Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and the range he had was incredible. This set is also a little extra special because its twin in ivory was part of the 'Great Names in Fashion' exhibit at the Fashion Museum Bath

The body of the dress is made of a deep brown fluid jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the densely beaded panel that sits across the upper bust. A second matching panel is also set at the back. Both panels have been completely hand covered with a design that is made out of hundreds of soft pink, cream and silver glass tube beads. Along the one side of the front panel there is a row of metal buttons with a little flower design on them that runs from the top of the shoulder to just past the waist. The buttons are functional and hold a decorative overlay in place that tops the inner dress. This overlay loops under the opposite arm and wraps around you to the back where it attaches to the panel there. The overly adds this incredible draped Grecian feel to the dress and it also gives it added movement when you move. The dress underneath is a long sheath that falls from the shoulders and widens out slightly as it nears the hem. The sleeves are long and each one ends with more of the gold metal buttons. The entire dress is detailed with these strips of tiny little raised beads on a gold strip. These follow all of the edges of the dress and he even use them for all of the long interior seams of the inner dress even though you don't easily see them. I just love that he did that and it just shows you the attention that was paid to dresses during this time period as opposed to modern pieces where they probably wouldn't have bothered to put extra detailing where no one would ever see it. The strips add a touch of weight and help the dress to fall perfectly around you and they also catch the light for added glamour. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work and its never a bad thing when it is a proven museum worthy piece. Excellent condition.

The dress is unlined and slips over the head top wear. The attached panel buttons into place over the interior dress. Each cuff has loop and buttons to close. It appears have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. I have given the comfortable range of measurements while laying flat. On a smaller frame it will just drape more

Sleeves: 24"
Slightly dropped shoulders: 15.5"
Bust: 16-19.5" flat across from side seam to side seam
Waist: 16-20" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4232

Reference Photos: Bill Gibb Dress on display at the "Great Names of Fashion Display" Exhibit at Fashion Museum Bath.

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 have had this dress in the shop before and it is always thrilling to find another. Every single time I find one I think that it is one of the most gorgeous dresses from Oscar de la Renta that I have had in the shop. It is just a beauty and it just gets better and better as each year passes.

This dress is a little work of art. It is very beautiful and it is even better once on. It is also very representative of his work during this time period. The fabric is exceptional. It is a rich silk metallic brocade that has a stunning that runs over it from shoulder to hem. The fabric is lighter in weight then you would think at first glance. It is heavy enough to hold and retain the shape that he desired it to have but is still light enough so that it feels easy and comfortable to wear. It has a very regal and refined feel to it and it perfectly sums up Oscar's love of opulence mixed with elegance and restraint. The cut is kept simple to allow that stunning fabric to take center stage. The skirt falls from the waist and widens out as it nears the hem. It comes with its original belt that you can use to nip in the waist for more shape. The neckline has elastic running through it so you can wear the sleeves off shoulder. Each cuff is finished with mink cuff. If you are not comfortable wearing fur it would be a simple task to un-tack them from the sleeves and wear it without the cuffs. The sleeves are properly finished underneath the cuffs and removing them would be done regularly anyway whenever it was cleaned over the years. I included two shots of me wearing the dress from the last time I had it and I wore it without the cuffs from the cleaners before re-tacking them into place when I sold that last one. The fabric is amazing - gold threads mix with chocolates and a deep red coral create a stunning design. It has a subtle 3D effect and the raised parts of the add another dimension to the design. It's an amazing dress and a forever favorite.  Excellent condition

Fully lined in a light taupe silk organza and closes at with a back painted metal zipper. has its original slip buckle belt. Very slight normal wear to the fur on the edges of the cuff. It appears to have been worn very little otherwise.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam and can be cinched in with the belt
Hips: to 18" flat across from side seam to side seam
Bodice: 13" from shoulder to waist
Skirt: 41" from waist to hem, with 2.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4231

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

I have a small collection of historically important, key designer labelled vintage furs, fur trimmed & feather pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. All fur coats, fur trimmed & feather pieces are final sale

