This is Pierpaolo for Valentino and it is a beautiful example of how wonderful he could cut a dress. Over the course of his time at Valentino he did several variations of these dresses and each is beautiful. Its simplicity makes it easy to wear and very flattering once on the body. It has a minimalist feel but is still striking. The colour is infinitely gorgeous on almost every skin tone. It is a beautiful dress. 

The dress has this fabulous almost sculptural feel with is simple cut and that beautiful fabric that is done in the house signature red. Its full coverage keeps it feeling very refined and elegant. It is made from a red wool and silk mix that feels very high end. This fabric choice keeps it fairly light in weight but it still has enough structure to hold that gorgeous shape that you see. The neck is a shallow scoop and the bodice is cut to skim over you.  The shoulders are shaped but soft and the sleeves are long and slightly taper down to the wrist. The waist is brought in with top stitched vertical seaming that runs all the way down to the hem. The skirt falls from there to the floor and is in its original uncut length. All of the seaming on the dress is vertical and the skirt is shaped to fall in those beautiful rounded folds. The panels within the skirt are each the exact same width as the ones beside it. It is all cut exactly and precisely so that the skirt balances and falls perfectly in the routed shape that it has. This gives it this pretty and graceful curve from the sides and also adds the sense of sweeping skirts as you walk away. The dress is fabulous on the body and it is beautifully finished. Excellent condition

Fully lined in a fine red silk and closes with a hidden back set zipper. Perhaps a tiny bit of grubbiness at the edge of the hem but otherwise appears to have been worn very little if at all. Tagged a Valentino 38

Sleeves: 24"
Shoulders: 14'
Bust: 16-16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 63" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4966

Reference Photo: Credit unknown.

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.

During John Galliano's years from 1996-2011 at the house of Christian Dior he arguably produced some of the most amazing bias cut and glamorous dresses in the house's history. His work often has a feeling of the decadence and abandonment of the twenties and thirties with their beautiful cuts. They mix Old Hollywood with the minimalist spirit of the nineties and early 2000s. This is an amazing example of his work from Fall 2006 and it is gorgeous. Look 7 from the runway was a very different dress but did have similar bead work on the skirt so I have included that here as a reference. This version was made for the shops and like all more elaborate bead work pieces he did would have only been released in limited quantities. It is a really beautiful dress.

This is a really striking dress that is very easy to wear. The dress is made from three layers that are attached at the top of the shoulder and then float over each other from there. The inside layer is a black silk chiffon and then there is a layer of black silk tulle over that. The very top layer combines a silk net with black silk lace. The outer layer is beautiful. The lace is placed at the top of the bodice and then again around the hem. The dress has a very loose and easy cut through the body. The bodice dips into a V at the front and it does the same at the back. The lace is set into the netting underneath in a pretty little curving scalloped design. I love how the edge of the neckline and the openings for the arms have the lace detailing and then the hem is also finished with lace. Just under the hip on one side there is a beautiful design that combines metal strands, tiny seed beads, larger tube beads and prong set crystal rhinestones. These are all set by hand and you can see that on the back. The design trails down the side and across the front of the hem as well as partway around the back hem. A tiny little slit sits on one side of the hem near the bead work and he has gathered it up with a stitch, which gives the hem a bit of an asymmetrical feel. It is truly a special and beautiful example of his work. Excellent condition 

The inner silk chiffon and middle tulle layer act as the lining underneath the top layer. The middle tulle layer has hidden set snaps down one side but the inner silk layer and top layer have no closures. You just slip it over the head to wear. Tagged a F38 GB10 IT42 US6. 

Bust: 15-17" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Total Length: 59" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4754

Reference Photo: Fall 2006 Christian Dior, Look 7. Model Doutzen Kroes.

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This is a stunning Christian Dior dress by Raf Simons from the Fall 2014 collection. Its twin walk the runway for Look 21 in the show. It is also one of the most photographed pieces from that show. You will often see a more simplified version of this dress for sale but this is the twin of the actual runway dress and is a rare and special find. In the book Dior: Catwalk the write-up on the show states: "This season I wanted to propose a new woman" said Raf Simons, "A woman with power and energy in a very definitive way. I wanted to pursue powerful tailoring, to offer another reality, another function. This season is less about the leisure of the garden and more about the pace of the city. I am attracted to the reality of the urban world and environment." They also noted that these dresses were meant to be a modern play on the classic 'Bar' shape established by the original Mr. Dior. Vogue noted that it was impossible for Raf to design anything that didn't come straight from the heart and I love that sentiment. It is extremely beautiful and perfectly representative of Raf's time at the label and what his vision for Dior looked like. 

This was one of a series of dresses that were composed of two pieces. Each had a simple shift like under-dress with a more elaborate top layer that was deliberately cut so that it needs its contrasting under-dress to really makes sense. Both could potentially be worn individually but they are better and feel complete when worn together. The dresses were done in a variety of colours and this bright blue and vivid orange combination was one of my favourites. It was a favourite of the fashion crowd and was also used in the Dior campaign and shot for the Dior magazine that season. 

The silk under-dress is a simple shift shape with a scooped neckline and no sleeves. There is darting around the chest area and it comes in just slightly at the waist and then flares out a touch as near the hem. It is backed in a matching silk and the entire thing has the feel of exceptional quality. Its bright orange colour is in sharp contrast to that electric blue top layer. The over-dress that slips on over the orange shift dress is made from a combination of wool and angora. This gives it a lovely soft texture. The front curves down into a deep V that allows the under-dress to show. The waist is highlighted with a softly gathered band of the same blue. The skirt under that is incredible. It is made out of long vertical panels of the fabric and they are split or have open seams all the way around the skirt. When you walk and move the orange under-dress shows in sharp contrast against the blue. I love how the dress closes down one side at the back so you get this beautiful unbroken line above and below the waist line. At the front to one side there is a spray of coloured glass crystals and bead work that run across the front of the main split. I have taken several shots of this and you can see how it is perfectly matched on either side of the split. Phenomenal. It is an amazing example of his time at the label. Excellent condition with a minor note below.

The inner dress closes with a hidden set seam at the back and it is lined in a matching orange silk. The inner hem has ribbon seamed edges. I see perhaps a tiny touch of grubbiness around the edge of the arm hole but I am being very picky. There is a tiny spot on the front. The over-dress hooks to close at the back side waist and this piece slips over the head to wear. It is lined through the bodice in a matching blue silk and the skirt is unlined. I see slight wear to the fabric around the edges of the arm holes and perhaps the tiniest bit of change of colour along the very edge. Again, I am being very picky and both pieces present perfectly once on. Please see the photos after the label shot. Tagged a FR38, GB10, IT42, US6

Inner Dress
Bust: 16-17" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Total length: 31.5" from top of shoulder to hem with 3" turned under the hem

Outer Dress
Bust: 17-19" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Total length: 46.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4940

Reference Photos/Video: (1-7) Fall 2014 Christian Dior, Look 21. Model Lexi Boling.  /  (8) Fall 2014 Dior Campaign by Willy Vanderperre.  /  (9) Hanne Gaby-Odiele for Dior Magazine.  /  (10) Alessandra Ambrosio for Vogue Spain, photographed by Alexi Lubomirski, November 2014.  /  (11) Olivia Palermo for HELLO! Fashion Magazine, October 2014.

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 was Look 27 on the Spring 2011 Prada runway. It was the first of three variations of dresses that featured extensive and whimsical embroidery over them along with the beadwork around the hem. The dress was an instant hit. You saw it in editorials, on celebrities and it was used in the ad campaign that season. It is also featured in the book Prada:Catwalk. This dress is noted in particular in that book where it says "a beachy feel came through in those prints again, and in Mexican embroideries across the front of a white sundress. There were shades of Josephine Baker also here, emphasize by the model slick pin curled hair – just the lightest touch of history in case anyone might forget where they were and the deep understanding of culture that entailed. Bar the furs and jangling plastic beads at hems, the clothes in this collection were entirely made from a cotton – sensible, hearty, humble. The collection was extraordinarily bold: an immaculately executed fashion statement that couldn't have been more confident, clear or right for its time." Muiccia herself called it "minimal baroque". 

This is a fantastically rare dress and it is exceptional and important part of Prada's history. As noted above, the dress is made of a crisp white cotton. It is adorned with a heavy finish of embroidery to create that print that you see going across the dress is all the way around you. It is suspended from the shoulders by straps made of the same fabric. The dress itself is the simplest of cuts. The front has darts to create a bit of shape around the breast and then it has a touch of a barrel shape through the body. The waist and hips curve outwards and then the hem comes in slightly. The back dips down for an expanse of bare skin to show. A dancer is in full stride with a huge headdress and skirt are a nod to the great Josephine Baker. Bright bold colours swirl across you and around to the back of the dress and the embroidery work is fantastic to see. It has a slight 3D texture as it sits slightly up and off the dress. The hem of the dress is equally as fantastic and has a finish of braided silk cord and large beads that dangle and jangle all the way around the hem. It is just phenomenal. Excellent condition with a small note below.

The dress is fully lined in a white silk chiffon and zips to close at the back. I see one round bead missing at the back and a smudge of a mark near on the lining near the label. It otherwise appears to have been worn very little if at all. The open cut should allow it to fit a range of sizes. It will just fit more over-sized on a smaller frame.

Bust: to 17" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Total length: 36" from top of shoulders to actual hem, 39" to the bottom of the bead work

Modern Sizing Equivalent: XS-MED

Item# DD4939

Reference Photos: (1-5) Spring 2011 Prada, Look 27. Model Daphne Groeneveld.  /  (6) Spring 2011 Prada Ad Campaign.  /  (7-8) Bruno Mars and Joan Smalls Photographed by Peter Lindbergh for Vogue, June 2011.  /  (9) Miroslava Duma in Prada, 2011.  /  (10) From the book "Prada Catwalk: The Complete Collections" by Susannah Frankel.

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 Spring 1984 collection and it's twin walk the runway that season. It is a dress that I have had in the shop before and I am always so happy to find one of these because it's just exceptional. Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. He was one of the forerunners in being able to mix simple styles with luxurious materials. His evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period.

The dress is made from a purple silk that has a vivid pink ruffle that runs all the way down one side. The way that the pink is attached to the dress t is fantastic. It makes it feel like it has been wrapped around you and tied into a dramatic bow at the shoulder with the ties left to trail down to the floor. The pink is gathered all the around the bust area and then swoops up to the bow at one side. A tiny pink strap is hidden underneath the bow so that the dress stays perfectly in place. This leaves the other shoulder bare. The silk runs down the side of the dress from there in an attached ruffle of silk all the way to the hem. Under the bodice the dress is cut to feel more generous and easy and it widens out it falls to the floor. I love it. It appears to have been worn a very little if at all. Excellent condition

Fully lined in a deep purple silk. The inner bodice closes with its own zipper and then the dress zips to close over that with a hidden set zipper. Lightly boned through the inner bodice.

Bust: 16.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam and the outer waist goes to 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from top of shoulder strap to hem

Modern Sizing Equivalent: XS-SML or a small busted MED

Item# DD4109

Reference Photos: (1-2) Fall 1984 Bill Blass Runway, Model Dalma Callado.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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 was shown in a more colourful mix for the look book collection presentation. You can also see the same black, white and gold sequin pattern that you see on this dress used in other pieces of that same collection. When the collection was produced for the shops they decided to make that pastel colour dress in this colour way as well and it is equally as phenomenal. Pierpaolo shot the collection himself and all of the pieces were worn by his longtime friend Mariacarla Boscono. This was due to the timing of this collection, which was during the lockdowns. The focus was on workmanship and craft. So much so that Vogue noted that 'He has imbued the rarefied world of couture with emotional values—exposing and revealing its craft and handmade processes, and shining a light on his team of seamstresses and artisans as essential players behind his fabulous creations.' Piccoli said of the collection that 'It’s a radical simplicity though, I wanted to be even more radical, in that the simplicity I’ve tried to achieve in shapes, volumes, and construction comes at the end of a process of resolved complexities. It’s a study and a project on cut, proportions, balance. Reducing and subtracting to reach the core, something essential and pure—but not more banal. Simple, not simplified.” .' This is one of my favourite Valentino dresses of this collection. It is exquisite.

This dress is such an extraordinarily special piece and it feels thoroughly Valentino. Spectacular sequin work covers the entire dress and it is just a joy to see. This may not be couture, but it certainly feels like it should be. The dress is made from a double layer of a pale ballet blush coloured nude pink netting. Inside it is lined in a slightly deeper colour chiffon. The two fabrics layered over each other, gives this wildly airy feel and keeps the dress light in weight. The netting has a touch of transparency to it between the sequin pattern, but the underlying chiffon keeps it opaque enough to wear. I love that Valentino goes to these lengths to choose the most beautiful fabrics to bring a dress to life. It is part of what makes the exceptional beauty of the pieces from the Pierpaulo era. The lightness of the netting combined with how much of it there is, is what lets it move so beautifully over the body once it is on. When you walk, the fabric of the skirt and those fantastic caped sleeves catch the air and billow out around you. The entire dress has been finished with a stunning pattern of flowers and curving, flowing designs that are completely done in sequins. The sequins range in size and are done in only three colours - a dark white, a gold, and a black. The contrast of those stark colours against that soft blush background is absolutely beautiful. The neckline is scooped and the shoulders are soft. It skims over the bust and has a very simple cut so that the sequins that completely cover the front and back can take centre stage. The waist is brought in, but with a slightly generous cut, so that it skims perfectly over you. The skirt falls from under there to the floor in a sweeping expanse of netting. It widens out as it nears the hem and by the time it reaches the bottom of the skirt is extremely full. There are yards of fabric in the skirt and this gives it a floating effect as it moves around you. On the skirt the sequins are over that expanse of netting and it is like wearing a piece of art. The sleeves are wonderful. Each is almost a full circle around and they fall over your shoulders with a touch of a caped feel. They are also covered with sequins. There is a second layer of tulle underneath that helps to support and hold the shape. They are so pretty and feminine. The precision in cut and vision of how the pattern should sit over the entire dress to have this all fall and move so beautifully should not be underestimated. It appears to have been worn very little if at all. Excellent condition

The dress is backed in a second layer of the netting and it is lined in chiffon as described above. It closes with a hidden set back zipper. The netting has a bit of a bias cut to it and I have put the comfortable range of measurements below when laying flat. The bottom hem of the tulle is intentionally left raw. Tagged a modern 40. The original price tag would have been well over $20,000. It is spectacular in person.

