric appliqué." This is one of the most recognizable dresses from the collection and its photo also appears in that same book.

This dress is remarkable. It is strapless and the body of the dress is beautifully seamed. The upper edge of the bodice is finished with a dusty pink suede and the inner bodice is boned and shaped to hug the person wearing it. It is held in place by that inner corset and then it skims over the waist and down to the hips. I love how the skirt is set into the hip with a series of curved scalloped designs. This allowed him to do long vertical panels to make up the skirt. There are eight of them in total and each one spans out to be a full 25" across by the hem. That makes the bottom of the skirt incredibly full and if you lay it out flat, it is more than a full circle skirt. To emphasize the fullness of the skirt he had the model hold the skirt up and flick it around her as she moved. You can see in the photos here that when you are standing still you do have some idea of the fullness that the skirt has but this is really a piece that it is when you have it on and you see it moving that the amazing amount of fabric in the skirt gives it an entirely new dimension. The bottom of the skirt has been inset with the same dusty pink suede in the flame motif that ran so prominently throughout the show. I laid the dress out with the skirt extended so that you can get an idea of just how much fabric is in there. This is an amazing piece of both Givenchy and Alexander McQueen's history. Excellent condition with a note below.

The bodice and body to just past the hip is lined in a black silk. The skirt is backed in black. The dress closes with a hidden set side zipper and the inner bodice is boned throughout with a built-in corset to the waist. A waist stay hooks to close. The suede shows some very slight minor fading and light grubbiness here and there. There is a small area on the bodice where the black has slightly lightened to have a reddish tint and there are a couple areas on one part of the skirt that has done the same. Please see the photos after the label shot. Tagged a vintage Givenchy 40

Bust: 16-17" flat across from side seam to side seam
Inner waist: 13.25" flat across from side seam to side seam. Note that the outer waist is up to 15" so you could adjust the corset if you needed more room.
Hips: to 25" flat across from side seam to side seam
Bodice: 9.5" from top of bodice to inner waist of corset
Total length: 56" from top of suede edge of the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4872

Reference Photos/Video: (1-5) Spring 1998 Givenchy Runway.  /  (6) From the book "Givenchy Catwalk: The Complete Collections" by Anders Christian Madsen.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress walked the runway for the Spring 1990 Haute Couture collection. Its twin was shown under a jacket on model Gloria Burgess and we found the original sketch of the dress in my YSL folio. I thought it interesting to see that Gloria was not the original model intended for the dress and that there was a change by Yves as to who wore it on the actual runway and you can see that interesting little detail in the sketch. I have included all the reference photos for you here and it gives you a beautiful idea of how fabulous this is once on the body. This is also the collection that the book 'Yves Saint Laurent: Catwalk' notes that "The end of this catwalk show was greeted by 10 minutes of a standing ovation, following Yves Saint Laurent's homage - via 119 designs - to the hugely talented men and women who had thus far influenced him and made an impression upon him". The dress is gorgeous and Yves always cut his couture pieces so perfectly. It really is a beautiful piece and in my opinion, owning a piece of his couture work is one of the ultimate vintage acquisitions.

The dress is amazing and showcases how wonderful Yves Saint Laurent could cut a dress to flatter a woman's body. It is made entirely by hand and the silk is that heavier richer silk that you only see in the very best pieces of couture. The top is cut to skim over you and blouse over the waist. The shoulders have padding to extend the line of them outwards a touch over the ends of the shoulder. The sleeves are cut full through the upper arms and then narrow to the wrists. Each cuff ends with four handmade silk covered buttons and loops and each button is perfectly functional. The neckline is set a touch wide across. The silk is gathered around the waist into soft folds to create a little extra bit of a detailing. The folds are set slightly off to the side and on an slight angle that visually helps to extend the body of the person wearing it. The waist is seamed but cut on the more generous side. To cinch it in we have added an ivory silk chiffon sash that is a beautiful match to the dress. The skirt falls under that in a simple shape that flares out as it nears the hem. It falls to just about the knee or above depending on your height and there are hidden pockets along each hip. The colour of the silk is beautiful creamy ivory. This is a brilliant dress and when you see it in person you will fall in love with how good it is in person. It really shows how sometimes simplicity can have so much of an impact. It would be a dress that might make an amazing wedding dress for the bride looking for a non-traditional choice, for a day wedding, or as an alternative dress in a more extended wedding celebration. Excellent condition.