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 an incredible dress. I have had both this and its twin that was just worn by Elle Fanning to the Critics Choice after party for some time and I love them. The dress is identical in every way to the ivory except that this on is black with an ivory detailing and the one Elle wore was its mirrored opposite. This was a dress produced for the shops and to my knowledge was only made in these two colors, the ivory and black. This black one is a bit of a time capsule as it still has its original hang tags in place and was never worn. It is an incredible dress and being able to see just how beautifully it works on an actual body is just wonderful. I am obsessed with it.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. McQueen was a master tailor and the seam work and simplicity of this dress do not hide that fact. It is made from a beautifully weighted black silk satin that has that same liquid feel that the best of the 1930s pieces did that were made from this similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. I love that the fabric is heavy enough and that the dress is lined so that it will not highlight 'flaws' underneath like some bias cut pieces can. It is cut to flow over the body and skim its way over bust waist and hips to the floor. The neckline is set wide across the shoulders and has a soft and feminine drape. On the one shoulder there is an inset of ivory silk. There is actually an opening where that is inset so if you move a certain way you get a tiny flash of bare skin. Inside of the draped part of the neck line is more of the same ivory silk and again it is only when you move a certain way that you get an unexpected flash of that color. It skims over the bust and is brought in at the waist through seaming. The skirt flows over and hugs the hips and then flares out as it reaches the hem. At the back there is extra fabric worked around the center seam to give you a bit of a trailing feel behind you. This flaring out at the bottom and the extra bit at the back give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are cut in the proper way of tailoring and are set on a slight curve to follow the shape of your arm. Running up each cuff are 10 tightly spaced silk covered button and loops. Each one is functional. The dress comes with its original tie belt made of a matching black silk. The belt has been cut extra extra long and widens out slightly as it nears each end. This lets you loop it around once and have the ends trail down, or you can wrap it and tie it anyway you wish for a wider more cinched in feel at the waist. The dress is spectacular. It is easy to wear and it's classic design means you can style it numerous ways. Excellent condition.

Fully lined in a black silk chiffon and closes with a hidden set side zipper. Ten functional buttons on each sleeve. Tagged a McQueen 40. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It has its original tags attached and was never worn. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Sleeves: 26"
Shoulders: approx 15"
Bust: 16-21" flat across from side seam to side seam
Waist: 13-17" flat across from side seam to side seam and can be cinched in by the belt
Hips: 16-21" flat across from side seam to side seam
Length: 64" from neck to front hem, 68" to the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4229

Reference Photos: (1-4) Elle Fanning in Alexander McQueen from the Shrimpton Couture Archives at the Critics Choice After Party, 2023.  /  (5-7) Naomi Campbell attends the launch of Kate Moss's Top Shop 'Christmas Range' collection at Annabel's October 16, 2007.

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 gorgeous Yves Saint Laurent dress is extra special because it is the twin of the dress that was shown on the 1983 runway and it was featured in the advance photos given to press that season as well. I love having both reference photos for you because not only does it show you how wonderful the dress is on the body but it also shows you how much styling changes it feel. On the runway it was shown with a turban and a lot of jewellery for a very dramatic, more evening feel, whereas in the advance photos the model is running through a field and it has a pretty spring daytime feel. I love that versatility. It is an absolutely stunning dress and these floral prints that he was doing during this time are some of my favourites from his work.

The colours in the silk on this dress are amazing. The silk has held the colour extremely well and they are as crisp and vibrant as the day it went on the shop floor. Yves was a master at choosing the fabrics that were the perfect compliment to the prints that he used. This dress is no exception to that rule with its riot of bright flowers covering its surface. The choice of silk also makes it feather light and allows it to float around you when you move. The bodice is cut to skim over you with a loose and easy feel and has a V neckline at the front. The waist is seamed under that but it is cut loose and generous. The matching belt is tacked into place at the back and then you can use it to cinch in the waist as much as you need. The skirt games over the hips and then flares out quite a bit. The front is cut shorter than the back so you get a bit of a trained effect floating behind you as you move. You can see this in the pictures of the girl in the field. The sleeves are spectacular. They end just below the elbow and are cut with a full balloon sleeve to pouf above their wide and easy elastic cuffs. Unlike a standard balloon sleeve, he has cut them so the volume falls mainly towards the back of your arm which gives them a unique feel. It is absolutely gorgeous. Excellent condition