Sleeves: 14" and are approx 19" around the upper arm.
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Waist: 14-14.5" flat across from side seam to side seam
Inner hips: to 26" flat across from side seam to side seam
Bodice: 16" from top of shoulder to waist
Total length: 64" from top of shoulder to hem

Modern Sizing Equivalent:  SML-MED

Item# DD4925

Reference Photos: (1-3) Resort 2021 Valentino.  /  (4) Janet Gretzky wearing Valentino at Paulina Gretzky's wedding, April 2022.  /  (5-6) credits unknown.

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 dress that did not make the official lookbook photos released, although you can clearly see a glimpse of it in the video produced for resort that season. I love that they chose to make this in the ivory and gold and it influenced Look 63 for the Spring collection that was done in a vivid yellow. The dress is more soft and romantic in this colour. Vogue said that 'Pierpaolo Piccioli had his Resort collection photographed in Rome’s Orto Botanico, a green oasis in the center of the city with giant bamboo stands and towering palm trees.' This is one of my favourite Valentino dresses of all time and it is exquisite.

I love this dress. It really is one of my favourite Valentino pieces and it instantly recognizable. When you add in that spectacular array of feathers, rhinestones and gold bead work that covers the entire dress, it is just a joy. The dress is made from a fine and very light weight virgin wool and silk mix that gives it it's rich, luxurious feel. It has just enough weight to hold the shape and support all of the embellishment on it, but it is still light enough to wear comfortably. I love that Pierpaulo's Valentino always went to the extra lengths to source and use such beautiful fabrics. It is part of what makes up the exceptional quality of their pieces. Pale ivory ostrich feathers cover a large portion of the dress and this gives it such beautiful movement over the body once it is on. The neckline is simple and the bodice is cut to skim over you to the seam at the waist. The skirt is set into the waist in a series of soft gathers and has a more generous feel to it. The skirt falls to the floor from there, widening out gently as it nears the hem. The sleeves are set into the bodice with a slight capped feel to them. As they fall down the arm they widen out into an almost bell shape and then are brought back in at the cuff that snaps into place around the wrist. The entire dress has been covered in vertical rows of little gold tube beads. At the top of the dress they sit in neat little flat rows but then just around the bust area he started adding beads that actually sit up and off the fabric. I have taken some detailed shots so you can see what I mean. This adds to the incredible textile feel that the dress has. Scattered in in among the rows, are sequins and little rhinestone feeling beads that give the dress a little extra sparkle in the light. The entire bottom portion of the sleeves and the skirt are covered in a massive amount of ivory feathers to make it truly spectacular. The slightest movement causes the feathers to catch the air and move around you to give the dress this wonderful airy feel. The construction throughout is beautiful and meticulously done. An exceptional Valentino end it is a a dress that might make a spectacular piece for a bride who does not want to go the traditional route or as part of a wedding weekend. Of course it could be worn to any glamorous occasion and would be the highlight of a Valentino collection. Excellent condition

Fully lined in an ivory silk and it closes with a back hidden set zipper. The feathers are in excellent condition with no shedding. Dress appears to be worn very little if at all. Tagged a modern Valentino 38.

Sleeves: 24" with the end of the feathers extending past the end of the sleeve by several inches beyond that measurement. They are 14" around the upper arm
Shoulders: 14"
Bust: 16.5-17" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Length: 59" from top of shoulder to end of feathers at the hem

Modern Sizing Equivalent: XS-MED

Item# DD4919

Reference Photos/Video: (1) Screenshot from the Resort 2020 Valentino Video.  /  (2-3) Spring 2020 Valentino, Look 63.  /  (3-5) Caroline Daur at the Valentino Haute Couture Show for Paris Fashion Week, January 2020.  /  (6) Alessandra Mastronardi in Valentino at Valentino's Born in Roma Ball, 2019.  / (7) Credit unknown.

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.

A long sleeve version of this dress walked the runway for Look 88 in the Spring 2016 runway. This is a dress that is truly a work of art. In 2016 Valentino was headed by both Maria Grazia Chiuri and Pierpaolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. The show was based on Africa as its inspiration and at this period of time the world was watching refugees attempting the journey to Italy. In the Vogue review for this collection Maria and Pierpaulo were quoted as saying; 'We probably feel that the greatest privilege in doing our work is that fashion can give a message,” said Chiuri. “We think every person coming here is an individual, and we can show that we can improve ourselves by understanding other cultures.'... 'The message,' added Piccioli, 'is tolerance. And the beauty that comes out of cross-cultural expression.' Many of the pieces fused both Italian and African traditions , 'They met in the textiles' they stated. This dress was one of the most stunning looks of the show and the combination of netting and ivory bead work it was made out of made it one of the most beautiful. 

The lines of this dress are wonderfully simple and yet it still feels glamorous with the head-to-toe bead work. It is a dress that it is even better in person and on an actual body. As with many Valentino pieces the dress has a bit of a bias cut to it through the body so draped wonderfully once on. The dress is made from a nude silk netting with another layer of that netting backing it. When it went to the shops it was sold with a matching nude silk chiffon slip and this lets you wear it either with the slip so that you are opaque through the body, or if you dare, you can wear it without and then you have that amazing transparency between the bead work. The dress is completely beaded from the top of the shoulders to the hem. It is very beautiful. The neckline is high and I love how he created a bit of a ruffled effect there with the netting and beads. It skims over your bust, past the waist and starts to widen out over the hips. From there it falls to the floor. The skirt gently widens out as it nears the hem. The dress is in its original uncut length. The bead work that covers the dress is stunning. It is set to highlight the lines of the dress and combines curves with more angular patterns. That front panel that starts just below the waist is done in tiers of the same little ruffled netting and bead work that you see around the neck. This falls all the way to just past the hem and it adds the perfect softness and added texture to the dress. The beads are a combination of tiny matte finished ivory seed beads and iridescent ivory tube beads. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. It appears to have never been worn or worn very little. Excellent condition

The dress is backed in a second layer of the nude netting and it comes with a separate silk chiffon slip. It closes with a hidden set back zipper and the slip slips over the head to wear. I see one tiny mark on the inner slip. It otherwise appears to have never been worn and has its original hang tags. The netting has a bit of a bias cut to it and I have put the comfortable range of measurements below when laying flat. Tagged a modern 40. The original price tag would have been well over $20,000 even then. It is spectacular in person.

Dress
Sleeves: are 12" around the opening
Shoulders: 14.5-15"
Bust: 16-17.5" across from side seam to side seam
Waist: 16-16.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Total length: 61" from neck to hem and the front ruffled panel falls about an inch past that

Slip
Bust: to 19.5" across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Total length: 59.5" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4917

Reference Photos/Video: (1-5) Spring 2016 Valentino, Look 88. Model Liza Ostanina.  /  (6) Franca Sozzani at the Vogue Fashion Dubai Experience, 2015.

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.

In the book Chanel: Catwalk they called this collection "Concrete Baroque"  because of the innovative use of concrete within the collection. A material you definitely do not normally associate with Couture. The set was minimal and was inspired by a penthouse owned by the eccentric art collector Carlos de Beistegui in the 1930s. That penthouse featured an outdoor fireplace with a circular mirror set against a concrete wall and Karl incorporated that into the set. 'I like the idea of baroque elements and modern touches. This is the theme of the collection concrete with Baroque elements – la corbusier goes to Versailles'.

What is remarkable about this collection is that actual concrete was used throughout the pieces in the collection. It was formed into miniature tiles and used as embroidery, jewellery, buttons, braiding and mesh. In the recent Netflix show on the 90s, it is noted by Andrew Bolton, the Met Museum Director, that the process took about four years to develop. Lagerfeld stated that he 'liked the idea of using materials you wouldn't normally use for Haute Couture.'

The book also notes that several dresses were directly moulded from neoprene. Lagerfeld joked that this was 'Couture without seams'. This twin of this dress was Look 36 in the show. It was shown with a little vest over it that my client did not purchase. The pieces were sold separately. This is a modern day masterpiece and an exceptional dress from this collection.

The dress is made from neoprene as noted below and it is almost devoid of seams with only curved darts at the bust besides the bare minimal seams needed to construct the dress. The colour is a very pale ivory and has perhaps a touch more ivory than how it photoed. The hundreds of little square beads that you see are indeed that concrete material as mentioned above. They circle around the neck, the hem, run around each cuff and define the waist. A band of them runs down the front and the back and he has used them to create the idea of two little pockets on each side of the hip. They held into place by silver thread. Each individual tile was cut by hand and then carefully drilled with a small hole to allow the silver thread to be passed through it. Each would have been applied by hand. Again, it took four years to develop the technology to be able to pull this off. The dress is completely assembled by hand and it is lined with a beautiful silk lining. The proper Chanel label and numbered tape underneath is in place. This would be an exceptional dress for a bride who doesn't want to wear something traditional or perhaps as a piece for an event around a wedding weekend. And of course it would be a highlight of any Chanel collection. Excellent condition with a minor note below.

Fully lined in a hand set ivory silk and closes with a hidden set back zipper. There is a very small bit of pilling here and there, but it is extremely minor. All of the concrete tiles appeared to be fully intact and present. The Couture tape is under the Chanel couture label. It is exceptional.

Sleeves: 8" and are 12" around
Shoulders: 15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Total length: 33" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4912

Reference Photos/Video: Fall 2014 Chanel Couture, Look 36. Model Charlotte Coquelin.

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.

When searching for the date of this dress, we found a runway piece from Fall 2003 that has very similar ribbon edged detailing through the skirt. A dress from the Haute Couture collection that season also had a bodice with a similar feel that this dress has. We have included both of those references for you here. I love that you can get an idea of how well it moves by the runway video and I think that this dress is even better than the one that walked the runway that season. It is truly a beautiful and extraordinary dress and a gorgeous example of the work the original Mr. Valentino was doing for his label.

This is one of the most beautiful Valentino dresses I have ever seen in all of my years of doing this. It is very light in weight and feels like a dream on the body. The dress is suspended from silk straps that have rows of tiny black seed beads covering them. More seed beads detail the upper and lower edges of the bodice. Between those are an extraordinarily beautiful floral pattern that combines a dense design of sequins and beads. These are set on a black net so all of the space is between the floral pattern has a slight transparency once it is on the body. The way that the beads and sequins have been applied give it a slight 3D feel that I love. The waist is detailed with a gathered panel of silk chiffon and he has added a little band of silk ribbon over that that ties in a sweet little knot at the front. The skirt falls from under the bottom of the band at the waist and it is a work of art. Six tiers of silk chiffon cascade down the skirt to the floor. Each tier gets wider as it near the bottom of the dress and each tier is finished with a black silk border that has been set along the edge of each ruffle. The way that the edging has been sewn onto the silk chiffon is what creates these beautiful little ruffles all the way around you. It is genius. The movement that this gives when the dress is on the body and you move is magical to see. It is just one of those dresses that when you see it, you know it is so very special. I can't rave about it enough. Excellent condition.

The bodice is lined in a black silk chiffon skirt has inner lining of black silk organza. It closes with a hidden set side zipper. It appears to have been worn very little if at all. Hand finishes

Bust: 16-17" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 17" from top of shoulders to top of the 5" band at the waist
Total length: 61" from top of shoulders to hem

Modern Sizing Equivalent: XS-MED

Item# DD4910

Reference Photos/Video: (1-2) Fall 2003 Valentino, Look 71.  /  (3) Fall 2003 Couture Valentino, Look 49.

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 pair behind the La Mendola label met in Rome in 1960 and started their business making dresses and selling them one by one, piece by piece. In 1967 they opened a shop. They soon had a Hollywood following and mega stars like Elizabeth Taylor and Rita Hayworth become regular clients who were buying and even wait-listing for pieces as they were produced. They made all of the pieces in their ateliers and designed their own prints. Clients would be sent swatches of the season's available prints and then they would place their orders. They were highly sought after by the jet set crowd. Their pieces travelled extremely well and the colours they used were beautiful. Their atelier closed in 1974.

In the past I had one of their dresses come into the shop and the original owner of that dress had kept the fabric swatch options for the 1972 season along with her correspondence with the atelier. They named all of their prints. I kept a digital copy of it so I know that this dress is a version of their Paridiso print. The fabric that they used for their pieces were very high end chiffons and jerseys and this dress is made from one of those silk jerseys. It is beautifully light in weight. This fabric was prized for its ability to take colour and print. The dress is as bright and vibrant as when it was first made. The pinks used in the print are gorgeous and it is even better in person then how it photoed. The dress has a high neck that extends out from the dress without any seam. I love this small detail because it shows the attention to detail this takes and the masterful cutting the dress has to achieve this without seam work. The sleeves are long and easy. The cut through the bodice is simple and it skims over you, past the waist and over the hips. The skirt widens out just a touch as it nears the hem but still keeps that long column feel it has. At the back it closes with a row of tightly spaced silk jersey covered buttons, a finish that was a signature of the house. The jersey has some stretch and is very light in weight so wearing this is a dream. It is stunning. Excellent condition

Unlined and closes at the back with that row of tightly spaced silk jersey covered buttons. The fabric the dress has stretch and this combined with the easy design of the dress should allow it to work on a variety of sizes. Hand finished throughout. The measurements given are the comfortable stretch when laid out flat. The photo of the swatches is from that previous dress. The actual swatch card is not included. 

Sleeves: 23.5"
Slightly dropped shoulders: 16.5"
Bust: 18-22" flat across from side seam to side seam
Waist: 16.5-20" flat across from side seam to side seam
Hips: 18-23" flat across from side seam to side seam
Total length: 59" from neck to hem with 2.5" turned under the hem

Modern Sizing Equivalent: SML-LRG

Item# DD4908

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

I am always thrilled to find a really great Emilio Pucci piece. The truly great ones are getting very hard to find and this one is exceptional. By the 1960s, the time period that this dress is from, Pucci was a world-wide phenomenon. Hollywood stars like Marilyn Monroe, Sophia Loren and even Jackie Kennedy were huge fans. For all of the many attempts since to catapult the label back to the height of its glory, the days when Emilio himself oversaw the label and designed the prints will always be the most special to me. It is very rare to find documentation on these early pieces and to have that for this one makes it extra special.