Fully lined in an ivory silk and all the work is done by hand to Haute Couture standards. It closes with a hand set side zipper and a button at the back of the neck. An inner waist stay hooks to close. Each cuff has four hand made silk buttons and loop. Padding in each shoulder as described above. Completely made by hand. Proper Haute Couture numbered label present. The silk chiffon sash is not original to the dress but will be sent with it. Any change in colour that you see in the photos is lighting.

Sleeves: 22" and 14" around the upper arm
Slightly wide set shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: 12.5-13" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of shoulder to waist but mean to blouse a bit
Total length: 38" from top of shoulder to hem with 2" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4727

Reference Photo: Spring 1990 Yves Saint Laurent Haute Couture Runway. Model Gloria Burgess.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate beading, sequins, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. This is a label that I really love and am always happy to find pieces of.

This is an easy dress to wear because of the fabrics that it is made out of. Making fabrics that were comfortable to wear on the body glamorous and luxurious was one of the core philosophies of how Azzaro designed. This dress is made out of a black jersey through the body, which allows it some give, and then the remarkable sleeves are made out of a fine black chiffon. The lightness of the fabric used for the sleeves gives them incredible movement once this is on the body. The neckline sits wide across the neck and then it is edged in a row of overlapping black sequins. It skims over the body from there, past the bust, waist and hips to open out slightly as it nears the hem. Onto the front of the dress are five curving seams that are highlighted with a band of sequins. They almost give the impression of slashes across the front of the dress. The final sequin band curves down to meet the top of a slit that allows for some bare leg to show when you walk. The sleeves fall over the shoulders and are completely open along their insides. Once on the body these cascade all the way down to the hem of the dress and create the most incredible moment. The chiffon that they are made of keeps them ultralight so as you move they catch the slightest bit of air to swirl and billow around you. It is an incredibly easy dress to wear and incredibly glamorous once on the body. Excellent condition.

Unlined and slips on to to wear with a hidden set side zipper. It appears to have been worn very little if at all. The fabric does have some stretch and the measurements below are the comfortable range when laying flat

Bust: 16.5-19" flat across from side seam to side seam
Waist: 14.5-17" flat across from side seam to side seam
Hips: 18.5-22" flat across from side seam to side seam
Total length: 59" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4725

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is a very rare dress that is the twin of the dress that walked the Yves Saint Laurent Spring 1992 Haute Couture runway. It is extremely well documented and I have included photos of the original sketch and swatches that I have here from the Saint Laurent couture archive book set that I own in addition to runway reference photos of it that we found. You can see just how fantastic it is on the body. This was Look 47 and part of the short evening segment of the collection.

This collection marked Yves' 30 year anniversary and it was presented on January 29 to coincide exactly with his first collection presented January 29, 1962. The book, Yves Saint Laurent Catwalk, notes that at the time people were expecting a retrospective but Yves actually surprised everyone by producing a full 91 piece collection. There was a definitive tribute aspect to his first 1962 collection. Flowers were a main motif and ran throughout the collection as did polka dots and stripes. Puff sleeve tops with balloons skirts were integral and dresses like this one were a key look. It is an exceptional to have such beautiful documentation on this stunning dress. Every piece of Saint Laurent Couture is a treasure but when it's as highly documented in from such an important collection as this, it is just that much more special.