Unlined and closes a side set zipper. Each sleeve has elastic at its cuff. Tagged a YSL vintage 42. The matching tie belt is attached at the back of the waist. It appears to have been worn very little if at all. It's easy cut should allow it to fit a range of sizes

Sleeves: 16" to the shortest part and approx 22" to the longest
Shoulders: 15.5"
Bust: to 21" flat across from side seam to side seam
Waist: to 14.5 " flat across from side seam to side seam and you can cinch it in with the belt
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist but will blouse up a bit when belt is tied
Skirt: 42" from waist to front hem, 46" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4226

Reference Photos: (1) Spring 1983 Yves Saint Laurent Runway.  /  (2-5) Spring 1983 Yves Saint Laurent Ready to Wear Advance. Photos by Tim Jenkins.

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

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 set is very reminiscent of the pieces that Audrey Hepburn was wearing in the 1972 to 1976 time period. It's labels are extra interesting. Besides the Givenchy Nouvelle label in the top, it also has the black boutique label on the skirt and that label has a numbered tape behind it, which was usually reserved for special orders made in the atelier. I wonder if the original client perhaps bought the ready-to-wear top and then had a skirt custom-made… or perhaps both pieces were a special order and they just used a label on the top that was on hand in order to put the fabric content tag on. It just makes the set a little extra interesting. It could not be more gorgeous.

The set is made up of two separate pieces, a skirt and matching top. They are both made out of a cotton fabric that has a slight ribbed texture running through it. Over that is a charming little design that depicts hundreds of little round pine cones that completely cover both pieces. The backdrop is black and the print is a deep coral orange. The top is stunning. It has an elastic neckline that is squared off at the front. The sleeves are shaped into a high cap and have a little bit of stiffened black tulle underneath their edges to help hold the shape that you see. The elastic that runs through the entire neckline would allow you to wear this off-shoulder if you wished. The top skims over the bust and then widens out over the waist to its hem. It is very easy to wear and it's only when tucked into the skirt that you get shape. Each sleeve is full and poufed above its elastic cuff. You can then wear that tucked into the skirt. The skirt has a band at the waist and then is very full under that. When you stand still it falls in a pretty column but when you move you see that there are actually yards and yards of fabric in the skirt. The skirt is made of two tiers of fabric. One that is gathered into the band at the waist and then the other one is set on top of that with a ruffled finish to create a deep 20" lower hem all the around the bottom. It's spectacular. The cotton keeps it light and easy to wear while the cut and design are phenomenal. This is beautiful and classic Givenchy for this time period. I've included some reference photos of Audrey so you can see how beautifully pieces similar to this sit on the body. It appears to have been worn very little if at all. Excellent condition

Both pieces are unlined. The top slips over the head with elastic at the neckline and cuffs. Stiffened tulle at the top of each shoulder for shape. The skirt closes with hook and eye at the waist and snaps below that. Both pieces look to have been worn very little if at all.

Top
Sleeves: approx 19" and will come up when on
Bust: 16-21" flat across from side seam to side seam
Waist: 17-19" flat across from side seam to side seam
Bottom hem: 19-22" flat across from side seam to side seam
Length: 25" from top of shoulder to hem

Skirt
Waist: 12" flat across from side seam to side seam and you could easily move the hooks at the waist to get 1.5" more
Hips: open
Length: 42" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4220

Reference Photos: (1) Audrey Hepburn, in Givenchy, photographed by Henry Clarke for Italian Vogue, Feb 1972.  /   (2) Audrey Hepburn, in Givenchy, photographed by Elisabetta Catalano at her apartment in Rome, March 1976.