This is one of the prettiest Pucci pieces I have ever had in the shop. It is a gorgeous combination of a pinks, ivory and soft pastels. These colors are combined in a beautiful curving and graphic design that sweeps over the entire jumpsuit. The cut is very flattering. The neckline curves in a slightly upward slope across the front and then the back curves down. There is a full inner bodice built into this one that is lightly boned and made out of a heavy almost grosgrain feeling fabric that sucks you in and holds the jumpsuit in place all around you. The waist is seamed and I have added a pretty pale, pastel dusty pink ribbon that will be sent with the jumpsuit. From there the pants flare out to the floor. Each leg opens up to have tremendous volume. They are fully through the upper leg and then the  lower leg is finished with the bottom ruffle that is over 5 feet around the hem. The movement and drama that this creates when it's on is absolutely wonderful. I cannot gush enough about how fantastic the legs are on this jumpsuit. As is typical in a Pucci piece, he has used bands of a different printed silk to define the neckline and bottom hem on each pant leg. On this one, the borders are pretty little stripes made up of the main colours in the print. That combined with the way that he has pleated them to give it a bit of a ruffle feel is the perfect finishing flourish on the jumpsuit.  It is very feminine but sexy at the same time. I absolutely love it. You will probably never see another one like this. It is exceptional. Excellent condition

Unlined through the body of the jumpsuit, and there is a built-in boned corset as described above through the bodice. It closes with two zippers, one that is on the inter corset and one that is on the exterior silk. An inner waist stay hooks to close.

Bust: 16-16.5" flat across from side seam to side seam
Inner waist: 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 10" from top seam to waist + 2" for the top ruffle
Pants: 40" from the waist to the bottom of the ruffles at the ham, 42" to the back
Inseam: 28" and the gusset is 12.25" from back of waist to inner leg seam

Modern Sizing Equivalent: XS-SML

Item# DD4907

Reference Photo: Emilio Pucci S/S 1969 "Capri", "Arcate" print. Photo Sandro Morriconi.

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.

I have had this tucked away in my archives for quite some time and it is spectacular. This is a gorgeous little skirt and halter top set that is a fabulous example of how unique her work could be. Of all of Thea's pieces are so special. Many were one-offs or were made in very limited quantities. She often thrifted and sourced odd bits of fabric and seemed to design with things that caught her fancy rather than have a solid theme season to season. Everyone who was anyone wore her work back in the day, including Elizabeth Taylor who was a huge fan and collector. This set is just spectacular and it is a very special piece.

These skirt and cropped top sets really showcase what the seventies flower power / hippie movement was all about. This set is especially fascinating with its screened wildlife covering both pieces and then the corresponding text that feels like it is from an encyclopedia explaining the different animals shown. The top is a simple halter type top that hooks into place behind the neck and then the bottom wraps and ties around you. When off the body you see that it is one elongated triangle with a strap that goes around the neck and then on each side the fabric extends out into long ties. I shot it with the ties at the back so you could get the full impact of the print on both pieces but you could also choose to wrap the ties to the front. The ties also lets you control how short or long it sits on the torso. You can wrap and roll the fabric so it sits higher or you can leave it where you see it in these photos. The skirt is equally as easy to wear. It has no band at the waist so that the text and photos printed on it are not broken up in anyway. It widens out dramatically to the hem from there. I took a photo of it laying out flat so you can see how wide the bottom hem ends up being. The fabric is a cotton that is a decent weight so that the shape is held. The combination of text and what looks like hand painted animals, but are actually screened into the fabric, is fantastic. It is gorgeous and I love that because it is two pieces you can mix and match it with other things in your existing wardrobe. This was almost certainly a one off and very rare. Excellent condition

Both the top and skirt are unlined. The top is as described above. The skirt zips to close. Both pieces appear to have been worn very little if at all.

Top
It is flexible in size since it wraps and ties and has coverage across the front. The front halter is 17" from side to side with no true side seams and is 13.25" long from neck to bottom.
Neck: 14" from end to end

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4898

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 the second time I have had a version of this dress in the shop and I love it even more this time around in this deep brown colour. This version of the Thea Porter label was only produced between October 1971-March 1972. Laura McLaws Helms, the author of the book "Thea Porter, Bohemian Chic" verified that it was from the Fall 1971 collection. Some of her pieces are so difficult to date and I love having the date on this wonderful dress. 

This is a beautiful example of Thea's work with a brown cotton gauze base that has pink and ivory diamond medallions scattered over its surface. The fabric has a touch of sheerness to it and it is unlined through those incredible sleeves to take full advantage of that. The front dips down in a V and the bodice is fitted over the bust. The waistline sits a touch high for a slight empire waist feel. The skirt flows down and out from there and I love the wide set flat pleats that give it fullness when you move. Each sleeve is cut with a wonderful fullness that widens to a puffed balloon shape over its elastic cuffs. The sleeves really add a sense of drama to the dress. Running horizontally over both the sleeves and the skirt are wide cut lace panels. These are set to circle around each sleeve and just above the bottom hem of the skirt. I love the pretty touch this adds. I personally own the twin of this dress and it is a favourite. Excellent condition

The top is fully lined in a brown silky rayon and the skirt is unlined. It closes with a back painted metal zipper. Each sleeve has elastic in the cuff. Tagged UK vintage 16 but it cut small. Please refer to the measurements below.

Sleeves: approx 25"
Inset shoulders: 12.5" with the natural shoulder falling under the fabric of the top of the sleeve
Bust: to 18.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: open
Bodice: 13.5" from top of shoulder to waist
Total length: 55" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4897

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

During John Galliano's years from 1996-2011 at the house of Christian Dior he arguably produced some of the most amazing bias cut and chiffon dresses in the house's history. His work often has a feeling of the decadence and abandonment of the twenties and thirties with their beautiful cuts. This is an amazing example of his work from the Cruise 2010 collection and it is gorgeous. "For Resort, Galliano had a series of softly draping floor-length evening dresses." said Vogue's review and that "Galliano's light touch...made the retro shapes look modern". A near twin of the dress in beige was a part of the presentation and then this is a dress was made for the shops in this stunning colour. It is so classically Galliano for Dior in its shape and cut. It is a real beauty.

The dress is made out of the prettiest pink silk chiffon that has a touch of texture running through it. It is all cut on the bias which is one of his key signatures. The bodice is beautifully cut. Twisted silk chiffon straps made of the same fabric curve up and over each shoulder and then they extend into the panels that go over the front. They crossover each other and this gives the dress that fabulous plunge. It drapes over the bodice and comes in at the waist. From there the dress drapes the the floor widening out as it nears the hem. At around the knee there are these long, triangular shaped panels sewn into the lower skirts. This is what gives it that the volume that you see. The seaming is a nod to the work you see from the twenties and thirties. The panels help to hold that pretty volume through the lower skirt and the lightness and incredible amount of fabric through the skirt gives you so much movement when you walk or move. It is stunning. A signature row of tightly spaced silk covered buttons run up one side for the perfect finish. The dress is even better in person and on the body as the static photos cannot fully convey how the dress moves once on the body. Excellent condition.

Fully lined in a matching silk and closes at the side with a hidden set zipper with a series of silk covered buttons over it. There is an extra 5 inches of the straps inside the back so you can adjust them to the perfect fit if needed. Tagged a vintage Dior F38, GB10, IT42, US6

Bust: 15-17" flat across with no true side seams
Waist: to 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 8" from shoulder to seam under the bust
Total length: 62" from top of the shoulder to the hem

Modern Sizing Equivalent: XS-MED

Item# DD4627

Reference Photos: 2010 Cruise Christian Dior Collection.

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 piece that would have been made in limited quantities for the shops and it is spectacular. It also has the significance of being from the final few years that Mr. Valentino was still designing before he retired. It is incredibly beautiful and it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event.

This soft romantic pink silk chiffon dress is stunning on the body. The layers of chiffon float over each other to allow it to drape beautifully over the body and highlight your curves. The bodice is finished with tiny and precise pleats. A panel wraps around the top of the bodice to tie at the back. Two more panels of silk are set below that on angles that cross over each other. At the side all three panels extends into long ties that you wrap and tie across your back. It ties behind the neck and then there is a final little tie at the small of your back. I love the bareness this leaves on your back. It is romantic from the front and sexy from the back. A little panel of chiffon floats around the hips and then the skirt falls to the floor. A slit runs up the front of the skirt for a flash of leg as you walk. The skirt is made of three layers of silk chiffon stacked over each other and this lets the skirt float around you as you move. It is cut slightly longer at the back so that you get a pretty sweeping feel behind you. The fabric is feather light. It is in its original uncut length. It is incredible and I love it. Excellent condition.

Fully lined with pink silk chiffon and closes with a hidden set zipper at the low back waist and ties in place above that. It appears to have been worn very little if at all. Tagged a vintage Valentino 8. The ties make it adjustable, so this should fit a range of sizes

Bust: 15-16" flat across from side seam to side seam and adjustable an inch or two from there with the back ties
Waist: adjustable with tie 
Seam at the top of the hip/ low waist: 15" flat across from side seam to side seam 
Hips: to 19 flat across from side seam to side seam
Length: 62" from neck to front hem, 75" to the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4602

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 piece done and shown for the special party and fashion show done in 2012 to celebrate Alber’s 10th anniversary with the company that year. Its twin in red was worn on several red carpets and I love that this lets you see just how spectacular it is on the body. 

The dress is gorgeous and I love the shot of the soft taupe colour against that deep charcoal black. The dress is made from a fine silk shantung and this fabric choice holds the structure and shape of the dress beautifully. The bodice is strapless and cut to hug the body to the waist. The top of the bodice is detailed with a panel of silk in that pale taupe and this folds around the top neck line on a slight angle to one side. Inside, there is a full built in hidden corset that is boned and shaped. The fabric is gathered into the waist so that it cinches in and then the skirt falls from there to the floor. On one side of the skirt there are extra silk panels that have been gathered up to one side to create that elaborate trained feel that you see. It is pleated into the side and then expands outward from there. A high slit is hidden under the panels so you get a flash of leg when you move. The entire skirt, including that outer extra panel, is all backed in a pale taupe silk organza so that when you move you get a flash of colour that ties into the colour at the top of the neck line. The added panelling gives the dress such an interesting shape as it falls around you. For me it is a nod to those grand gowns of the 50s where you saw these side sweeping skirts quite a bit. It is tremendously beautiful and has this wonderful sense of grace and elegance. It still has its original hang tag attached. Excellent condition

The dress is lined in a pale taupe silk organza. The top has a boned inner hidden corset to help hold the dress in place and shape you. The inner corset has its own zipper to close and an inner waist stay hooks to close. A second zipper closes at the side under the pleating of the side panel. It appears to be unworn and the original hang tag is attached. Tagged a modern 36

Bust: to 16" flat across from side seam to side seam
Waist stay: 12.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 11.5" from top of bodice to waist
Total length: 55" from top of bodice to front hem, 57" to the longest point of the side panel
Slit: 27" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD4892

Reference Photos: (1-2) Natalie Portman in Lanvin at the Golden Globes, 2012.  /  (3) Doutzen Kroes in Lanvin at the Tiffany Blue Book Ball, April 2013.  /  (4) Katherine Jenkins Performs At Selfridges, July 2012.

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 gorgeous and easy-to-wear Roberto Cavalli dress is from the Resort 2017 collection under the creative direction of Peter Dundas. “She’s a rock goddess and a summer traveler" said Dundas.... and in the Vogue review they said that "The goddess in question is not just a mood board picture; in the Dundas-sphere, she’s part of an impossibly glamorous posse of globe-trotting #CavalliCats—women like Beyoncé, who is a fan, who revel in the “souvenir” vibe of the lineup." The series of more caftan-like dresses like this one were mentioned specifically saying "Come November, when these clothes ship, they may fight over his Thea Porter–inspired long chiffon dresses printed with traditional Mexican floral and shamanistic motifs." This is the kind of dress that you slip on when you want to make a statement but be completely at ease while doing so.

The dress has a bit of a bohemian vibe to it and that combined with the feather light cotton netting make it a heavenly piece. It is really a dress that needs a body in it to fully come to life and be worn properly. You can see that in the runway presentation shot. The netting is covered in a pretty floral print that covers the entire dress. The fabric has a touch of transparency to it and I love how light in weight it is. This lets it float beautifully over the body. The neckline is ruffled and edged in a black lace. A long cord loops through the neckline so that you can adjust how open it is at the front. Each end of the cord is finished with a little tassel. The front ties top a low-cut keyhole that goes to the elastic that sits just under the bust. The top is cut loose and full. Each sleeve is also very full and billows out above an elastic cuff. The skirt falls to the floor and widens out as it nears the hem. It is made out of two tiers of the printed netting and this adds incredible movement when you move. It is so well made that I think you could choose to turn it around and have the keyhole at the back if you wished. The sheer lightness of it is amazing and makes it very easy and comfortable to wear. It appears to have been worn very little if at all. Excellent condition.

The outer dress is unlined and slips over the head to wear. It comes with a small half slip made of a black silk chiffon that slips over the head to wear. The waist and cuffs have elastic and the neckline ties to close. Tagged a modern Cavalli 38. The outer dress can accommodate range sizes so you could always change what you wear underneath.

Dress
Sleeves: approx 28" and are 17" around the upper arm
Shoulders: no true defined seams
Bust: approx to 18" flat across from side to side with no true side seams
Elastic waist: 13-26" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to high set waist
Total length: " from waist to hem

Inner slip
Bust: to 16.5" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Total length: 33" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4891

Reference Photo: Resort 2017 Roberto Cavalli, Look 23.

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 gorgeous jacket is from 2010 and we believe it is from the Cruise or Spring collection and is a piece that was made for the shops. It is an absolutely stunning Chanel jacket that has all of the hallmarks and details that you look for in Chanel, including six of those fantastic poured glass and metal buttons that we all love to see on Chanel pieces. 

The jacket is made from a lightweight house boucle that showcases a combination of silver and gold metal threads layered into the black base fabric along with teeny tiny black sequins. The combination of these elements is gorgeous and in person you really get a sense of the depth of texture that it creates. I love how the sequins subtly catch the light as you move. The fabric is woven on the bias in the traditional manner of their boucles and this is what gives the fabric its movement while still holding the shape beautifully. The suit is edged with a scalloped edged metallic finished black lace. The lace runs around the neck, down the front edge and circle around the hem. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape with a slight shaping through the waist. The sleeves are long and cut on a slight curve to follow the shape of your arm. Top set pockets sit on each side at the front. The jacket closes with a hidden set series of hook and eye down the front underneath the lace edging. Inside, it is perfectly lined in a black silk that has Camellia flowers woven through the silk. A signature Chanel chain is hand set inside the hem of the jacket. I especially love the buttons on the cuffs of each sleeve. Each has three poured glass gripoix and gold metal buttons that combine deep red and green. The very centrepiece of each has been embossed with tiny Chanel double C's. I love it. This is classic Chanel and it is exceptional. Excellent condition.

