In 1952, 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 Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This dress has the Givenchy Boutique label without the Nouvelle added and as far as I am aware this label was usually reserved for special orders that were made in the atelier and then shipped to the client without any Paris fittings. All the ones that I have ever seen are machine stitch for the main long seams and then hand finished throughout otherwise. This dress is made exactly like that and it could not be more gorgeous.

This is the kind of dress that makes my heart flutter when I see. I love this particular silhouette from this time period and this one is a beauty. The dress is made out of a beautiful silk brocade that has pink and copper flowers woven throughout the fabric. The pink and slightly coral parts of the flowers are done in a more matte thread and then the copper and gold parts are done with a metallic thread. As a result the flowers almost seem to glow off of the silk. It is an incredible vintage fabric. The top of the dress is equally as stunning. It has a low squared off neckline at the front that is made from a black velvet. It curves up and over your shoulders and has the same squared off opening at the back. At the front it dips slightly at the centre and placed exactly in the middle of that dip is a large black bow of the same velvet that has stiffened netting inside to help hold its shape. The sleeves are gorgeous. Each shoulder is shaped into a high cap. To help support the bit of a rise above the shoulder there is a stiffen thicker grosgrain ribbon that is pleated and stitched into place along the edge of the inner shoulder to add support. The sleeves are cut so that they curve over your arm and narrow down slightly to a zippered wrist. The top is meant to be more fitted and create a more empire feel. The dress is shaped through the waist area with vertical darts to bring the fabric in and create the curve that you see. The skirt falls to the floor from there. It flares out quite dramatically by the time it reaches the hem and I love how the width of the lower skirt perfectly balances the shape through the upper bodice. It is spectacular and the cut and design are phenomenal. This is classic Givenchy for this time period. Excellent condition

The dress is backed in the same velvet where it goes over your shoulders and then the bodice and rest of the dress are lined in a black silk chiffon. It closes with a back zipper and there is a zipper at the end of each cuff. Hand finishes throughout and very well made. 

Sleeves: 24" and are 16" around the upper arm
Shoulders: no true defined seam
Bust: 16.5" flat across from side seam to side seam
Natural waist: 13.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: approx 12" from top of shoulder to where the velvet ends under the bust
Total length: 57.5" from top of shoulder to front hem, 59" to the back hem with 2" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4893

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4872

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

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The book 'Givenchy Catwalk' says of this collection that "the new collection was heavily influenced by the fashions of the 1940s and was the height of sophistication." Several pieces walked the runway that season that had these Trompe L'oeil ribbons adorning their silk surfaces. The book notes that "the exclusive bow and ribbon prints on some day wear outfits reference the motif that had made Elsa Schiaparelli's name in 1927, but it was after dark that these features truly came into their own. In the evening were large ribbons tied into bows or loosely draped, decorating the bust like a tie or nipped in the skirts of extravagant colourful designs." This dress, or a very near version of it, was shown on the runway under a white jacket nipped in at the waist. We have also included a photo from the book that shows some of the other designs from that season that featured these sequin bows as well. It is a beautiful piece.

Modern Sizing Equivalent: XS-SML

Item# DD4870

Reference Photos: (1) Spring 1979 Givenchy Haute Couture.  /  (2) Spring 1979 Givenchy Haute Couture Looks from the book "Givenchy Catwalk: The Complete Collections" by Anders Christian Madsen.

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

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

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 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.

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD4901

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

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

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.

These net dresses and separates are among the most coveted of all Giorgio Sant Angelo's designs. They are almost impossible to find anymore and are much prized by their fans when one appears. Out of all the bandage and fitted dress out there over the decades these stand out as being some of the very best. This one is from the Spring 1990 collection and pieces were sold separately once they hit the stores so you could mix and match. You can see here in the runway pictures the various ways that the different pieces were worn.

This is a two piece set that is extremely stretchy and once on it is body conscious to the extreme. Both pieces are made out of a top layer of a fine stretch netting in a very bright and vibrant pink. Under that is a stretch jersey layer in an almost neon tangerine colour that acts as the lining. The bodysuit is cut like a bathing suit that you just pull on to wear and then you step and pull the skirt on over that. The gathered mesh allows you to make the skirt as high up the thigh as you dare or leave is as long as it will extend down. At its full length it will go to about mid-thigh or just below depending on your height. At it shortest you can hike it up to be micro mini in length. Both pieces are gathered heavily along the sides for extra ruching and the bodysuit has an extremely high side cut at the legs. I love that when you wear them together it looks like it is a one piece dress because of the gatherings on both pieces. You can also choose to mix and match them with other things in your closet. It is amazing and looks to have never been worn or worn very little. Excellent condition.

Both pieces slip on to wear. They are almost impossible to measure as it literally will stretch to fit up and down. The measurements below are the relative measurements when laid flat and pulled. They will accommodate a range of sizes when off the body they look like something a child would wear, but they stretch.

Body Suit
Bust: up to about 18" flat across from side seam to side seam
Waist: up to about 15" flat across from side seam to side seam
Hips: up to about 19" flat across from side seam to side seam
Length: its full length off the body is approx 28" from top of shoulder to bottom seam but it stretches to accommodate the body underneath it

Skirt
Waist: up to about 17" flat across from side seam to side seam
Hips: up to about 19" flat across from side seam to side seam
Length: its full length off the body is approx 19" from top of shoulder to bottom seam but it stretches to accommodate the body underneath it

Modern Sizing Equivalent: XS-MED

Item# DD4875

Reference Photos: (1) Joanna Rhodes in Giorgio di Sant'Angelo, photographed by Arthur Elgort for Vogue, December 1989.  /  (rest) Spring 1990 Giorgio di Sant Angelo.

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4872

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

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

This incredible dress is the Rive Gauche shorter version of the Fall 1994 famous Couture side bow dress. It is incredibly sexy and it feels very French. This one has the added modern provenance of being the actual dress worn Adria Arjona for the 2018 Gold Globes season. We have included a shot of her in the dress so you can see how it looks on the body along with the Couture dress that was the inspiration for this dress.

The dress is gorgeous and the fabric itself is part of what makes it so fabulous. The top layer of fabric is a black lace that has a silk cord applied on top of it to follow the pattern of the lace underneath. This sits over an inner lace that has metallic gold metal thread woven over its surface. The effect of the gold peeking out from underneath is gorgeous and I love the depth and interest that this creates. The dress is strapless and meant to hug and fit over the body. Inside there is a built in corset with boning that holds the dress in place around you. It hugs the bust and is shaped so that it curves in at the waist. There is no waist seaming, it just curves in for shape and then it skims over the hips and has a more pencil shape that will sit above the knee. How short it sits depends on your height. The dress has three pretty bows down one side. The top lace and cord layer is attached and it closes over the inner gold layer to the third bow. From the third bow to the hem that top layer is open so that when you walk and move you get a stronger feel of the gold underneath. It is absolutely fantastic and an instantly recognizable piece of YSL. Excellent condition

Fully lined in a black silk and closes with a hidden set side set zipper and the top layer of lace hooks in place over the zipper. The inner bust is boned. Tagged a vintage YSL 38

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 17" flat across from side seam to side seam
Total length: 29" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4827

Reference Photos: (1-2) Adria Arjona, wearing this dress, at the Vanity Fair x Instagram Golden Globes Party, January 2018.  /  (3) Fall 1994 Yves Saint Laurent Couture.  /  (4) Fall 1994 Yves Saint Laurent Haute Couture n° 67976 from Gros & Delettrez.

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.