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.

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This dress was a production piece made for the shops from what we can tell and I absolutely love it. I love Clare Waight Keller's time as Creative Director for Givenchy. She designed many beautiful dresses during her time at the label and this is one of them. It is a show stopper. The fact that it is easy to wear is just bonus. This would make an amazing wedding dress for a bride or could be an alternative dress in a more extended wedding celebration. And of course it could also be worn to any fabulous and glamorous event.

The dress is amazing. It is made out of a light weight slightly off-white silk crepe through the lower part of the dress and then the bodice and those amazing sleeves are a slightly lighter weight ivory silk chiffon over an inner silk crepe base. The neckline is scooped high at the front and the bodice is cut to skim over you to the waist. The waist is more on the easy side to have a bit of a sheath feel. The hips curve out slightly for a pretty silhouette. From there it falls to the floor and the skirt widens out quite a bit by the time it reaches the hem. At the back there is extra fabric on either side of the centre seam so that you get a bit of a flare of the lower skirt there. The sleeves are the star of the show on this dress. The silk chiffon of the bodice extends out from the shoulder and from the seam at the waist into wide full sleeves that fall over your arms. They continue at the same width to their ends and this allows them to cascade down your arm in the most spectacular fashion. They are open underneath which creates tremendous movement when you move. The slightest bit of air lets them billow around you. To add weight and a little touch of glamour she has added dangling little clear beads all around the edges of the lower portion of the sleeves and around where it goes over your wrist. It is the perfect subtle touch of high glamour for the dress. The dress appears to have never been worn and it is in its original extra long supermodel length. It is absolutely amazing. Excellent condition with a minor note below.

Fully lined in an ivory silk and closes at the back with a hidden set zipper. The dress is in its original length and appears to have never been worn. I do see some slight grubbiness around the hem. Tagged a modern Givenchy 40

Sleeves: approx 34" to their longest point
Shoulders: no true defined
Bust: to 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 62" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4840

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This was Look 54 of the Resort collection and one of the best of the evening pieces from that collection. It was shown in black for the collection presentation and then it was also produced in this spectacular red version. I love Clare Waight Keller's time as Creative Director for Givenchy and even though her time there was short her work was wonderful. She designed many beautiful dresses during her time at the label and this is one of them. It is a show stopper. The fact that it is easy to wear is just bonus.

Clare said of the collection that year “There’s a powerful woman in there that I really love; she’s a very strong character who loves a strong shape—something that gives a real sense of fashion.”, and in the Vogue review of the resort collection, fashion journalist Amy Verner mentioned the black version of the dress in particular along with another comment from Clare; "This marks the first season since the passing of Monsieur de Givenchy in March and Waight Keller hinted that a more intentioned homage might be forthcoming. In the meantime, the collection’s evening looks—specifically the long-sleeved black dress showered with silver embroidery, and the gradient celadon and rust plissé lamé gown—further the couture spirit we’ve seen most recently at the Met Gala and at Cannes. “It’s a real joy to be able to work at both ends of the spectrum,” Keller said. “It’s what I believe in: everything from the really simple everyday to the absolutely fantastic and fabulous.”

The dress is amazing. It is made out of a light weight red silk crepe through the body of the dress and then it is finished with a lighter weight red silk for the inset on the lower skirt and feather light silk chiffon for those amazing sleeves. The red colour is gorgeous and it is that perfect red that will flatter most skin tones. The neckline is scooped high at the front and flat laying sequins add detail and some subtle sparkle to catch the light. The dress has a bit of a caftan feel to it and it is cut so that it skims over your bust, waist and hips. From there it falls to the floor and widens out quite a bit by the time it reaches the hem. The sequins on the bodice are set in vertical rows and each sequin is topped with a tiny round red seed bead. These run down from the shoulder to come to a point at the front. The very lower part of the skirt is a silk panel that runs across the full front of the skirt and is set on an upward angle. This perfectly balances out that downward angle of the sequins at the neckline. The sleeves are the star of the show. A silk chiffon caped sleeve falls over your arms from the shoulder and widens out to cascade all the way to slightly past the hem. They are open underneath which creates tremendous movement when you move. The slightest bit of air lets them billow around and behind you. It is the perfect touch of drama for the dress. The dress appears to have never been worn and it is in its original extra long supermodel length. It is absolutely amazing and it originally retailed at just under the 9k mark. Excellent condition

Fully lined in a red silk and closes at the back with a hidden set zipper. The dress is in its original length and appears to have never been worn. 