Fully lined in a black silk with Camellia flowers woven through the silk. The jacket hooks to close down the front. Very light padding in each shoulder. There are three working buttons on each cuff. A chain is hand sewn along the inner hem and the lining appears to be tacked in by hand. The jacket is tagged a Chanel 44. It appears to have been worn very little if at all

And just a note on their fabrics.... The Chanel boucle and tweeds are created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Sleeve: 24" and are 14" around the upper arm
Shoulders: 16"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Bottom hem: 20" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4889

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 Look 37 on the Fall 2004 runway and it is one of the best jackets from Muiccia that I have seen. This collection is still thought of as one of her best. The reviews were spectacular. Vogue.com said of this collection: 'Audiences always arrive at Prada shows tingling with anticipation, braced for Miuccia Prada's next departure from the last season's plot. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection. That, of course, was famously about the fifties lady tourist, with an overlay of hippie-ish tie-dye among the circle skirts and knits. For winter, she took that same woman into new realms of intellectual exploration on the print front: back to the future, in fact. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection...."It was a dream of extreme romanticism," she said. "The idea of eighteenth-century painting, with video games. A romanticism between past and future."....For colder months, she added more layers, adding in dip-dyed cable knits and buttonless cardigans betwixt tweeds and bejeweled fifties-style couture-like pieces. What held it all together, literally, were the cinched waists, circled in narrow grosgrain ribbon or with tie-on belts encrusted with sparkle. It was that idea of jeweling, on collars, belts, and fabric brooches, that added the news.' 

These embellished pieces were some of my personal favourites presented that season. It definitely has that feel of Couture in how elaborately it is finished. On the runway, it was shown layered over a top and pants, and then they tucked a fur collar underneath and wrapped one of her embellished belts over everything. The belts were sold separately but you could easily add your own. I love how you can wear it as layered piece as they did on the runway, or wear it on its own for a more minimalist look. The silk shantung that it is made out of has a slight sheen to its finish that adds a very subtle touch of glamour to the jacket. The cut of the jacket is simple and easy. It has a rounded collar that has been finished with a crosshatching of silver thread embroidery and then prong set crystals are applied heavily over that. It is open down the front with no closures and is meant to layer over pieces. The shoulders are soft and slightly slope down which gives it an easy feel. The sleeves are cut quite wide and end just about the elbow in length. The cut through the body is meant to just skim over you and it has a slight exaggerated box shape that flares out around the hem. You can see that the back has a bit of extra built in silk for a touch of added volume. I love this cut. The heavy embellishment of the collar continues in a band down the front on one side and then all the way around the hem. Scattered over the rest of the jacket are little medallions made of silver metal thread and the rhinestone crystals. We took some close-ups so you can see just how beautiful the work is. It is very well made. Literally a little jewel. Excellent condition

Fully lined in a black silk and slips on with no closures. The label is marked 047. The easy and open cut should fit a full range of sizes and will just feel more oversized on a smaller frame.

Dropped sleeves: 15" from the very dropped shoulder seem and are 18" around that seam
Shoulders: no true defined scene
Bust: to 23" flat across from side seam to side seam and then opens to 24" flat across from side to side of the bottom hem
Length: 26" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4888

Reference Photos: Fall 2004 Prada, Look 37. Model Diana Dondoe.

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 on supermodel Carla Bruni who looked unbelievable in it. Valentino did a series of these dresses that were all done with this touch on a Western theme of stars on them with slightly different upper bodices. This is the second of that series that I have had. The first was sourced privately for a client and I love that I have found another one. We have included photos of the runway and of video many of the pieces so you can see how fantastic this is on the body.

Each side at the front of the dress is shaped to curve around the bust. It plunges into a low V at the front and then underneath that to the waist there is a black mesh panel that is transparent. I love how this makes the body feel bare but you are covered at the same time. At the base of the plunge you see the first of five rhinestone encrusted stars that the dress has. Another star sits at the top of each shoulder and they are placed slightly to the front so that you clearly see them when the dress is on. The back mimics the panels at the front in shape but here each of those panels is finished in black mesh. The V above and the V below where they hook together are open for a bare expanse of skin to show. The final two stars sit at the base of either of those panels at the back and you can clearly see them from the side and back. I love how they make this dress instantly recognizable as being from this collection. The dress skims over the hips from there and flares out as it reaches the hem. It is quite wide by the time it reaches the hem so you get fantastic movement as you walk, which you can see in the runway video. It is truly a fantastic piece of Valentino history. Excellent condition with a note below.

The dress is fully lined in a black silk and closes with a side set zipper from the waist down. The back mesh panels hook into place. There are built-in cups inside the bust and they would be easy to take out if you didn't like how they fit. We see a couple rhinestones missing off of the very tips of the stars. One of the larger rhinestone beads at the side is cracked underneath itself. We see one missed stitch on the front netting by the side. All very minor. Please see the photos after the label shot.

Bust: to 18" flat across from side seam to side seam
Waist:  12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Total length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4885

Reference Photos/Video: (1-6) Spring 1993 Valentino.  /  (7) Spring 1993 Valentino Ad Campaign by Walter Chin.

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 white walked the runway for Look 76 for the Spring 2004 show. During this period Mr. Valentino was still in charge and designing for his self named label. I love that I have tons of photos and the video of it so you can see just how fantastic this dress is on the body. It is a killer dress. The show was a huge success and the Vogue review for this collection stated in part; "When the fashion chat is all about the "new ladylike," it's not hard to give in to the methods of seduction Valentino has perfected. He's had "lady" down pat for years—for the genuine ones of the yacht-owning class, that is. His Spring collection covers the waterfront for that society, and those who aspire to it.... It all looked romantically pretty in the just-so mode that his clients adore." And what's not to love? The dress moves beautifully, is elegant and chic, and yet with that open side feels insanely sexy. This is the magic of original Valentino and this one is just tremendous.

We have also added to the modern provenance of this dress with Marlo Kelly wearing this dress for this year's Emmy's.

This is such a gorgeous dress. Its simplicity combined with that almost shocking open side add up to an incredible piece. The dress is made of a beautiful black silk crepe that gives it its sleek sculpted feel. The dress is very sexy and shows off some skin but still feels very elegant and refined. The fabric has just a touch of a bias cut to it through the body so its very comfortable to wear.  I love the way that it curves up and over your shoulders and scoops at the neckline. It skims over the bust and then starts to widen out and skim over the waist and hips. The skirt falls to the floor under that and it is all cut on the bias. By the time it reaches the hem it has widened out into that beautiful sweeping line that you see. A high slit up one leg gives it additional movement. The bias cut and that slit make the hem of the skirt move and float around you at your slightest movement. The open side is on the same side as the slit. The silk of the dress has been gathered up and around the cut out on the one side. The opening of the cut out is finished with a piped fabric and then more of the piping is used to created a laced webbed feel that sits inside the circle. This gives you a touch of coverage but still lets your skin show through. Extending out from that opening are long ties that trail down the side. These give the illusion of being able to tighten and adjust the lace. It is absolutely gorgeous. Excellent condition with a minor note below

Unlined and closes with a side hidden set zipper. We see a couple of teeny nicks to the fabric on one spot near the hem of the back. The fabric is bias cut so does have some movement. We have put the comfortable range of measurements below.

Bust: 15-17" flat across from side to side with no true side seams
Waist: 12-14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 59" from top of shoulder to front hem, 62" to the back hem
Slit: 28" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4886

Reference Photos/Video: (1-6) Spring 2004 Valentino, Look 76.  /  (7) Portia de Rossi in Valentino at The 61st Annual Golden Globe Awards, January 2004.  /  (8-9) Marlo Kelly in this dress for Emmys weekend, 2024.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This is a very sexy Azzadine Alaia dress that we think dates to around 2013 when he did that fantastic red dress for Rihanna. It has the same kind of light in weight liquid knit and the play on transparency that her dress had. It is an incredibly beautiful and sexy dress.

The dress is made from one of his signature feather light knits that seem like magic. It is a deep black in colour and the knit has a touch of transparency to it. The bodice has a second inner layer of the knit at the front but even with that you still get a bit of transparency. Each side of the front bodice of the dress falls from the shoulder and is gathered into the waist for a very Grecian feel. It plunges into a low V and an inner piece is scooped to follow that same shape. The sides plunge almost to the waist and then at the back there is a panel that extends out and hooks into place for a low scoop behind the neck. This leaves a large curving open expanse of skin all the way to the waist. It is incredibly sexy. The waist is banded with a horizontally set knit band that has elastic inside so it is very comfortable and easy to fit and wear. The skirt is gathered into that band and it is very full beneath. There are yards and yards of knit in the skirt but when you are standing still it all falls into a column because of how light the knit is. It is only when you move that you realize how many yards of fabric are in the skirt. You get the most fantastic movement as you walk. The dress is in its original uncut length and it appears to have been worn very little if at all. Excellent condition

The front bodice has a second panel behind it and the rest of the dress is unlined. It closes with a hidden set zipper from the waist down and hooks to close at the back. Elastic through the waist.

Bust: each side of the halter covers up to 10" flat across from side to side with no true side seams
Elastic waist: 12-15" flat across from side seam to side seam
Hips: open
Bodice: approx 15.5" from top of shoulder to waist
Total length: 69.5" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4887

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 Roberto Cavalli dress is from the recent Spring 2024 collection under the creative direction of Fausto Puglisi. A version that looks like it was cut shorter walked the runway for Look 12 on Adut. The exuberant feather print that you see on this dress in shades of pinks and coral was an integral part of the show and ran over several of the pieces. This is the kind of dress that you slip on when you want to make a statement.

The dress is easy-to-wear and very flattering once on the body. The stretch jersey fabric and brilliantly coloured feather print are the perfect combination. The lines are simple and it has that perfectly easy but very sexy feel. There is an inner body suit to hold the dress perfectly in place and you just slip it on, hook the band at the back of the waist and button the button at the top of the neck and walk out the door. Once it is on, it moves with you and highlights your curves. The dress has a deep front plunge that is held in place by that inner bodysuit. The sleeves are long and simple. When you turn there is a long open cut out for an expanse of bare skin to show. A band wraps around the waist and hooks into place at the back to hold that opening in place. Another cut out is done on each side of the dress to expose the skin above the waist band and the top of the hip. From there it falls to the floor in a column of jersey. The entire lower portion of the skirt has been set in so that it flares out and when you walk, you get a kick of fabric. You can see that in the runway video and because these were sent in a longer length to the stores, it is even better in my opinion. It is one of the dresses that you just slip into and walk out feeling like a million bucks. Very sexy on. It appears to have been worn very little at all. Excellent condition

Unlined and slips on with an inner bodysuit that hooks to close. The band at the back of the waist also hooks into place and it buttons to close at the back of the neck. The fabric has stretch and the measurements below are the comfortable range of that stretch when it's laying flat. 

Sleeves: approx 24"
Shoulders: no true shoulder seam
Bust: 17-21" flat across from side seam to side seam
Waist: 12.5-14" flat across from side seam to side seam
Hips: 16-21" flat across from side seam to side seam
Total length: 60" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4880

Reference Photos/Video: (1-3) Spring 2024 Roberto Cavalli, Look 12. Model Adut Akech.  /  (4-7) From the Roberto Cavalli website.  /  (8) Loujain Adada in Roberto Cavalli for Dubai Fashion Week, 2024.

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 one of the prettiest Oscar dresses I have ever had in the shop and I love it. The movement it has when it is on and you walk is just incredible. One appeared on the runway that season for Look 51 and Leah Michelle wore one to the 2010 Emmys. This is the type of dress that made us all fall in love with Oscar and his view on femininity romance and occasion. It's an absolutely stunning piece and I love it's added red carpet modern provenance.

This dress is absolutely dreamy. It is made out of the perfect deep blue silk mixed with shots of a silk chiffon in the same shade. It is strapless and the neck line curves around and over the bus with a bit of a peak on one side. The peak is created by an added layer of silk and you can choose to steam that down, so it's in line with the neckline or wear it up as you see in these photos. The silk is draped over the bust to give the illusion that it's wrapped around you and then a piece extends down from the one side and wraps all the way into the back. Inside it is cupped and shaped for support. Under the added panels of draping it is meant to hug the body and highlight your curves to past the hips to create an hourglass feel. I love how the sea where the skirt is set in is all set on a sharp angle which really gives the illusion of added length through the body. The skirt is spectacular. Here you see the genius of Oscar. The skirt has a ton of volume to it that shows best when you move. It is made out of a cascade of silk ruffles that become wider and more full as they near the hem. It is set slightly longer at the back then the front so that you get this pretty curve from the side view and this fantastic sweep of skirts from the back. The entire skirt is covered with angled rose of silk that spared no generosity in how much fabric was used to create each one. Each one is finished at its edge so that it curls slightly and retains his volume. In between each silk layer of ruffles is a matching blue silk chiffon layer, and those also have finished edges so that they curl as well. There are eight layers in total and then the very inner bottom portion of the skirt is finished with a wide band of concealed stiffened netting that helps to hold the shape and volume of the skirt while adding support to the ruffles above. Inside of that is yet another silk inner skirt, which is also finished with its own wide concealed band of stiffen netting. When this is on and you are walking the effect that this creates is absolutely gorgeous. This is Oscar at his very best and it is a tremendously beautiful dress. Excellent condition 

Fully lined in a matching blue silk. It interior corset closes with a zipper at the back and then a second hidden set zipper closes the dress over that. Lightly boned through the inner bodice and built in wire cups. Inner waist stay hooks to close. The dress no longer has a label, but you can see the remnants of its original hanging supports just under the edge of the bodice with the label name on its. It appears to have been worn very little if at all. 

Bust: to 19" flat across from side seam to side seam
Inner corset waist: 15" flat across from side seam to side seam and the exterior waist will accommodate up to 17" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Length: 49" from top of the bust to shortest part of the front hem, 54" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD4878

Reference Photos/Videos: (1-2) Resort 2011 Oscar de la Renta, Look 51. Model Anastasia Kuznetsova.  /  (3-5) Lea Michele in Oscar de la Renta at the 2010 Emmys.