The dress is exquisite. It is made from a combination of a white silk that has been hand embroidered with roses and leaves across the entire bodice. This is then combined with a silk faille skirt that has dots that appear to be hand painted onto the fabric. A silk organza bow is wrapped around the waist and I love the deeper mustard yellow tone of it. It perfectly offsets the black and white palette. The neckline is scooped across the front and the bodice is meant to skim over the body to the waist. The sleeves are fantastic and each insets into the bodice in a series of pleats across the top of the shoulders. This is what gives them the volume that you see. The edges of the neckline are finished with a black cord and this runs around the cuffs as well. Each cuff is brought into the arm with a button and loop and this bringing in at the arm also helps to exaggerate the puff above. The entire silk of the top is embroidered in this magical, dreamy, black rose embroidery that pops against the white of the silk. The embroidery is done onto the silk directly in some places and then in other places the leaves or roses have been cut out and hand stitched in place. The waist is seamed but it is more generously cut and the organza ribbon that circles it adds the perfect pop of color. Under that the skirt is fantastically full and the fulness is created by the pleats that are set into the waist and the way it has been wrapped in and under at the hem to attach to the skirt underneath. Between the those two layers of the skirt you can feel that there is tulle and some structure inside that helps hold that exaggerated shape. It is a fantastic magical piece of Haute Couture and an important piece from an important collection. Excellent condition with a note below.

The bodice is lined in an ivory silk and the sleeves are unlined. The belt at the waist is attached and wrapped and hooked into place. The skirt is lined in the same fabric as the outer skirt and there is stiffening between the layers as described above. It closes at the back with a button at the top of the neck and then there is a hidden set side zipper too close. The dress is unlabeled, but I have seen the original label that came with the dress. The dress had been let out at some point and my client had it brought back in and unfortunately when she had it altered back to its original size, the tailor lost the tag. I see some very minor evidence of that alteration on the bodice. There are some areas of stress near the embroidery and some minor reinforcements underneath the arms. I see slight dustiness on the fabric at the top the shoulders and there is a tiny chip on the button on one sleeve. Perhaps a slight grubbiness along the inner edge of the lining under the arm. The outside presents as clean and fresh and once on it looks immaculate. 

Slightly inset shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Inner hips: 19.5" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 18" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4509

Reference Photos: (1-4) Spring 1992 Yves Saint Laurent Haute Couture.  /  (5-6) From the book "Yves Saint Laurent Haute Couture: L'oeuvre Integral 1962-2002".

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Every so often I am contacted by someone and entrusted with something very special and this wedding set by Romeo Gigli absolutely fits that bill. This incredible set is a one of a kind, Haute Couture made to measure piece that comes directly from its original owner and she has graciously given all of the original documentation on it to share with you along with a full write up on her experience with Romeo and a scan of the Elle article that was written a year after her wedding. 

Romeo Gigli launched his label first in 1981 which failed. In 1983 he partnered with Carla Sozzani and in 1985 he presented a 25 piece collection in Milan. By 1986 he was an international sensation and his collections made world wide headlines. In 1989 he had his Paris debut. His work was romantic but dramatic. Hallmarks included shawl coats, which this set so perfectly displays, along with soft sloping shoulders and silhouettes that narrow as they come down the body. Historical references run through his work and his de-structured lines felt fresh and new.

This set has all of the original pieces that Marion wore on her wedding day and even includes the original boxes and silk bags that the set was delivered in. Every piece was made in studio by hand and when I tell you that my photos do not do the full set justice I have never been more honest as everything is more beautiful in person. This is a once in a life time opportunity to own this incredible and important piece of fashion history. The link to Marion's story is below and a short description of the pieces follows. 

Click here to see the full photo set of Marion in the fittings with Romeo, on her wedding day, see the Elle editorial, and read Marion's story about the experience >

The wedding ensemble consists of a pale pink silk chiffon top, a gold lace hobble skirt and a deep gold silk jacket or top that was worn over those two pieces. An incredible silk chiffon coat that is filled with silk flowers and flows behind you in a knotted train was worn over that. The original pale taupe velvet shoes in their original box are present along with the hand made hair sticks and pins. The two original pink raw silk hand made bags that the skirt and tops were delivered in are included and the entire ensemble comes in its original raw silk covered box. The final piece included is the little hand held green silk bag that Marion carried that day.