Sleeves: 63"
Slightly inset shoulders: 13"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 60" from neck to longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD4378

Reference Photos: (1) Resort 2019 Givenchy, Look 54.  /  (2) Credit unknown.

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In 1952, Hubert de Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodmans and was eventually made available at other retailers. The line was high end and extremely well made. This part of his brand was created specifically to appeal to his non-couture clients who wanted to be able to purchase a piece of the Givenchy dream. This label continued until 1992 when it was retired and re-branded as the Givenchy Couture label. This dress is from those early days of the label and it is one of the prettiest Givenchy dresses I have seen. 

Modern Sizing Equivalent: XS-SML

Item# DD4721

Reference Photos: Spring 1982 Lanvin Couture. Model Anna Bayle.

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The House of Givenchy was founded in 1952 by Hubert de Givenchy. He has always been strongly associated with the work that he did dressing Audrey Hepburn but his range was incredible as a designer behind that relationship with her. Some of my personal favourite vintage pieces over the years have been from his work. His Haute Couture pieces are always amazing to find and this wonderful dress is an extraordinary example of his couture work during this time period. It is completely made by hand to Haute Couture standards and the workmanship and craft out into this dress is extraordinary. This is also the actual runway sample and you can see its near twin in the reference photos that we have added here that would have been in the same grouping as this one, which makes its place in fashion history even more special. As good as the dress is on the dress form you can see how it transforms even further on an actual body. This is true Couture and it is fabulous. I love it. 

What a beautiful piece of couture. The bodice of the dress is made from a black silk with a slight sheen to the finish and the fabric has a touch of weight that allows it to hold the shape that you see. For the skirt he used a black velvet with a thick pile finish and this fabric choice also really allows it to hold those beautiful lines that you see in the photos. Its beautiful shape is almost sculptural and it is a testament to the level of workmanship that you only see in true couture pieces. The bodice buttons to close down the front and the buttons run all the way up to the neckline. Each button is a thick circle of black with a glass rhinestone set inside. The neckline has no collar and it is just a simple, elegant swoop around your neck. The bodice has vertical darts so that it follows and accentuates the curves of the body. It narrows in slightly at the waist and then curves out and over to the top of the hip below the natural waist. A ribbon is tacked at the back and then ties on the front to give the dress the same look as how it was shown on the runway. The sleeves are amazing. Each is cut on a curve to follow the shape of the arm in the traditional manner of making a sleeve. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. There is stiffened tulle just inside the edge of the shoulder for shape and this lets them puff out slightly around the upper arm and then it narrows down to their ends.The skirt has some built-in fullness around the inside of the upper hip that allows it to lift slightly off and away from the body. There are also weights that are set all around the inner hip so that it sits perfectly on the body once on. The skirt curves down and inwards from there. The skirt at the front is cut on a curve that swoops up at the centre so that you see a flash of leg as you walk or sit. The back is fuller and it also falls a touch longer so you get a beautiful curving line from the side. The sleeves are works of art. Each is detailed with hand applied prong set glass rhinestones in red green and clear to form a stunning red flower with trailing leaves that run over and down the outer edge of each sleeve. Little hand cut velvet bits are hand applied in and around the flowers to give them depth. The rhinestones catch the light beautifully. It is incredible. These have all been added one by one by hand and the entire dress is completely hand made to couture standards. I have taken some detail shots of the interior seams for you to see the fine Haute Couture workmanship inside. It is an incredible piece and beautifully made. Excellent condition with a small note below