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 set is incredibly beautiful and we are very pleased to have dated it to the Spring 2000 Couture collection. We have included the runway photos here along with some video so that you can see just how beautifully it moves. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare to come by. It is an incredibly beautiful example and historically important piece of work that the Karl and the Chanel ateliers were doing during this time period.  In the book 'Chanel Catwalk' they said of this collection; 'Karl Lagerfeld focused on suits ..for this haute couture collection, presented as a winding catwalk in a riding centre in the Bois de Boulogne. It featured 'only' fifty-eight looks, 'but I could have had many more,' Lagerfeld told Women's Wear Daily, 'because we have many clients and they want suits, suits, suits.'The suits in question were reinvented with flowing full skirts. A shape Lagerfeld said, 'was inspired by his desire for volume with movement.' 'We cannot make now skirt for the rest of our days' he declared, but also insisted this is not the New Look, despite how much the silhouette was reminiscent of the 1950s style introduced by Christian Dior.' When looked at this set under that context, you can see that reference, but it still feels decidedly Chanel. It is absolutely gorgeous to see in person. 

On the runway, it was shown with a metal belt that was sold separately. My client chose not to purchase that belt, however, to show you how the jacket looks belted I have shot most of these  with a wide black grosgrain ribbon around the waist. That will be sent with the set and you could obviously change it to any belt that you have of your own.

Both pieces are made from a deep blue silk organza. This fabric allows it to keep the shape that he intended while still keeping both pieces extremely light in weight. The dress is dropped from the shoulder from straps that curve up and over each shoulder. The bodice is easy fitting and cut to skim over you with a shallow V at the front. It is hand pieced together in a pattern of panels set horizontally over the bodice. The waist is dropped as Karl tended to do, and then from there the skirt flows out to the floor with incredible movement. The skirt has been pleated all the way around into sharp knife pleats with each pleat the exact same width as it's neighbour. This gives the skirt incredible movement. Two layers of silk tulle are built-in underneath the skirt to add support and volume. The jacket sits over top of this and it has a soft and simple cut. The neckline is cut wide across the collar bones. The sleeves are long and each has a notch that runs up the inside seam. It has an inner hidden tightly space row of hooks and then snaps to close over that to one side at the front. Once the jacket is cinched in with a belt you really get this beautiful shape that is offset by the volume through the skirt. There are small shoulder pads in each shoulder but they are soft and light. Along the inner hem of the jacket is a signature Chanel hand set metal chain. All of the work is meticulously done by hand to Haute Couture standards. It is an incredible piece of Chanel couture. It is very beautiful and even better in person. Excellent overall condition with a note below 

The jacket is fully lined in a blue silk and closes with hidden snaps and hooks at the front. A chain sits inside the hem. The dress is lined in the same silk organza through the bodice and then the skirt has two layers of silk tulle. One layer is black and the other is a matching blue. The dress closes with a zipper and a separate set of snaps to close on each of the three layers of the skirt. An inner waist stay hooks to close. Some of the edges of of the organza have slightly faded on the jacket and bodice of the dress. Some of the pleats have softened slightly on the skirt. Light marks along the hem of the skirt and one tiny hole. You can see this in the shots throughout. There is stress to a tiny area on the edge of the strap seam. Please see the shot after the label shots. Both pieces have an appropriate Haute Couture label and numbered tape.

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Dress
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 18" from top of shoulder to slightly dropped waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4139

Reference Photos/Video: Spring 2000 Chanel Haute Couture.

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 was a dress that was made for the shops, but you can see the same lace detailing used in the runway dress shown for Look 41 for the Fall 2017 show. It is interesting to see lace used throughout this collection because it coincided with the same time that she was working on the wedding dress for Kate Middleton. Vogue praised her for this show saying that for the first time she fully articulated her own point of view. This may not have been a piece that walked the runway, but it is a stand out piece nonetheless. 

This is an exquisite dress that is made of black silk netting and then the dress is lined in a black silk through the body. This gives it enough weight to hold the shape of the dress but it still feels magically light once on. The design that covers the dress has been meticulously done by combining a netted lace base with black cording that highlights the design worked into the lace. This gives the design a slightly raised 3D effect off of the netting. The designs forms these gorgeous patterns and it is the kind of piece that the more you look at it the more you see. I took several detail shots so you can get an idea of the workmanship. The sleeves are long and they are left unlined so that the pattern really shows against your skin. The shoulders are soft and the neck is scooped. It skims over the bust, past the waist and over the hips. There is no seam at the waist. Instead it is cut so that two little triangles extend from the back and are wrapped into the waist. Once you turn around you see that they are extended from a full see-through back that is scooped low. It is almost shocking once you turn around and see that slightly transparent but still covered back. The lace set on this back area is different from the rest of the dress so you also get this fantastic contrast there. The skirt falls to the floor from there and it is in its original uncut supermodel length. I love how the width of the skirt flares out and it is quite wide by the time it reaches the floor. The extra fabric around the hem also gives you this beautiful movement when you move. Truly an extraordinary piece from the Sarah Burton era. Excellent condition.

Lined in a black silk as described above. It closes with a hidden set back zipper and each cuff closes with a hidden set zipper. Tagged a modern McQueen 38

Sleeves: 23.5" and are 10.25" around the upper arm
Shoulders: 14" 
Bust: 16-17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: to 17.5" flat across from side seam to side seam
Total length: 63.5" from neck to front hem, 66" to the back

Modern Sizing Equivalent: XS-SML

Item# DD4877

Reference Photo: Fall 2017 Alexander McQueen, Look 41.

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 Geoffrey Beene dress was showcased in the Met Museum's exhibit 'In America: A Lexicon of Fashiont' and that  dress resides in their permanent collection. This was already one of his most iconic dresses and it is now even more so after the exhibit and being included in the accompanying book. The dress is heavily documented and was photoed extensively the year that it debuted. It is an extraordinary dress

The cut of the dress is so perfectly simple. It is made out of a black very light wool jersey that has an almost soft t-shirt feel to it. The dress is unlines and the jersey has perhaps the slightest bit of transparency in certain lights, which only adds to its sensuality. The sleeves are long and sleek. Each one ends in a hidden set zipper and their edges are finished in a black silk ribbon. That same black silk ribbon edges the neckline. The dress is cut to skim over you at the front with slight shaping through the waist. It curves back out over the hips and then falls to the floor where it widens out. At the back, you see that bare expanse of skin which is what makes the dress so famous. It hooks at the back of the neck and then it curves out and around to a very low dipping back. Insets of a pale silk chiffon curve down and into the sides of the hip seams to give the illusion that you are even more bare than you actually are. Where are those inserts end, the seams extend down and curved to the front where they run down towards the centre hem. This clever bit of seaming helps to shape the dress around you and continues that curved feeling that the open back gives. It is quite genius. One of the most iconic dresses ever made. Excellent condition with a minor note below.

The dress is unlined and slips over the head to wear. It hooks at the back of the neck. Ribbon finished inner seams and hidden set zippers at each cuff. Tagged a vintage Beoffrey Beene 8. I see two teeny tiny repairs near the centre back seam. The jersey has stretch through the body and the comfortable range of the measurements are below 

Sleeves: 24” and 14-16" around the upper arm
Shoulders: 15”
Bust: 17-20” flat across from side seam to side seam
Waist: 12-16” flat across from side seam to side seam
Hips: 18-22” flat across from side seam to side seam
Total length: 61” 

Modern Sizing Equivalent: SML-MED

Item# DD4871

Reference Photos: (1-5) Fall 1989 Geoffrey Beene (credits unknown)  /  (6) Model in Geoffrey Beene for Mirabella magazine, 1989, photographed by Michael O'Neill.  /  (7) Part of The MET Collection online.  /  (8) Image from the book "In America: A Lexicon of Fashion" that accompanied the MET Exhibit of the same name.

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 one of two remarkable dresses that I have today that are absolutely insane to see in real life. Each is so very good and they are not even photoing half as good as either is in person. The sheer amount of hand work to apply those thousands of sequins, crystals and beads needs to be seen in person to truly appreciate. This is one of those pieces that really showcases the higher end work that the label was capable of. The dress is the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at these early heavily embellished pieces that the label became known for and this is an outstanding example of that. It is even more amazing in person and the photos cannot convey the impact and presence it has. It is gorgeous

The fabric on this dress is gorgeous and you would never see its equivalent in modern fashion unless you are looking at a couture piece. The base fabric is a red silk brocade that has a heavy shot of gold metallic thread running through it that gives the dress its golden glow from shoulder to hem. The bodice skims over the bust and the neck is cut into a curving V at the front. The back also curves into a V and it dips lower for a bare expanse of skin to show. The waist is seamed and set a touch higher under the bust. From there the skirt falls to the floor and widens out as it nears the hem to perfectly balance the shape of the bodice. The simplicity of the shape is what allows the extraordinary detailing that sits on top of the brocade to shine. Onto the red and gold thread silk brocade are thousands upon thousands of tiny silver sequins, gold beads, glass tube beads, paillettes, and pink and red glass prong set crystals that have all been applied by hand. These cover every square inch of the dress and give the dress an incredible 3D feel and shine. The hand work was all done in the British crown colony of Hong Kong, which, during this period of time, was doing some of the best hand work on the planet. The dress has weight to it but it is balanced so perfectly that it is not too heavy once on the body. It just feels like you are wearing something of substance and beauty. The entire dress has a beautiful and subtle shimmer from every angle. I love it. It is just a beautiful dress that showcases just how good hand work and detailing can be. Excellent condition.

Fully interfaced in a red cotton muslin to hold the weight of the bead work and then lined in a silky rayon through the bodice and a red silk through the skirt. It zips to close at the back. It appears to have been worn very little if at all. I see the tiniest bit of grubbiness along the inner edge of one arm. Ribbon edged inner hem and hand finishes.

Bust: 18" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 11" from top of shoulder to the seam under the bust
Total length: 54" from top of shoulder to hem with about 3.25" turned under

Modern Sizing Equivalent: SML-MED

Item# DD4867

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 one of two remarkable dresses that I have today that are absolutely insane to see in real life. Each is so very good and they are not even photoing half as good as either is in person. The weight and sheer amount of hand work to apply those thousands of sequins, crystals and beads needs to be seen in person to truly appreciate. This is one of those pieces that really showcases the higher end work that the label was capable of. The dress is the work of Elinor Simmons who designed for the Malcolm Starr label from the early 1960s to 1972. She excelled at these early heavily embellished pieces that the label became known for and this is an outstanding example of her work. It is even more amazing in person and the photos cannot convey the impact and presence it has.

I think that this might be the best Malcolm Starr dress that I have ever seen in real life. If the other one is great, this one is even a bit beyond that. The base is a gold thread lame fabric that is one solid gold colour. Onto this are thousands of cut out paillettes in a brilliant pink, pale sea foam and bright royal blue. These are mixed with pale pink and soft mint & silver sequins. There are gold beads and sequins, and then a heavy dose of green, blue and deep pink glass prong set crystal rhinestones. I don't think I have ever seen anything quite so elaborate and brilliant. The mix of all of these is astonishing to see. The intricate pattern covers every square inch of the dress and give the dress an incredible 3D feel and shine. The hand work was all done in the British crown colony of Hong Kong, which, during this period of time period was doing some of the best hand work on the planet. The fabric on this dress is gorgeous and you would never see its equivalent in modern fashion unless you are looking at a couture piece. The dress has weight to it but it is balanced so perfectly that it is not too heavy once on the body. It just feels like you are wearing something of substance and beauty. The bodice skims over the torso and the neck is cut into a low V at the front that ends just above the heavily embellished waist 2" band. The band is heavily embellished with more of the bead work, but here it is set horizontally, so that it wraps around the waist. The skirt falls to the floor and widens out quite a bit as it nears the hem to perfectly balance that shape of the bodice. I love how the entire dress glimmers in the light. It is a work of art and I have never seen another one like it. Excellent condition.

Fully interlined in a pale ivory cotton muslin to help support the weight of the dress and then it is lined in a pale ivory silk. It zips to close at the back. It appears to have been worn very little if at all. Hand finishes throughout. Tagged a vintage Malcolm Starr 10. Note that there is no colour change in the dress. If the gold looks like it changes in hue any of the photos it is because of the lighting.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 12" from top of the shoulder to the top of the 2" band at the waist 
Total length: 56" from top of the shoulder to hem with 2" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4869

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 jacket is from the debut solo collection of Bill Gibb for the Fall 1972. In the book, Bill Gibb: Fashion and Fantasy, they note that the theme of the collection was the natural world and you can see that in this suit. The book quotes fashion journalist, Suzy Menkes saying that "this is Bill Gibbs great day... for the first time showing a collection all his own. It marks the beginning of his career as a designer of the jet set." Twiggy said to Gibbs backstage "they were incredible, I loved every one, I want them all... is it possible to have one to wear tonight?". At this moment in Bill Gibbs history he was the star of fashion set. The jacket is spectacular and I love that versions are held in the permanent collection of museums. We also included several references where this or similar pieces were shot that season.

The jacket has an incredible cut to it. The collar is exaggerated and wide. The sleeves are amazing. They are full with a slight cap at the top of the shoulder and then narrow down to the wrist. The cuffs have a small split up the middle and are held closed with a metal button. The jacket has a seam set just above the natural waistline and it buttons to close above that with flower embossed silver metal buttons. Vertical panels sit all the way around the bodice from front to back. Silver painted chrysanthemums sit on either side of the buttons and a double panel of the same runs down the back. On each side of the bodice is a bee done in the same muted silver paint on brown leather and these have been cut out and applied onto the jacket. There are four of these in total, two at the front and two at the back. The bee went on to become one of his signatures. Those painted designs were all done by Sally MacLachlan. The lower part of the jacket is equally as fabulous. It skims over the hips to flare out to be quite full by the time it reaches the hem. There are eight panels of leather that have been sewn together. Each panel was painted with trailing vines of flowers running down their lengths. And there are pockets at the front! It is fantastic. Presents as excellent condition with a couple of small notes below.

Fully lined in a light taupe silky rayon. The jacket buttons to close at the front. Hand finishes. The leather of the jacket has a slight stiffened feel, that all of these particular jackets seem to have as they age. There is some slight wear and scuffing to the edges here and there and on the top of one shoulder. There is minor wear and marks on the lining. Three of the front button loops have been reattached at one of their ends. The jacket was cleaned but there is still a slight vintage smell to it. Priced with all taken into consideration balanced with its rarity. It is an incredible collectors piece. Tagged a vintage UK 10

Sleeves: approx 23.5" and 16" around the upper arm
Inset shoulders: 12"
Bust: approx 186" flat across from side seam to side seam
Waist at seam: 18" flat across from side seam to side seam
Hips: open
Length: 42" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4866

Reference Photos: (1) 1972 Bill Gibb Coat in the V&A Collection.  /  (2) Bill Gibb Coat in the Collection at MUDE - Museu do Design e da Moda.  /  (3) Models in clothing by Bill Gibb, The Daily Telegraph, December 1972.  /  (4) Model in Bill Gibb for Vogue, September 1972.  /  (5) The Cover of "Bill Gibb: Fashion and Fantasy" by Iain Webb.  /  (6) Vogue, September 1972.