The skirt and inner top are the base of the outfit. The top is slightly cropped and made from a pale dusty peach pink silk chiffon. The chiffon has been hand gathered into soft pleats and crosses itself over the front and back. It wraps around you and closes on one side, inside, with a series of silk covered buttons and then the other side wraps over that and closes at the back outside with buttons as well. The skirt is made out of fine gold lace and is banded around the waist for shape. It drapes softly over the body with volume through the hips created by the layers. It narrows down at the ankles for a touch of a hobble skirt in appearance with the ends curving up and under. It is an incredible design.

An oversized silk top goes over this that has a bit of volume through the body. It is made from a deep copper gold silk with a burnished finish. The sleeves are incredibly long and are meant to be gather along the arms and follow the cut and curve of them. The collar is very high and wired so that it stands and frames the face beautifully. One side is longer then the other and you can shape the wire to give it a quirky little curve in the direction and way that works best for you. I love the open cut out just under the collar. It hints at the silk chiffon top underneath and adds an unexpected flash of skin.

The coat is utterly remarkable. It is thoroughly Romeo Gigli in spirit and it is one of the most beautiful, magical things I have ever seen. It has those beautiful sloped  shoulders he was known for and the front flips over into a deep shawl collar. It slips on over everything else with no front closures. It just falls over you in this exceptional drape of chiffon and flowers and then trails out behind you. The end has been knotted and I love this detail as it is absolutely Gigli at his best. The coat is made from a silk chiffon outer and inner layer that has a touch of transparency to it while inside and between the layers are thousands of silk flowers. Each would have been placed by hand one by one to form a solid layer of flowers that shows through the silk. It has weight yet it feels weightless. It has presence yet it feels ethereal.  The top layer of the chiffon is a pale dusty pink and then the inner layer is a pale taupe. The flowers float between the two and it make this light rustling sound as it moves that it magical. It is one of the best things I have ever personally seen.

Finally are the accessories. Her original velvet shoes that slide on and then tie in place, the little green silk bag that is held by the tied straps and the various hand made hair and stick pins in their original box.

The entire set will be sent in it original box hand covered in a deep dusty pink raw silk as it came to Marion from the Gigli ateliers.

Everything is in superb condition. I see a teeny smudge of discoloration under the arms of the inner silk chiffon top and the wear to the soles of the shoes giving away the clue that it was worn that day. The silk on the large box it came in has more wear as seen in the photos

This is a once in a life time, absolutely remarkable piece of fashion history.

Inner top
Shoulders: no true seams
Bust: 18.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 14" from top of shoulder to hem

Skirt
Waist: 14" flat across from side seam to side seam
Length: 47" from waist to hem and including the 4" waist band

Outer top
Sleeves: 39" from the dropped shoulder seam and are around 11" arond after the dropped shoulder
Shoulders: 27" across and meant to drop significantly
Bust: 30" flat across from side seam to side seam
Waist: 27" flat across from side seam to side seam and narrows to 19" flat across from side seam to side seam by the hem
Length: 41" from neck hem
Neck: 13" around

Coat
Is about 36" flat across the inner bust and it is about 120" long from the neck to end past the knot and not including the deep shawl collar. It is pretty much OSFA

Bag
Approx 9.5" tall and about 5-7" in diameter

Shoes
Approx a 40-41

Modern Sizing Equivalent: SML-MED for the inner outfit and the coat is OSFA

Item# DD4458

Reference Photos: Courtesy of Marion Hume. (1-2) Fitting with Romeo Gigli.  /  (3-7) On the wedding day.

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The twin of this set walked the runway and was worn by none other then Carla Bruni. Which makes this suit that much more special. It also still has all three of its original pieces and I love that as well. Christian Lacroix launched his Haute Couture house in 1987 and his work was an instant worldwide sensation with the press declaring him to be the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This suit with its supermodel tie-in is very special and a stunning example of his work during this time period. His couture pieces rarely come to market and I love having them in the shop when I can get them.