The bodice is unlined and the skirt is fully lined in a black silk organza. Built in panniers around the hip area with weights that I have photoed. It closes down the front with the buttons as shown and the skirt snaps into place under that. A little hidden set snap is set on each cuff. Hand finished throughout. The proper runway sample tag is present. One rhinestone is broken but it is the button that lies under the ribbon when it is tied. Please see the photo after the sample tag. Some of the seams show minor stress. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 25" and 14" aroid the upper arm. 6.5" around the wrist
Slightly inset shoulders: 14.5"
Bust: 16-17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam and meant be cinched with the ribbon
Seam across top of hips: 15" flat across from side seam to side seam
Natural hips: open
Bodice: 20" from the neck to the seam at top of hips
Total length: 41" from neck to shortest part of the front hem, 58.5" to the back hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Modern Sizing Equivalent:

Item# DD4562

Reference Photos: Givenchy Fall 1978 Haute Couture Advance.

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Each piece that John Anthony made was on a made-to-order basis, which means that each piece is the only one that exists, or in the very occasional circumstance that there are similar pieces made, only a very limited amount of pieces were done. All of the pieces I currently have in the shop come directly from John's archive. 

He is one of the great American couturiers and he was known for his sharp tailoring and striking evening wear. He launched his atelier in 1971 and he quickly rose to fame, winning a Coty award in 1972 and then again in 1976. This is the original sample of this piece from his archives. We found a series of photos of pieces with the same bead work so you can get an idea of how beautiful they are on the body.

The dress is made out of a feather light deep brown silk chiffon. Glass tube beads are set in vertical rows over both pieces and all of the beads have been applied by hand in perfect little rows onto the silk. I love how they catch the light from every angle. Both pieces have a simple and easy cut so that they are easy to wear and are very flattering on the body. The neckline is scooped and closes with a hook and eye at the back of the neck above a keyhole. The sleeves have the same bead detailing and then they fall in a straight cut to the wrist for a touch of fullness. The bodice is cut to skim loosely over you to the waist. The waist is finished with elastic which lets the silk pouf under a touch. The skirt has a banded waist and falls to the floor under that. It flares out a touch as it nears the hem. It has a high slit on one side for a flash of leg to show. They are gorgeous when worn together. The work has all been done by hand and the workmanship is fantastic. They fall like a dream once on the body. Excellent condition with a minor note below

Fully lined in a second layer of nude silk chiffon. The top closes with a hook and eye above a keyhole at the back of the neck and has elastic at the bottom seam. The skirt closes with hook and eye at the waist and a zipper under that. A tiny area of missing beads here and there but nothing major. Please see the photo after the label shot. The sample tag is stitched inside the cuff of one sleeve.

Top
Sleeves: 23"
Shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Bottom seam: 14-20" flat across from side seam to side seam
Length: 27" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Length: 45" from waist to hem
Slit: 27" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD4571

Reference Photos: Fall 1981 John Anthony Ready to Wear Advance Preview.

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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.

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I had a dress similar to this in the past and I think I love it even more this time around. It is a beautiful example of the genius of Mr. de la Renta's work and his attention to detail. It has a beautiful elegance to it and is quite striking. This sense of refinement is a constant in Oscar's work and I particularly love these earlier examples of that aesthetic. You can see how many of the elements you see in pieces like this were carried forward through his entire body of work.

The dress is made from a sheer brown silk chiffon with a built in under-dress done in a lightweight brown silk chiffon. This makes it wearable, but still gives you the depth of the top layer that has a slight transparency to it. The fabric is beautiful. Depending on which direction the pile of the velvet is in, the colour morphs from a deep charcoal grey to a more taupe grey colour. Stitched in and around the velvet is a deep reddish copper metallic thread that gives the entire dress a subtle glint. The sleeves are incredible. They are unlined and they are incredibly full so that they pouf out above the cuffs. The bodice is cut to skim over you and then is brought in so that it blouses up and over the seam at the waist. The waist has elastic running through it so it is incredibly easy to wear. The skirt falls to the floor from there. The shape is fairly long and slim with just a touch of widening out at the hem for a lean silhouette. At the back there is an open keyhole under the closure there. I love this little unexpected and subtle flash of skin. It is a beautiful example of his work during this time period. Excellent condition.