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.

Bill Blass became the head designer at Maurice Rentner in 1959 and soon after that his name started to appear on the labels. In 1970 he bought out the Maurice Rentner label and re-launched it under his own name. These Bill Blass for Maurice Rentner pieces are some of his earliest and you will find many of them, like the twin of this coat, in museum collections throughout the world. A version of the coat was also shot on Verushka that year. It is amazing. 

This is the second time that I have had one of these Bill Blass coats in the shop. The base of the coat is a dark brown velvet that gives the jacket a rich opulent feel. Onto the velvet is an intricate hand done design in a muted silver thread. I love how the silver subtly catches the light from every angle. There is piped and padded detailing added to the collar, the end of each cuff and down the front of the coat. The padding also continues all the way around the hem. This added detail is not just a pretty finish to the design it also structurally helps to hold the shape of the coat. The shoulders are shaped but soft. The sleeves are slightly cropped and each is cut wide and full. It closes down the front with a series of hidden snaps  and the simplicity of design that this gives the coat is what allows that beautiful fabric to take centre stage. Rows of silver tube beads are set in a braided pattern edge all of the piped parts of the coat for the perfect final detailing. It is a beautiful vintage piece. Excellent condition with a minor note below.

Fully lined in a matching brown cotton and closes at the front with silk covered hand set hidden snaps. Pockets along the seam on each hip. Hand finished throughout. I see some light wear on some of the silk covering of the snaps. It otherwise appears to have been worn very little if at all.

Sleeves: 19" and is 14" around the upper arm
Slightly inset shoulders: 14"
Bust: 19.5" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4864

Reference Photo: (1) 1968 Bill Blass coat from the Indianapolis Museum of Art Collection.  /  (2) Veruschka in Bill Blass, Vogue, September 1968.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

When we looked for photos of this dress we did found these incredible shots of Margo Robbie from 2019 in a dress that was attributed as being the twin of this one. The dress has that classic high quality that we expect from a Chanel mixed with the perfect eye and grace that Karl had. The exact thing that we love to see when collecting pieces from his many years at Chanel.

Everything about this dress has that chic Chanel feel that makes many of Karl's designs forever classics. Even with its simple cut, once in hand and you see how well it is made, it feels very Chanel. It is beautiful in person and the simple lines of it make it the kind of dress that you can wear multiple times with the styling and accessories you add making it feel different each time. It is made of densely woven black knit. On the bodice there is a subtle diamond pattern woven into the knit that gives it the perfect amount of added texture. The denseness of the knit through the body give the dress a slight 'bandage' effect so that it gives you shape and support. The dress falls from one shoulder and then the neckline curves around and under to the other side. I love that this leaves one shoulder exposed and bare. It hugs the body over the bust, around the waist and it is shaped to curve over the hips. The knit extends down and past the hips and then the lower skirt is inset into it in a series of little jagged points that is reminiscent to the way that you see dresses from the 20s and 30s. The skirt under that is also a knit but the pattern changes. The knit there has cut outs and a pattern that combines a very dense weave with a looser feeling weave. The design is set horizontally and this allowed him to make the skirt extremely full and open. There is a ton of fabric in the lower skirt. It still falls in a smooth line when you are standing but when you move, you really get the sense of all that gorgeous fabric around you. It is that perfect easy minimalist dress, but very flattering and with the added impact of being a Chanel. The dress is new with its original tag still attached and its original Chanel packet that has extra yarn/thread inside. Excellent condition

The dress has no closures and slips on to wear. Tagged a Chanel 40. The easy cut and slight stretch of the dress should allow it to fit on a variety of sizes. The measurements given below are the comfortable range when the dress is laying flat. 

Bust: 14.5-18" flat across from side seam to side seam
Waist: to 13.5-18" flat across from side seam to side seam
Hips: 17.5-22" flat across from side seam to side seam
Total length: 61" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4863

Reference Photos: Margot Robbie in Chanel by Art Streiber for Glamour Russia, August 2019.

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 was featured prominently in the 2016 exhibit at the Museum of FIT. This dress is often referred to as the fairy castle, or skeleton castle dress, because of the print that runs over the front of the dress. It is an interesting dress in that it is instantly recognizable as a McQueen piece, and yet it was not one that was featured on the runway. Despite being a museum exhibition piece, and one that is very well known, it was a piece produced for limited production in stores. He also produced an all black version of this dress, that you will see more often, but this printed version is far more rare. We have had that all black version as well and it was worn by Alix Earl to the Grammys before it was purchased. Besides the exhibition photo of the twin of this dress, we have included some photos of Alix in the all black version for you so that you can see how amazing this will be on the body. It is truly one of the more iconic McQueen pieces.

No matter how good you think that this dress looks like in photos or in its all black version on Alix, it is even better in person and moving. The dress is made out of a black bias cut silk that has a stunning grey scale scene printed over its entire front. I love that you literally feel like you are wearing a piece of art when you wear this dress. The dress is cut completely on the bias so it just glides over the body. It skims over the bust with a draped front that falls in a soft fold. The back is incredible and it is scooped down into a low draping that leaves a good portion of your back bare. From there  it skims past the waist and hips to the floor. The silk follows your curves and highlights the body underneath without it being too tight and fitted. Once past the hips the dress flares out as it nears the bottom so that it has beautiful movement when you move. The back is cut slightly longer than the front so you get a beautiful sweeping feel behind you. The dress is in its original uncut supermodel length. The design on the front features a castle that has winged skeleton fairies and leaf bare trees sweeping up and over it. The design is all printed into the silk to add the perfect amount of detail to the otherwise perfectly simple dress. It is just amazing. Excellent condition with a very minor note below

Fully lined in a black silk and closes with a hidden set side zipper. The measurements given below are the comfortable range when the dress is laying flat. Being bias cut the length may come up a bit once on the body and it should fit a range of sizes. There is a tiny area of thinning near the back hem on the outer fabric and I do see some scuffing and a couple tiny holes on the inner lining. Please see the photo after the label shot. Tagged a vintage McQueen 42

Bust: 17-21" flat across from side seam to side seam
Waist: 13-17" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam
Total length: 64" from top of shoulder to front hem, 67" to the back

Modern Sizing Equivalent: SML-LRG

Item# DD4862

Reference Photos/Video: (1) 2007 Alexander McQueen Gown on display at the Fairy Tale Fashion Exhibit at The Museum at FIT January, 2016.  /  (2-4) Alix Earle in Alexander McQueen from Shrimpton Couture, at the Grammys, 2024.

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 gorgeous dress is from Mr. Valentino's final show before he retired. Its twin in a pale green walked the runway for Look 75 and we were very happy to find both runway shots and video for you to  see just how great the dress is on. Vogue said this last collection was; 'Crisply puncturing the potential for a predictable end-of-era wallow in sentiment, Valentino played it as an upbeat, fast-paced whirl of breezy, pretty, drop-dead gorgeousness that blew any lingering sense of ladylike stuffiness to the winds. If there's a problem, it's only being spoiled for choice. What to pick from the head-spinning plethora of dresses on offer?' This was one of my favourites of the show and I think it is even better in the more versatile black.

I love the contrast between the two types of silk used for the dress. It adds that little extra flash of interest when you see it. The dress falls from one shoulder and then drapes down and over the body to the floor. The shape is created by vertical seaming that run from shoulder to hem. The softer silk parts are bias cut and allow the dress to skim and drape over you so that is shows every curve but is not overly fitted. The seaming is intricate and beautifully done. A single shoulder panel curves over your shoulder and runs across the bust to the other side. There is a large bow set at the front of that shoulder and then a second bow sits just below the hip on that same side. The bodice curves down into the side panel on the bow side, draping down and along the curved panel that cuts across the body and extends down into the skirt. The waist is shaped by the vertical seaming. The skirt flares out and is quite wide by the time it reaches the hem. It sweeps around you as you walk and even more movement is created by the slit that runs from the hem to that pretty little bow. The dress is even better in person. It is an gorgeous example of his work and looks to have been worn very little if at all. Excellent condition

The bodice is lined and then the rest of the dress is unlined. It closes at the side with hidden set zipper. In its original uncut length and looks too have been worn very little if at all. Tagged a vintage Valentino 8

Bust: 16-17" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 18-19" flat across from side seam to side seam
Length: 62" from top of shoulder to front hem
Slit: 25" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4493

Reference Photos/Video: Spring 2008 Valentino, Look 75. Model Laura Blokhina.

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 Fall 2005 ready to wear show was called 'Propaganda' and for the pieces sold from her personal collection in the recent Christie's auction they referred to some of the information from the Vivienne Westwood Catwalk book which I will share here; With "Propaganda‘ Vivienne Westwood, more than perhaps any other fashion designer, understands the power of a garment to communicate a meaning and a message…The message was writ large: PROPAGANDA, in block lettering worked into multitudes of garments. The inspiration was an essay by Aldous Huxley, ‘Propaganda in a Democratic Society’, asserting – Westwood stated – that the world suffers from three evils: ‘Nationalist Idolatry’ in place of religion; ‘Non-Stop Distraction’; and ‘Organised Lying’. Headbands also bore the word ‘Branded’, reference to Canadian author and social activist Naomi Klein’s book, No Logo. Again, Westwood was challenging orthodoxy through her designs.’ --Alexander Fury, Vivienne Westwood Catwalk"

The collection also featured a segment of pieces that were a mix of stripes, silks and tulles in a variety of colours. The near twin of this set walked the runway and I love that we have video so you can see how fantastic this is on the body. The dress on the runway seems to have had a half skirt made of the white tulle that tied into place over the skirt. I think if you wanted the full on look, you could easily have that re-created. It is gorgeous worn without as well and perhaps a touch more wearable this way too. This might even make for a beautiful set for a bride who doesn't want to go the traditional route.

I love the soft dusty ballet pink silk striping combined with the ivory and soft green cotton striped fabric. The corset has one of her trademark flattened front bodices that is boned and shaped so that it angles towards the centre waist inside. It closes at the back with a zipper and then the silk buttons over itself so that the zipper closure is completely hidden. The top angles down on one side and she has inset a panel of white tulle from shoulder to the long point of the hem. Combining both the pale green striped pattern with the pink silk stripes over the bodice creates this wonderful contrast. The skirt is equally as remarkable. Again we see her play with the pink striping and the green, mixing them together in that perfectly Westwood way to create interest and shape over the body. I love that the zipper is set on an angle at the back of the skirt to follow the pattern instead of creating a vertical line across all of those angles. The skirt is meant to fit more snug around the hips and then flares out tremendously into a pointed hem around you. Under that layer you see a multi-length finish of tulle. Five layers of tulle are wrapped around you and sit over top of a heavy cotton muslin inner skirt for support. It is all constructed to have this incredible fullness and movement. I also took a close-up of the pink striped fabric so you can see the beauty of the secondary floral pattern that runs through the pink striping. No matter how good it looks in the photos the mix of colour and extraordinary patterning that the pieces have is just phenomenal to see in person. Both pieces appear to have been worn very little if at all. Excellent condition

The corset is lined in a combination of the green striped fabric and stretch lingerie netting. It closes with a zipper at the back and then buttons over the zipper as described above.  The front of the corset is fully boned, and the sides have stretch lingerie net. The skirt is lined in a pale pink silk above the cotton muslin lower portion of the skirt. It closes with an angle set zipper that follows a seam and a button at the waist over that. Both pieces are tagged a UK10 US6

Corset
Bust: 16.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Length: approx 15.5" from top of bodice to shorter side and 30" to the longer

Skirt
Waist: 12-14" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Total length: 45" from waist to longest points of the tulle of the hem

Modern Sizing Equivalent: XS-SML

Item# DD4861

Reference Photos/Video: Fall 2005 Vivienne Westwood.

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.

Bellville et Cie was founded in 1953 by Belinda Bellville who later launched the Bellville Sassoon label in 1970 with David Sassoon. When the label was originally launched it was as a couture house and pieces were produced one at a time and by hand for Belinda's clients. It became the go to label for London society and in 1970 David was brought on to help Belinda meet the demand for dresses that she has created and move into ready to wear as well. The label found worldwide fame after Princess Diana became a client. The original label for the brand in those first early years when it was just Belinda creating each dress in her small couture atelier was Belleville et Cie as you see in this dress. It is a very rare label to find. 

The dress is spectacular. It is made out of a silk ivory net that has a little pink chiffon swirls that have been attached by hand and cover the surface of the entire dress. Holding each little pink bit of silk in place is a cluster of beads that are set to dangle off of the dress. This creates a beautiful 3D effect over the entire dress. The neckline angles down into a V and the edge of the neckline are finished with an band of that same pink silk chiffon. The top net layer of the bodice is set over the inner lining so that it sits out and slightly over the pink silk satin ribbon that runs around the waist. The ribbon is attached and adds definition and adds a little detail around the waist. The skirt falls to the floor and gently widens out as it nears the hem. The back of the skirt is cut slightly longer than the front and there is a touch more fabric there so you get a beautiful sweeping field as you move. The volume of the skirt is held by the several layers of tulle underneath that sits between the netting and the inner lining. At the back it dips down into a V for a little bit of skin to show there. It is an extraordinarily well made and wonderfully beautiful dress. Excellent condition with a minor note below.

The dress is fully lined in an ivory silk and there are built in underskirts through the skirt. It closes with a back painted metal zipper and the belt hooks into place at the back over that. The net of the bodice snaps into place over the inner zipper. There are some very faint marks along one side of the skirt and perhaps a very faint spot here and there on the skirt, but nothing outstanding. Please see the photo after the label shot. Made to Couture standards and completely made by hand. I have added some detail shots that include one of the hand done inner seams.