I love that this still has all three original pieces. It came to me with the jacket, skirt and the inner silk top that matches the lining of the jacket. Which is a very traditional Haute Couture detail. Having all three pieces makes it that much more versatile since you can mix and match all of pieces and wear them in so many different ways. The inner top is made of a silk with a abstract vertical wavy pattern in ivory, pale blue and pastel lavender. That exact same silk is used to line the jacket so when you wear the jacket open you get that incredible continuation of design. The skirt and the jacket are both made from a textured wool boucle with the skirt being a two-tone aqua and pale blue and the jacket picking up the lavender in the silk top. Unusual colour and pattern mixing was a forte of Lacroix and we see that beautifully in the suit. The jacket is stunning and every seam has been meticulously executed. The sleeves are long and the rounded shoulders have soft padding inside for a touch of structure. The seaming is set in curving lines to create the shape that you see and there are little boned Silk satin inserts at the front for shaping. That same silk details the inside of the collar runs across the top of the shoulder and along part of the edge of the split cuff sleeves. At the back he used that same fabric to gather and bring in the back of the jacket for shaping and add a pretty romantic detail with the bow. It snaps to close down the front with silk covered hidden set snaps. Buttons are sewn on the outside and each is a stunning jewel. Gold tone metal has been set with rhinestones crystals and turquoise. So even if you wear the jacket on its own or closed you get this stunning jewel detail there. The skirt is precisely and simply cut with that slight flare as it reaches the hem. The front panel wraps over which as a touch of detail and also leaves a hidden opening underneath so that when you sit or walk you get a tiny flash of leg. It is lined in an extremely high-quality pale blue silk. This is a stunning example of his work that will never go out of style and it is exceptional. The fact that it is true Haute Couture just makes it better and the workmanship is out of this world. Excellent condition.

Both the dress and the jacket are fully lined in silk described above. The top is made of a single layer of silk. Top closes with a hidden setbacks zipper and has ribbon finishing at the hem. The skirt closes with a side zipper and couture hook and eye at the waist. The jacket has hidden set snaps down the front. All three pieces are completely made by hand and have their proper Haute Couture tags present with sequential couture numbers under the tag.

Jacket
Sleeve: 21"
Shoulders: approx 15"
Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 19" from neck to back hem, 22" the longest points of the front hem

Top
Bust: to 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 21" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4391

Reference Photos/Video: Spring 1996 Christian Lacroix Runway, Look 4. Model Carla Bruni.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Geoffrey Beene was one of the most awarded designers in the US. There is a currently an exhibit running of his work for the 2023 year titled MOVE: The Modern Cut of Geoffrey Beene. I wanted to share the exhibit notes because they sum his career so well saying 'At his core, Beene was a fashion rebel who ignored trends, instead preferring to design garments that began as geometric shapes and evolved into silhouettes that moved naturally with the human form. His intuitive understanding of the body informed fashions that were unparalleled in their combination of luxury, thoughtful design, and comfort. Beene’s colorful, imaginative creations have been recognized with many accolades, including eight Coty American Fashion Critics Awards and three Council of Fashion Designers of America Awards. His work has also been celebrated through various exhibitions at institutions across the nation.'

This was a favoured silhouette of Geoffrey Beene that he was doing primarily through the late 1980s and into the very early 1990s. When looking through some of the images from the exhibit on his work there were dresses with very similar cuts from the 1990 season. It is a very pretty dress and very striking once on. The bodice is strapless and then it is completely covered in overlapping glossy black sequins at the front. At the back it is the same silk taffeta as the rest of the dress and I love how part of that extends and wraps around to the front just under the bust. This is all attached and adds a beautiful detail that really reflects his work from this time period. The bodice is meant to be fitted and has light boning inside to hold it in place. The top of it dips in the center and peaks slightly on either side to emphasize the bust. The waist is nipped in and then from there the skirt is cut beautifully full to the hem. The silk is all gathered into the waist and this is what helps give it that shape that you see. I love the oversized floral print that covers the silk and how there are these little woven dots running over the very top of the silk. These catch the light differently and are also a subtle nod to his love if dots in his work. Inside there is a black silk lining and the edge of that lining is finished with a sequin detailed lace. This peaks out from below the curving hem of the skirt  and ties all the elements of the dress together. The dress can be worn on its own or with the matching shawl piece that is original to the dress. This extra wide shawl is caught up at each end in an elaborate twisted fabric flower that anchors it and allows it to open between for the volume you see. It can be worn numerous ways and I have photoed some of those here. You could also wear it over the head for a very glamorous look. It is so pretty. Excellent condition.