Fully lined with an inner built in dress made of a nude and black silk chiffon stacked on top of each other. The sleeves are unlined. The inner dress closes at the back with a hand set snaps. The outer fabric snaps and hooks over that. Elastic through the waist and each cuff has elastic. Hand finished throughout. In its original uncut length. It looks to have been worn very little if at all

Sleeves: 26" and they are 26" around the upper arm
Shoulders: 15"
Inner bust: to 18" flat across from side seam to side seam
Elastic waist: 13-19" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Bodice: approx 16" from top of shoulder to waist. The elastic at the waist will let you wear it up or down a bit as needed.
Total length: 64" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4764

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Louis Feraud opened his first boutique in 1950 in Cannes selling sundresses to the jet set. When Brigitte Bardot was photographed in a white pique and lace number, he became the darling of the fashion world. By 1956 he had moved to Paris and opened a couture atelier and in 1960s made his first official couture presentation. Ready-to-Wear followed in 1970. He won the Golden Thimble in in 1978 and again in 1984. Women like Elizabeth Taylor and Brigitte Bardot were huge fans of the label. This is a wonderful sequin and silk chiffon dress that showcases his depth as a designer. It is just exceptional.

The dress has the bit of a high glamour vibe to it that is fabulous. The sequins make it feel so special and I love the use of the silk chiffon for the upper shoulders and sleeves. The chiffon is set wide across the neckline so you get just a hint of the tops of your inner shoulders showing. It runs down to the bodice on the front and back where the sequins start and it also extends out into those phenomenal sleeves. The body of the dress is made out of a dense application of black sequins, set on top of a chiffon, which gives it a touch of structure but still keeps the dress feather light. It is cut fairly straight over the body so that it just floats beautifully over you once on. A slit on one side that runs up from the hem allows for a bit of leg to show. Outside of the glamour of the sequins it is the sleeves that are the star of this dress. Each sleeve has three tiers of pleated silk chiffon added to it. These start just under the base of the arm and are stacked over each other to the wrist. It gives it a stacked pagoda sleeve feel that is just insanely good. The contrast between all of that detail on the sleeve, the sequins and ease through the body of the dress is the perfect mix. Excellent condition

The body is lined in a satin finish rayon and the upper bodice and sleeves are unlined. It closes with a back zipper that starts at the sequins and there is a button to close behind the neck. Tagged a Feraud 40

Sleeves: 24" and are 14" around the upper arm
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Total length: 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4854

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Well sourcing the collection for this dress we found an example in 1988 that felt close but I think it is most likely from the Fall of 1991. He showed several of these dresses with jackets over them at the end of that show and this feels more similar to those. You can also see the similarity in the one that we had that was worn by that Olivia Culpo. This feels like it's younger sassier sister. We have included reference photos from both collections here and either way, it is an absolutely fabulous little black dress. It is incredible and very sexy.

The dress is strapless with a pretty bodice that curves up at the front and down slightly at the back. It is boned and shaped to curve around the bust at the front and then hug the body to the waist. The exterior is made of a black silk and it has a little lace ribbon all around the upper edge for a little romantic touch. The skirt is made from two layers of a fine black netting that has a very smooth to the touch feel. The layers give you touch of transparency and you can see this in the 1991 show that this was deliberate. He meant it to be worn over an undergarment and tights that gives you some coverage and just have the transparency that shows your entire leg. If that does not work for you, you could easily add something underneath to lessen the transparency that the skirt has. It zips to close at the back and I love how you can see that the zipper has been hand set. The inner lining is also handset and it is just a beautiful example of how well these little dresses are made from Chanel. Especially in these early years of the Karl era. Excellent condition.

Lined in a handset silk through the bodice and closes with a back, hand set zipper. There are little loops inside the dress that suggests that it had a inner elastic stay through the bodice at one time but that is now gone. I have left them because it would be very easy to add one in if you feel that would make it more secure on you. There is a stay in place around the waist that hooks to close. Tagged a vintage Chanel 38.

Bust: 15.5-16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice at the front to waist
Total length: 32.5" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4837

Reference Photos/Video: (1) Spring 1988 Chanel.  /  (2-3) Fall 1991 Chanel, Look 98. Model Emma Sjoberg.  /  (4) Olivia Culpo in Fall 1991 Chanel from Shrimpton 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.