Bust: to 19" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 13" from top of shoulder to top of band at the waist
Total length: 60" from top of shoulder to front hem, 61" to the back 

Modern Sizing Equivalent: SML-MED

Item# DD4859

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 one of three spectacular and extremely rare Dior pieces by John Galliano from the 2008 Resort collection. This dress is the twin of the dress that walked the runway for Look 60 and it is a very rare piece to find. Vogue said that the collection was done "in an electric-bright palette.. and channelled Barbara Hutton's sixties—a glittery, lame, paisley, and leopard-print world of muumuus, bikinis, capri pants, trapeze dresses, cat-eye sunglasses, and scarf-wrapped hats. It bordered on camp... and Kitschy or not, there was no denying the workmanship that went into crafting the large collection." I love having the runway photos that give you an idea of how fantastic this is on the body. It is absolutely brilliant and a true jewel.

Just as a side note and to give you an idea of the cost of these beaded pieces by Dior, the coat that I have from this collection has its original price tag and in 2008 it was US$16,775 and it is the simplest of the three pieces design wise. Even though that is only 16 years ago, the inflation value of that in 2024 dollars is about $25,000. And that is not even taking into account the value that John Galliano adds to the equation!

The fabric of this dress is incredible. It is a brilliant blue silk brocade that has a floral pattern running through it that is made from a silver thread woven into the silk. The bodice has been heavily detailed with silver sequins, beads and rhinestones. It is incredible to see. The design runs over the entire dress and the dress seems to almost glow from within as a result. The silver thread has been done in such a way that it feels like it sits within the base a bit which gives the design this fabulous bit of extra texture. The blue has a very rich and vibrant feel to it and in person the entire dress has a more luminescent effect to it then how it photoed. I know the person who buys this will be very pleased once they see this one in real life. The bodice is strapless and it is cut to curve around the bust with an built in cupped, wired and boned inner corset. The inner dress begins just below the bust with a natural waist that curves in by the cut alone. There is no seam there to break the eye. It is shaped from there to curve out and over the hips. From there it falls to the hem, slightly narrowing in as it reaches the floor. A slit at the back allows enough room to walk. Over this is a huge over skirt that is set in to that seam under the bust with a little flared peplum that wraps all the way around you. The over skirt is incredibly full and billows out around you as you walk. It is cut and open down the centre at the front so that you have incredible movement like you see in the runway video. Above that the entire bodice is detailed with silver beads, sequins and prong set rhinestones. These are set on top of the floral pattern of silver underneath and are densely applied for a touch of a 3D feel. It is stunning. The construction of this dress is impeccable. It is also drop dead gorgeous and even better in person. Excellent condition

Fully lined in a blue silk. There is a full built in netted corset with lightly padded underwire cups and boning. The corset closes with its own set of lingerie hooks and then the dress closes over that with a hidden set zipper. There are little loops inside the bodice that you could add straps if you wish. Fabric could be stolen from one of the inner hems to make them. If having them is important to you, let me know when you purchase and I can have those made for you before shipping the dress. Tagged a vintage vintage Dior FR40, GB12, IT44, US8

Bust: 16-17" flat across from side seam to side seam with room for up to a B-maybe small C cup at the front
Seam under the bust: 15" flat across from side seam to side seam
Natural waist: 15.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Total length: 54" from top of the bodice to inner hem and 55" to the hem of the over skirt, with approx 2" turned under both hems

Modern Sizing Equivalent: SML-MED

Item# DD4858

Reference Photos/Video: Resort 2008 Christian Dior Runway, Look 60.

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 one of three spectacular and extremely rare Dior pieces is by John Galliano from the 2008 Resort collection. This piece is particularly interesting because it can be worn as a coat like it was presented on the runway or as more of a caftan dress if layered over something underneath. On the runway it was shown as a sort of half dress/coat over peg leg trousers. Its twin help to open the show and walked the runway for Look 2. Vogue said that the collection was done "in an electric-bright palette.. and channelled Barbara Hutton's sixties—a glittery, lame, paisley, and leopard-print world of muumuus, bikinis, capri pants, trapeze dresses, cat-eye sunglasses, and scarf-wrapped hats. It bordered on camp... and Kitschy or not, there was no denying the workmanship that went into crafting the large collection." This one is new with tags and was never worn.

Just as a side note and to give you an idea of the cost of these beaded pieces by Dior, this coat has its original price tag and in 2008 it was US$16,775 and it is the simplest of the three pieces design wise. Even though that is only 16 years ago, the inflation value of that in 2024 dollars is about $25,000. And that is not even taking into account the value that John Galliano adds to the equation!

The fabric of the coat is beautiful. It is a brilliant turquoise blue silk faille that has a paisley pattern running over it in green and paler shades of blue mixed with small pops of white. The entire upper bodice and sleeves have been heavily detailed with clear and coloured crystals that catch the light brilliantly and add to it sixties feel. The beads and rhinestones go all the way across the upper back and around to completely cover the shoulders. There are five rows that wrap around the  neckline and then there are long marquis shaped medallions made out of the same clear and coloured rhinestones that sit under that. When you look at the design closely, you can see the care that has been put into making sure the pattern is uninterrupted over where it passes over seams or around that inverted pleat at the back. Another five bands circle each cuff on the sleeves and more medallion sit above that. It is just spectacular. The coat / dress hooks at the top of the neck and then there is a hidden panel where it snaps closed to just about the top of the hips. From there it is open with no closures to the hem. The shoulders are dropped, and the cut is loose and easy all through the body. It is meant to feel slightly oversized. There is a seamed inset that runs around the top of your shoulders and then there are two little faux flat pockets on each side at the front. Each faux pocket sits above an inverted pleat that runs all the way to the hem and then there is another inverted pleat that runs down the middle of the back. It already widens out substantially as it falls to the floor and this extra pleating gives it even more volume. It is like he took a sixties hostess piece and exaggerated it to the extreme. The sleeves are very wide and full and each falls to just below the elbow. The caftan is lined in a brilliant turquoise silk and this flash of the solid blue colour is fantastic when you move. You can wear this so many ways. It works over something light and easy almost like a dress. You could wear it over pants like it was worn on the runway, or use it as a light evening coat. You could probably add a soft or structured belt to add shape if you wished and add even more to its versatility. I love that you can wear this in so many ways. This is very special and are rare piece of John's history and time at Dior and it is also very beautiful. Original Dior packet with extra beads included as well as the original price tag. Excellent condition.

Fully lined in a turquoise blue silk and hooks to close at the front as described above. You could add more hooks so that it closes more down the front if you wished. Its easy and open shape should allow it to fit a range of sizes. The occasional missing stone but there are extras in the packet and nothing that you would ever notice unless inspecting closely. Tagged a vintage Dior FR40, GB12, IT44, US8

Sleeves: approx 21 from top of natural shoulder and are 16" around the upper arm
Dropped shoulders: 18.5"
Bust: to 21" flat across from side seam to side seam
Waist-hips: open
Total length: 55" from top of shoulders to hem with approx 2" turned under the hem

Modern Sizing Equivalent: SML-LRG

Item# DD4857

Reference Photos/Video: Resort 2008 Dior Runway, Look 2. Model Tanya Dziahileva.

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 one of three spectacular and extremely rare Dior dresses by John Galliano from the 2008 Resort collection. This version is one produced for the shops in limited quantities and it is the only one of the three whose twin did not walk the runway. It is based on the runway Look 60 and it is made out of the same amazing fabric as the twin of that look that I also have today. This one is just more body conscious. Vogue said that the collection was done "in an electric-bright palette.. and channelled Barbara Hutton's sixties—a glittery, lame, paisley, and leopard-print world of muumuus, bikinis, capri pants, trapeze dresses, cat-eye sunglasses, and scarf-wrapped hats. It bordered on camp... and Kitschy or not, there was no denying the workmanship that went into crafting the large collection." I love having the runway photos that give you an idea of how fantastic this is on the body. It is beautiful

Just as a side note and to give you an idea of the cost of these beaded pieces by Dior, the coat that I have from this collection has its original price tag and in 2008 it was US$16,775 and it is the simplest of the three pieces design wise. Even though that is only 16 years ago, the inflation value of that in 2024 dollars is about $25,000. And that is not even taking into account the value that John Galliano adds to the equation!

The fabric of this dress is incredible. It is a brilliant blue silk brocade that has a floral pattern running through it that is made from a silver thread woven into the silk. The bodice has been heavily detailed with silver sequins, beads and rhinestones. It is incredible to see. The design runs over the entire dress and the dress seems to almost glow from within as a result. The silver thread has been done in such a way that it feels like it sits within the base a bit which gives the design this fabulous bit of extra texture. The blue has a very rich and vibrant feel to it and in person the entire dress has a more luminescent effect to it then how it photoed. I know the person who buys this will be very pleased once they see this one in real life. The bodice is strapless and it is cut to curve around the bust with an built in cupped, wired and boned inner corset. Just below the bust there is a wide band of the same fabric that has been hand gathered in and around you for added detail and shape. The natural waist below that curves in by the cut alone. There is no seam there to break the eye. It is shaped from there to curve out and over the hips. From there it falls to the hem, slightly narrowing in as it reaches the floor. A slit at the back allows enough room to walk. The entire bodice is detailed with silver beads, sequins and prong set rhinestones. These are set on top of the floral pattern of silver underneath and are densely applied for a touch of a 3D feel. At the back there is a large bow that sits over the zipper and its ties extend down to conceal the closure down your back. Even in the areas that are hidden by the way the panel sit or the bow sit, all of the fabric underneath is still properly finished with the bead work underneath. It is stunning. I also love that this one has detachable straps so you can wear the dress with or without them. The construction of this dress is impeccable. It is also drop dead gorgeous and even better in person. Excellent condition

Fully lined in a blue silk. There is a full built in net corset with lightly padded underwire cups and boning. The corset closes with its own set of lingerie hooks and then the dress closes over that with a hidden set zipper. The bow at the back snaps into place over the zipper. Hand finishes. Tagged a vintage vintage Dior FR36, GB8, IT40, US4

Bust: 16-17" flat across from side seam to side seam with room for up to a B-maybe small C cup at the front
Seam under the bust: 15" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Total length: 55" from top of shoulders to hem with approx 2" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4856

Reference Photos/Video: Resort 2008 Christian Dior Runway, Look 60.

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This remarkable dress is the twin of the one that walked the runway for the Fall 1986 Rive Gauche collection by Yves Saint Laurent. I was so pleased to find a shot of it on because it really shows you just how much it comes to life when worn. He did several variations of this look for that season and this deep brown velvet with its leopard print within the velvet is one of my favourites. I am obsessed with his work and this one is so well known, especially since other designers have copied it (most notably Gucci when they did a green version of this dress). It is a pleasure to have it in the shop.You can see that they belted it on the runway and you could certainly add a belt to add more shape to this one as well.

This gorgeous dress is made out of a brown silk velvet with a leopard print done in a different finish of velvet within the fabric. This pattern gives the velvet an extra depth and richness, and also catches the light as you move. It is stunning. It drapes absolutely beautifully over the body. It is really an outstanding fabric. The bodice is set into a deep V that crosses over itself where it is set into the waist. Without a belt it has a more deeply plunged feel but you could cross it over a bit more and have a sash or belt hold it more closed if you wished. In a classic Yves shape, it drapes loosely over you at the front with a touch of extra fullness. The waist is seamed and cut slightly on the more generous side. The top of each shoulder is gathered and the sleeves start out very wide and then narrow down to a zippered cuff. The skirt falls to the floor in a pretty sweep of fabric. Extra fabric has been gathered down the centre of the front for a little added detail. It makes it so glamorous and it gives the dress a bit of a wonderful 1940s feel too. It is a gorgeous dress and a wonderful piece of his fashion history. Excellent condition

Unlined and closes with a side set zipper. Each shoulder has very light padding and each cuff has a hidden set zipper. It appears to have been worn very little if at all. Tagged a vintage YSL 42. 

Sleeves: 23.5"
Slightly inset shoulders: 14.5"
Bust: 16-20" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 24" across lowest seam at very top of hips, open under that
Bodice: 17" from top of shoulder to slightly dropped waist
Total length: 59" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4855

Reference Photo: Fall 1986 Yves Saint Laurent 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 was the closing look of the Fall 2019 collection and it is a fantastic piece from Clare Waight Keller's time as Creative Director for the house. Clare described the collection as “The Winter of Eden” and in the Vogue review of the collection the evening pieces in particular were of note; "thanks maybe to her Couture work and her string of red carpet wins, Waight Keller has a lot to say about after-dark sparkle which she handled with a good deal of meticulousness. She also played around with volume, tapping a double breasted corset jacket with a deep flounce of crinkle taffeta and a black gown with an exuberantly poufed sleeved midnight blue bolero in the same demonstrative fabric". This is the dress mentioned in that review and once it went to the shops it was sold separately from the bolero that you see on the runway. I personally prefer it on its own, as did my client, who bought it without. The dress is new with its original hang tag and has its extra thread and sequin packet. It also has its original price tag of $11,520USD. I think Givenchy has since gone beyond that in price point but still a staggering number.

The dress is amazing. It is made out of a fine wool that has a touch of a texture to it. Long triangle shaped silk chiffon panels are set into the skirt to give it the shape that you see and then the entire dress has been finished with a design made from silver beads, silver metal thread and tiny silver sequins. The bodice is kept almost sculptural in cut. The neck is scooped and there are no sleeves. It skims over the bust and it is shaped to come in slightly at the waist. From there it begins to flare out into the volume of the skirt to the floor. The skirt is in its original uncut length and the dress was never worn so it is pristine. As you look at it closer you realize that the dress is made from panels that are all pieced together side-by-side vertically and this starts right from the shoulders. Each is cut on a curve to create the shape around the body. A fantastic example of meticulous tailoring. There are ten of them in total that wrap vertically around the body and extend all the way to the hem. Each panel was then covered in a pattern that suggest flowers on long trailing branches. The applique work ends at different points along the panels with some reaching almost to the hem. I love the unexpectedness of not having them all perfectly end at the same point. The silk organza inserts are a full 30" across at their base and then they narrow to tiny points as they run up the dress in between the wool panels. They end at around the top of the hip. I shot the dress laying out more flat as well so you could get an idea of how much fabric and volume is actually through the skirt. When you are standing still you do get that sense of volume but it is when you move that you truly get the sense of the yards and yards of silk that are hidden in the skirt. Truly phenomenal and an extraordinary piece of the label's history. Excellent condition 

The skirt is lined in a black silk and it closes with a hidden set back zipper. Tagged a modern 36 but generous in cut. New with its original tags and has its extra bead, sequin and thread packet and original price tag. 

Bust: to 17.5" from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips:to 23" flat across from side seam to side seam
Total length: 65" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4853

Reference Photo/Video: Fall 2019 Givenchy, Look 64. Model Juliane Gruner.