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

The Dior Resort 2012 collection was focused on pieces that would travel from the city to holiday. The twin of this dress was Look 11 in the collection. Vogue said of the collection that; 'That blue (used in another piece, along with coral, helped create a summer-in-Portofino vibe. If a resort could claim royalties for atmosphere theft, Portofino would surely be that place this season, and Slim Aarons could stake a claim too, because his photographs of the monied at play have been equally influential.' ...they continued to mention the crochet pieces specifically saying 'Maybe that accounted for the sixties flavor, not just in those Liz Taylor-worthy caftans and a handful of crocheted hostess gowns'. To me this was one of the best pieces of the collection and certainly one of the prettiest.

This dress is just a stunning testament to the work that house of Dior does. It is out of a dyed cotton and entirely hand crocheted. This actually gives some weight to the fabric but the cut makes it feel perfectly balanced once on the body. The colours are extraordinary. They combine a natural un-dyed cotton with a bright coral tangerine and a strong bright pink. The crochet work has several different weights to it in terms of the pattern and these helped form the design that runs over the dress. The colours are used to further emphasize the pattern. Most of the weave has an open effect so that you catch a glimpse of bare skin underneath or the colour of whatever you choose to wear underneath. The neckline is high and I love the feather feeling pattern that runs around its base and over the shoulders. The opening for the arms are cut on an angle down from there. The pattern switches to horizontal bands over the bust and then the rest of the dress falls from under that to the hem. A large diamond pattern covers the main body of the dress and then around the hem it switches back to a more horizontal feel where you have a more elongated diamond design. I love the little Dior embossed button at the back of the neck. With Dior it is always these little details that are wonderful to see. The dress is absolutely gorgeous and a vacation or summer must have. It looks to have been worn very little if at all. Excellent condition

Unlined and slips on to wear with a button above a keyhole at the back of the neck. It looks to have been worn very little if at all. Tagged a small. The knit does have some stretch and I have done the measurements at their a comfortable range laying flat.

Bust: 14-16.6" flat across from side seam to side seam
Waist: 14-16" flat across from side seam to side seam
Hips: 16-23" flat across from side seam to side seam
Length: 59" from top of neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4219

Reference Photo: Resort 2012 Christian Dior Look 11, Model Alexandra Tretter.

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 superb and elaborate Christian Dior dress from the Marc Bohan years. It is a wonderful example of the work being done during this time period and shows the restraint that the label could have when it delved into a more minimal cut combined with that full out glamour. The dress has classic feel of the best of Old Hollywood. Don't let the simplicity of the cut fool you. The closer you get to it the more you see the incredible and elaborate amount of detail that has been put into this fabric. This is a dream to wear and no matter good you think it looks in these photos to see this one in person will make your jaw drop.

The dress is made from a black silk net that has an incredible lace floral pattern that is edged in black silk cording worked through the lace. It is made from three layers. The top beaded layer, a black silk chiffon layer under that and then a nude silk chiffon inner layer that is itself backed in a black silk. Adding that nude layer gives the dress a bit of an illusion of wearing next to nothing underneath. The dress is suspended from two beaded straps that curve over each shoulder. The front neckline dips into a slight V and the back is a simple scoop. It's cut to skim over the body from bust to hips with no seaming to break the eye or design of the bead work. The shape is created by vertical seaming on the inner layers and the top layer is shaped to follow those resulting curves. The skirt falls to the ground from there and widens out gradually as it nears the hem. The lace netting is covered with an elaborate design made of bead work and sequins. The design is done heavier around the top the bodice and down over the waist lightens as it goes over the hips and then becomes dense and heavy at the ham. Part of the work is done to follow the lace pattern on the netting. Glossy black sequins curve over the underlying pattern and where they are applied they are stacked and layered over each other to give a slight 3-D feel. Small faceted beads follow other parts of the pattern and these are the same beads that are used to highlight the straps. Tiny little seed beads are thrown into the mix and then there are square pailettes and oval faceted beads how much larger scale to really create impact. The beads are all applied by hand and catch the light from every angle. It's an incredible thing to see and even better once on the body. The label on the dress is numbered and when you see that in a Dior Boutique label it most often meant that the piece was a special order or was a custom made order for a client in the atelier but fitted at the boutique store rather then in Paris. This is a dress that you just slip on and it is perfection. Excellent condition.