Fully lined in a fine black silk and closes with a back hidden set zipper. Ribbon finished hem. Light boning through the bodice. The shawl is unlined with no closures

Bust: 17-17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top to waist
Skirt: 36" from waist to longest points of hem
Shawl: 100" x 46.5"

Modern Sizing Equivalent: SML-MED

Item# DD4353

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress is from the Fall 1990 collection and came to me directly from the original couture client. In the book Yves Saint Laurent: Catwalk they said this of this collection; 'Yves Saint Laurent allowed himself to be truly audacious for this presentation of 137 designs. The Baroque style was evident in outfits were the a fairy tales.' Elle magazine summarized Saint Laurent's work as 'insouciance elevated to the rank of fine art.' .... and of the colours that he chose for the collection the New York Times noted that 'He works with a painter's eye, and the results are always satisfying, never soporific.' They also said that 'Lace is a cornerstone of evening dressing. Sometimes it is thick velvety guipure lace, sometimes spidery Chantilly. It never looks matronly.' This was one of the final dresses of the show and a beautiful example of all of those comments by the press. I am also very happy to have found the runway photo. With 137 looks shown finding this exact one from the handful of shots that are out there of the collection is almost miraculous. In addition to tall of that I have included a snap of the original sketch and fabric swatches from the boxed book set "Yves Saint Laurent Haute Couture: L'oeuvre Integral 1962-2002". The dress has so much structure and form to it but once on the body it sits just perfectly and transforms into something magical.  It is an exceptional and well documented example of Laurent's Haute Couture work that he was doing during this time period.

A silk taffeta in a jeweled toned fuchsia sweeps across the top of the bodice and then extends down to form each sleeve. The fabric is gathered and ruched down the length of each arm. The shoulders are left bare to balance out the volume underneath and have that expanse of skin for a touch of sensuality. Under the fucshia is a wide band of a  slightly metallic copper silk that goes from the top of the bust the the slightly dropped waist. The silk has been gathered along each side to create soft pleats that wrap around you. The skirt comes out from under that in a series of soft gathers that open up to allow it to be quite wide by the time it reaches the hem. The underskirt is made from a pale purple silk and that is covered in a top layer of French black lace. The lace is hand made and has a stunning floral design set within medallions. These are repeated throughout the lace to create the beautiful pattern that you see. I love that the bottom edge of the lace follows the curving shape of the design that is in the lace. To finish Yves wrapped a wide green silk ribbon around the waist. This unusual colour choice is spectacular when you see it all together and on the body. This is a spectacular example of his work and a piece you would only ever normally see in a museum. Excellent condition 

Fully lined through the bodice in a black silk. There is a built in silk covered elastic that is attached and wired right between the breast for a slight bit of support and then that wraps around you and hooks to close. It closes with a side set zipper and has an inner waist stay that hooks to close. There is a series of snaps above the zipper that run under the arm seam. Each sleeve zips to close at the wrist. The exterior layer of the skirt closes with its own a hand set side zipper. The silk ribbon belt is tacked into place on either side of the waist. On the interior of the skirt at the inner waist the fabric has been folded down and it looks like it would be possible to lengthen the skirt from there by just about 4". It looks to have been worn very little if at all.