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 Spring 1977 Bill Gibb collection. In the book, 'Bill Gibb: Fashion and Fantasy' they quote him as saying "for next season, I am going to do semi-sport, separates like a little boy with shorts, something I've never done before... women want to get into pretty clothes" It goes on to describe the invitation for the show as 'a barefooted girl, wearing a simple empire line dress in a garden, surrounded by a garland of flowers' and of the show itself...'Gibb presented one of his most delicate looking collections, combining his cute boyish styles with pastoral illusions… embroidered cheesecloth and broderie anglaise. Even though he called this his flowers and lace collection, Gibbs discerning eye insured the look never became two sugary sweet by punctuating the collection with splashes of black. He said "I like a dress to have great richness. There are many ways to do this like a black cat printed on the hem of a starkly white dress, or I use black and white next to a coloured pattern fabric... It is incredibly effective". We are also very pleased to have found a photo of the dress on the runway. It is an incredibly rare and gorgeous little dress.

Bill Gibb is one of my favourite designers and I am always extremely pleased to be able offer an item from him as they are very hard to find. The really good ones especially, never mind when one is documented like this one is. It is also a gorgeous dress in its own right. I love that this showcases exactly what he said above about using black as a means to contrast and add "richness". It is a dress that in someways is simple but it has huge impact. The halter is made out of a black silk that has a pink ribbon defining all of the seams and edges. The ribbon extends out from the side of the bust to curve up and over your shoulder attaching at the edge at the back. Where the front scoops down into a V ribbon also extends out from there and these ones tie behind the back so that the ends trail down against your bare skin. Using the ribbon to define the seams visually creates six panels around you. Each of those has been hand detailed with tiny silver pink beading, opaque white beads and pink embroidery to form little flowers to perfectly fit into the theme of the collection. It is the prettiest detailing. The halter falls into a V at the front and then the ribbons cross over themselves and there is a open keyhole under that to the waist. At the back, the vertical edges sit several inches apart from each other to add even more to the bare and open feeling it has. The skirt is equally as amazing. It is made out of a white cotton inner skirt and then has an attached over skirt that does not fully meet at the front. The interior skirt is finished with a wide layer of cotton lace at the hem and then the attached top layer starts with a ruffle at the waist. It has five more layers of ruffles as it travels to the hem. The skirt is incredibly full. An interesting little detail is that the inner skirt has pockets and this allows you to put your hands into those pockets and hold the outer skirt away to the sides. This will give you more of the feel that you see on the runway photo. This is an extraordinary little piece and could not be more rare. Excellent condition.

The inner skirt acts as the lining and the halter is lined in an ivory silky rayon. It closes with the tie at the back of the neck and then hook at the back of the waist and has a zipper below that. Pockets on the inner skirt. Sized a vintage Bill Gibb UK 10. 

Bust: 15-16" flat across from side seam to side seam
Waist: 12-12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to top of the band at the waist
Total length: 48" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4850

Reference Photos: Spring 1977 Bill Gibb.

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.

Thea Porter combined exoticism, embellished ornamentation and luxurious fabrics in her pieces and her work was a phenomenon during her day. This style of dress is one of her most well known dresses and it has been one of her most loved styles since it was first created in 1968. The Thea Porter book that accompanied the 2015 Fashion and Textile Museum exhibit "Thea Porter 70s Bohemian Chic" (for which over a dozen pieces were pulled from my archives) has many example of stars from that time period wearing their versions. Kate Moss is perhaps the most notable of modern girls who have one and she caused a sensation when she wore her blue version for her wedding rehearsal in 2011. This is almost certainly a one of a kind, or a version of very few that would have been made. These dresses were made between 1969 up to about 1975 and we've included some various reference photos of similar pieces so you can get an idea of how gorgeous it is on the body.

This would make a phenomenal dress for the bride, looking for something nontraditional or as a part of a wedding weekend and of course it would be a stand-out piece in any Thea Porter collection.

The Thea Porter book states that this style of dress were 'generally made out of a combination of three different fabrics, which give it an enduring variety. If the skirt was in plain cloth cotton, the bodice was usually in brocade… We made the dress in every conceivable fabric, from embroidered chiffon to liberty cotton‘s to velvet…. The silhouette of a slimmer torso combined with a full skirt (composed of 4.5 m of fabric) and sleeves became the basis for Porter‘s 'gypsy or gipsy' dress'. (note that this is historically what the dress was called at the time and is mentioned for historical accuracy). The book goes on to talk about the cut and design of these dresses saying that 'the bust became an integrated part of the body, ending directly below the breasts to create an empire line. The cut is such that the bust is held in securely, yet pushed up, removing the necessity of wearing a bra. The uneven hem of the dress evolved as a form of collaboration between Thea and one of her first seamstresses, Meg Lake, who was self taught and didn’t realize that a circle of fabric cut on the bias would fall irregularly and need to be trimmed. Porter love that effect and the mistake became a design signature.'

This is a classic Thea dress that follows all of those design philosophies. The bodice of her dresses were often crafted in antique brocade or silks and I suspect that is what we are seeing that with the beautiful and delicate gold metal thread on a feather like silk organza that we see on this front and back of the bodice on the dress. I love the little piece of silk chiffon that sits at the top of each shoulder and has the little embroidered 3D rose there. An ivory velvet ribbon details the cut of the bodice and also defines the highly detailed wide band around the waist. The sleeves are a single layer of an ivory silk chiffon and have a touch of transparency to them. They are magnificently full and each one puffs out above an elastic cuff. A little velvet bow and another embroidered 3D flower sit on the end of each sleeve. The skirt is two layers, an inner silk layer that is cut on the bias and then floating over that is a bias cut of the same ivory silk organza that the sleeves are made out of. The silk of the skirt starts just under the wide band at the waist and it flares out in yards of silk. It has that perfectly imperfect asymmetrical hem described above so that one side falls slightly longer then the other. This one is extra special because of the extreme detailing that is done by an abundance of hand embroidered flowers that run all the way around the band of the waist. More flowers run all the way around the skirt in beautiful curving patterns in a beautiful curving pattern on both the back and the front. Placed within the highly detailed embroidered leaves are little flowers formed by scalloped ribbon. The final finish is a perfect little ivory bow at the waist. It is just wildly gorgeous. Excellent condition with a minor note below

The sleeves are unlined and the skirt is lined as described above. It closes with a back set zipper and each sleeve has elastic at the cuffs. I see some lifting and wear in and around the gold medallions around the shoulders and under a fold on one shoulder. It looks like there have been some stitches put into help hold them down at some point but some are lifting and there are areas of the organza in between that is missing. Please see the photos after the label shot. It is an incredible dress

Sleeves: 18"
Shoulders: no true seam since they are inset
Bust: 17.5" flat across from side seam to side seam
Seam at the top of the waist band: 15" flat across from side seam to side seam
Waist at bottom of the band: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from shoulder to seam at top of waist band, 15" to waist seam
Total length: 56" from shoulder to longest points of hem

Modern Sizing Equivalent: XS-SML

Item# DD4852

Reference Photos: (1-2) Kate Moss in Thea Porter, for her wedding rehearsal, 2011.  /  (3) 1970 Thea Porter Dress from The MET Collection Online.  /  (4) Jane Fonda in Thea Porter.  /  (5) Model in Thea Porter, credit unknown.  /  (6) Joan Colins in a Gipsy Dress, with her sister Jackie in a robe with trailing sleeves over trousers, in two versions of Sheila Hudson's butterfly print, at the opening of the musical "1776" in 1970. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (7) Floral cotton voila Gipsy dress, 1969. Photography by Willie Christie. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (8) Actress Sharon Tate arriving at a party with Peter Sellers. She wears a Gipsy dress with moire bodice and polka-dot chiffon skirt and sleeves. London, July 1, 1969. From the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (9) Charlotte Rampling in Thea Porter, 1970s.  /  (10) Scanned from Vogue, Autumn/Winter 1970 by Liz Eggleston.  /  (11) Scanned from Vogue, April 1975 by Liz Eggleston.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This dress is from the Fall 2016 Valentino collection and at this time both Maria Grazia Chiuri and Pierpaolo Piccioli were acting Creative Directors. It was a dress that was highly sought after and we found examples of the great Franca Sozzani wearing one along with Mo Abudu in another. Vogue raved abut this collection saying in part: "Maria Grazia Chiuri and Pierpaolo Piccioli's design signature by now is familiar. Their simple, covered-up, almost prim silhouettes act like a canvas for the embroidery and beadwork of the Roman house's atelier.... Resort found them scaling back not an inch on the detailing, yet the effect was more folksy than flamboyant. ...The workmanship is close to couture." And indeed this dress feels so very special with its embroidered head to toe detailing. 

The dress is almost startling in its beauty. The entire exterior is an open weave embroidered fabric that would have all been pre-planned for so that the end result has the pattern set to lay as perfectly over the dress as it does. This sits over a black net and then there is a built in black silk inner lining so that it is wearable. You can see in the collection photo, and of the one of Franca especially, that in both those cases the dress was worn without the lining. You could certainly remove the lining and wear it this way if you wished and just wear the proper undergarments to be able to do so. Even with the lining in place the dress has the illusion that you are bare under the embroidery. The embroidery is stunning. It is like wearing a garden with flowers, birds and butterflies scattered over you from head to toe. Every line of the dress is perfection. The neckline is scooped and the shoulders are soft with no padding. The sleeves are long and narrow down slightly to the wrist. Each sleeve is unlined so that you see a hint of skin through the netting. Once on the body the dress skims over you to the waist. The waist is defined by what looks like a band of roots or branches. You see that same detailing at the hem and at the end of each cuff. From the waist it falls to the floor widening out gently. On the skirt the pattern is allowed to be uninterrupted and fully show all the way around you and it is a thing of beauty to see. All of the embroidery is laid out on that open weave backdrop and it gives the entire dress this fantastically textured beauty that is hard to truly describe until you see it in person. It is spectacular and a wonderful example of the level of work being done at Valentino during this time period. Excellent condition 

Fully lined in a combination of black netting and a black silk as described above. It closes with a back hidden zipper. It appears to have been worn very little if at all. Tagged a modern Valentino 42. 

Sleeves: 24"
Shoulders: 15" and the upper arm is 12" around
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 15" from neck to the top of the band at the waist
Total length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4847

Reference Photos: (1) Resort 2016 Valentino, Look 7.  /  (2) Franca Sozzani in Valentino during Couture Fashion Week, July 2015.  /  (3) Mo Abudu in Valentino at the Toronto International Film Festival, Sep 2016.

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 Spring 2001 collection and Vogue raved that "It's a very good moment for Christian Lacroix, now that graphic colors, feminine dressing and '80s references are a constant on the catwalks. The designer seized the moment and delivered one of his strongest, most consistent collections in seasons.Lacroix played up his masterful use of color with sexy patchwork strapless numbers and "painting-print" dresses with beaded insets, dangling chains and straps, and embroidered patches. Punky layered chiffons and muslins, ruffled, feathered and pleated, proved that Lacroix can move way beyond his signature pouf." A slight variation on this dress was shown for Look 46 in the show. I think this one is even better.

This Lacroix is magica;. A painted deep pink silk chiffon sits under a more open weave black lace netting and the effect that this creates is fantastic. The inner pink chiffon feels like it has been hand-painted and there is a beautiful abstract flower design running over its surface. One side of the bodice has a wider shoulder that curves up and then ties into place at the top of the shoulder. The other side is a thinner strap and the entire bodice is set on a deep angle at the front and again at the back. All of the seaming on this dress is set on angles and curves so that it feels very reminiscent of the old Hollywood days of the 20s and 30s. An angled panel runs across the waist and down to one hip and then the skirt is set into that coming up on an angle on one side. The skirt is phenomenal. There are yards in yards of silk and lace netting that cascade down and over the body fantastically. One side has a high slit so when you walk you have tons of leg showing. Ruffles cascade across all of the the angled seams that make up the skirt and this adds tremendous movement as you love. The skirt is cut longer at the back to trail out and around you and this combined with the lightness of the silk lets it billow out around you. It is an absolutely astonishingly beautiful piece and feels like a work of art. Phenomenal. Excellent condition.

There is a black silk chiffon through the bodice and a partial inner black silk chiffon inner skirt. It closes with a hidden set side zipper. There may be the occasional break in the lace but nothing I can see that is outstanding to note. Tagged a vintage Lacroix 38. It is all cut on the bias so there is a bit of give and I have measured the comfortable range when laying flat.

Bust: 16-18.5" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Total length: 60" from top of shoulder to inner pink hem and the lace extends past that. 75" to the longest point of the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4846

Reference Photos/Video: Spring 2001 Christian Lacroix, Look 46. Model Malgosia Bela.

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 by Linda Evangelista for the Fall 1994 Karl Lagerfeld runway show. It also has the added provenance of being photoed for British Vogue that November. The dress is from Karl Lagerfeld's own label. He launched his self-named label in 1984 and this dress is from 1991 making it a fairly early example of the work he was doing for his own label. 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. I just had this dress in the shop recently in a larger size, and I was pleased to have another one in a smaller size come in so quickly. This is a fantastic example of his work for that label. 

This is a dress that is easy to wear and very sexy. On the runway Linda was styled with it falling completely off the shoulder and you can wear it like that or have that side sit up more on the actual shoulder. The edge of the neckline is cut on a angle that goes across and down to expose a bare expanse of skin. The shoulders are soft and the sleeves are cut to be a little extra long. At the ends of each sleeve  they are finished off at angle that comes down and over the hand. The fabric is a cut velvet set in little rows over a bias cut chiffon base. The colour is a deep burgundy red that is flattering on most skin tones. It skims over the bust, waist and hips and I love how the rows are set on an angle to create the illusion of extra length. The hem follows the dip of the neckline with the skirt falling all the way to the floor on the one side and then coming up to about the knee area depending on your height on the other. It is fantastic and I love the tie in to Linda. Excellent condition

Fully lined in a silk mix chiffon and slips on the wear. It appears to have been worn very little if at all. Tagged a vintage KL 38

Sleeves: 29" and 12" around the upper arm
Slightly dropped shoulders: 16"
Bust: 15-19" flat across from side seam to side seam
Waist: 12-16" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Total length: 63" from top of shoulder to longest point of hem

Modern Sizing Equivalent: XS-MED

Item# DD4844

Reference Photos/Video: (1-3)  Fall 1994 Karl Lagerfeld Runway. Model Linda Evangelista.  /  (4) Vogue UK, November 1994.

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.