Fully lined as per the description above. It closes with a hidden set side zipper. Numbered tag. The slight bias cut will allow for a bit of movement in the measurements. The comfortable range is listed below

Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4241

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

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant, as head of the brand. Pipart, who had previously worked for Balmain, Fath, and Patou brought a wide range of experience in all aspects of fashion to the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' He designed the Couture end of the label until 1998 making this a gown from one of his final seasons. This is an incredible and very beautiful piece of Haute Couture. Hey finding a gown at this level seems almost miraculous. It is truly one of the most beautiful things I've ever seen.

The twin of this dress walk the runway for the Haute Couture show that season and it was also photoed for L'Officiel that season and we also found a stunning editorial photo that caught it in the most spectacular shot. I love having all of this documentation because it shows you how phenomenal this dress is once on the body. This is truly a dress that you know has to be a true Haute Couture piece the moment you set your eyes on it. I think it is a work of art. The dress is strapless with an optional very tiny strap that comes out from the center of the bodice and wraps and ties around the neck. It will stay on with or without that small strap so it's your choice to wear it or not. The bodice is fitted to the body to hold the dress in place and the inner structure is outstanding. It is boned and cupped but all of that work is completely hidden underneath the silk lining. On the exterior the entire bodice is covered in glossy black beads that are spaced tightly together. The size of the beads vary as they run from the waist up to the top of the bodice. They are smaller around the waist and spaced further apart and then by the top of the bodice are so tightly spaced that they are almost stacked on top of each other. This creates a dense application of bead work that completely covers the black silk velvet base. In spots around the bodice are these large square-ish black pailettes for blocks of gloss to catch the light even more. Then interspersed among all of that are black iridescent feathers and long metallic strands. These are set to stand straight out from the bodice to create a cloud around you. The feathers add this fantastical sense of couture and fantasy. They also create incredible movement as each one moves independently from the other with the slightest bit of a breeze. The bodice is molded and shaped around you and then nips in the waist. The skirt under that is is a statement in its own right. It is an explosion of silk that poofs out all the way around you. The volume is so much that it almost creates a shelf as it come off of the hips. The silk curves up and under the hem to create a bubbled effect. It is shorter at the front so when you walk and sit you can see some leg. This helps to balance out the volume that surrounds you and add a flash of bare skin. It is longer at the back and depending on your height will trail out behind you just a touch. All of the volume is created by an inner structure that is hidden inside the skirt. You can feel stiffened netting and tulle that is all set inside the skirt so that the shape is held perfectly. I used no extra crinolines or anything else under the skirt to add volume when I shot these photos. The volume is all built in and the result of the masterful construction of this gown. The bead work is glass and between that and the sheer volume if the skirt the dress does have weight to it. When you hold this dress it is very heavy and you can feel that it is a Haute Couture piece. Once on the weight of it distributes and balances out wonderfully and the inner construction holds it all perfectly in place. This is truly an extraordinary piece of modern couture and is exceptionally beautiful. It appears to have been worn very little if at all. No matter how good you think it looks in the photos, it is better in person. Excellent condition.

Fully lined in silk with light burning through the bodice an additional added structure inside. The skirt loops under itself so the lining is the same fabric as the exterior. The skirt is filled with what feels like stiffened netting and tulle. This is placed throughout the entire skirt to give it the volume you see. There is an inner zipper to close the bodice and the waist stay to help the dress stay in place. Two tiny straps extend out from the center of the bodice and tie in place behind the neck. It appears to have been worn very little if at all. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present.