Sleeves: 20" from where they start off the shoulder 
Bust: to 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to slightly dropped seam at the waist
Skirt: 38" from the slightly dropped seam at the waist to the hem

Modern Sizing Equivalent: SML-MED

Item# DD3598

Reference Photos: (1) Fall 1990 Yves Saint Laurent Haute Couture Runway Collection.  /  (2-3) From the book "Yves Saint Laurent Haute Couture: L'oeuvre Integral 1962-2002"

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Guy Laroche began working for Jean Desses in 1949 and eventually launches his own Haute Couture label in 1957 as a full member of the Chambre Syndicale de la Mode Parisienne.  He became known for his color sense and the young, sexy look of his clothes. In 1985 he won the Haute Couture Golden Thimble award and two years later he was awarded the insignia of Chevalier de L’Ordre de la Legion d’Honneur. His second Golden Thimble was given posthumously after his death in 1989. Michel Klein took over the couture division where he remained until 1996. This dress is from Klein's tenure as the Haute Couture director and label and it is a beautiful example of the work he was doing during his tenure there. Laroche once was quoted as saying “It is my intention to try and adapt haute couture to modern requirements: to make dresses that are simple and chic.” and I feel that this dress tries to live up to that thought while still maintaining the feel of couture during this mid-nineties.

This is the type of piece that is so bold and edgy that you will only ever find it in a Haute Couture piece. I feel like whoever ordered this one had it tweaked slightly from the runway presentation and made it better. The bodice is scooped across on a more graceful line (I don't love how it fits Kirsty Hume who is the model in the photo) and the back skirt feels longer. They also eliminated the bow at the front, opting instead for a single long panel falling at the back that matches the colour and fabric of the skirt. These small details add up to a big difference in how it presents. I also feel that the fit overall is far better then how it appears on the runway. It makes me wonder if there was a last minute substitution of the model for this piece, because in person the dress that I have here is a far better cut and fit overall then how it looks like in the runway shot. The dress is a mini dress that has an attached long panel on the skirt that wraps part way around you to leave the full front open under the mini skirt. The bodice is scooped wide and low at the front and made from a pale taupe silk. It extends down past the waist so a very short mini skirt that has a slight flare to it as it reaches the hem. The long skirt wraps around and is attached at the side of the waist. It is a soft olive toned green and done on that same rich heavy silk that has a slight satin finish. It falls to the floor in a long smooth drape of fabric. A wide silk cummerbund wraps around the waist to give shape. This narrows down at one end and hooks into place under a long swooping gold brooch which I believe is gold plated. The cummerbund has a long panel attached at the back and I have left it hanging as an extra panel. You could probably be clever and wrap /tie it to create a bow effect if you wished to emulate the runway photo more. The darkness of the sash around the waist is then picked up by the spectacular sleeves. Each is made out of a deep blue-black silk chiffon and are cut extra long. They are also cut wide and full to fall at an angle at the end of each sleeve. This bit of softness and transparency the sleeves have contrast sharply to the rich silk the rest of the dress is made from. It is a very unusual dress and shows the experimental side of couture. This is one of those dresses that when the right person wears it, it is going to blow people away. Excellent condition with a minor note below.

Fully lined in hand set silk that matches the colour of the exterior silk that is being lined. The sleeves are unlined. The dress closes with a hand set hidden back zipper and then there is another zipper that closes the inner mini skirt. The sash at the waist wraps and hooks into place. The brooch is detachable and shows sight patina on the gold. Proper couture label present. The dress is entirely made by hand to Haute Couture standards. The inner silk of the long skirt is scuffed near the hem and I see slight grubbiness along the hem on parts. Please see the shot after the label photo.

Sleeves: 34" to the longest point
Inset shoulders: 12"
Bust: 16" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 16" flat across from side seam to side seam
Mini dress length: 31" from top of shoulder to hem
Full Length: 60" from shoulder to longest point of the hem
Waist sash: 26.5" in length to where the hooks presently sit with an extension past that that wraps and hooks into place

Modern Sizing Equivalent: XS-SML

Item# DD4012

Reference Photo: Fall 1994 Guy Laroche Haute Couture Runway Collection on Kirsty Hume.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.