Waist: the inner waist stay has three hooks to accommodate a 23" 24" and 25" around waist size. If you left that unhooked or extended it the waist will accommodate up to a 26" sized waist.
Hips: open
Bodice: 10" from highest point of the bodice to the waist
Skirt: approx 17" from waist to shortest part of the front hem, 52" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4240

Reference Photos: (1-3) Fall 1996 Nina Ricci Haute Couture Runway.  /  (4) Fall 1996 Nina Ricci Haute Couture. Photo by Bruno Bisang.  /  (5) Inna Zobova in Nina Ricci Haute Couture for L'officiel de la Mode n808, September 1996. Photo by Michel Nafziger.  /  (6-9) Jurnee Smollett, in this dress, at the Vanity Fair After Oscars Party, 2023.

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

A white version of this dress walked the runway in 2003 for Look 75 and I it and was one of the best dresses of that collection. Once in production it was also made in black and it is as good or better in this colour. The dress has the added provenance of being the dress that was recently worn by nominee Paulina Alexis for this years Critic's Choice Awards. I love that I have tons of photos of her, the white runway version of the dress, and the runway video so that you can see just how fantastic this dress is on the body. It is stunningly beautiful. The show was a huge success and the Vogue loved the evening pieces especially; "For the evening review, it gets even better. Valentino's communiqués from his couture collection show up as delicate metallic-embroidered chiffons made into fragile capes, cardigans or dresses. And for the grand occasion, there's a full battalion of the designer's fabulous signature chiffon gowns." The dress moves beautifully and is elegant and chic. That stunning halter top makes it feel insanely sexy too. A beautiful example of the magic of original Valentino pieces.

I love this dress with its incredible volume and amazing use of fabric. The dress is made from yards and yards of a black bias cut silk chiffon that was pleated into sharp little knife pleats. The fabric is very light in weight and this gives you that fantastic floating sensation all around you with your slightest move. The dress is suspended from straps that come out from the center of the bust. The straps continue down and are attached over the fabric of the bodice to give the illusion of it crossing and wrapping around the body. These go all the way around to the back and then come back around again. The straps are heavily embellished with a variety of sequins and beads that catch the light beautifully. He used larger beads so it has this fantastic 3D effect. At the back the straps curve down front he shoulder on an angle to meet in the center. The top of the bust is rounded into a pretty sweetheart shape and the back is cut straight across. The silk on the bodice is gathered in tiny little pleats and set horizontally. Under that the dress cascades to the floor in many yards of feather light silk chiffon. This is where the dress gets truly magical. There are three layers of silk that make up the skirt with the very top layer completely and meticulously pleated into sharp knife plates that gradually soften slightly as they near the hem. The silk is all cut on the bias and the layers flow out in an ever widening silhouette to the ground. There are yards and yard of chiffon that make up the skirt. It is very flattering on the body and it creates a fantastically romantic and dramatic effect as the silk floats around you the slightest bit of movement. It is amazing. This is truly stunning dress. Excellent condition

Fully lined in a black silk and closes with a hidden set side zipper. A tiny bit of softening of the pleats here and there but there are so many yards of silk in the skirt that its immaterial. Tagged a vintage Valentino 12.

Waist: to 16" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Length: 60" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4239

Reference Photos: (1-3) Spring 2003 Valentino Runway, Look 75.  /  (4-5) Paulina Alexis in this dress at the 2023 Critic's Choice Awards.

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 was the collection where Donatella went back to using and styling her models to look like super models like her brother Gianni had done in the past. Vogue said that; 'The aura of glamour that sparked off the flying hair and luminous faces of Carmen Kass, Daria Werbowy, Eugenia Volodina, and Karen Elson was a strong reminder of what once made Versace electrifying.' The collection focused mainly on daywear but a very Versace notion of that. This was Look 25 in the line up and was the strongest piece of the shorter dresses presented. Its twin ended up being the one used for the ad campaign that season and was shot on Demi Moore who looked utterly fabulous in it. I am very happy to have that shot, runway photos and a video so you can see how amazing this dress is once on the body. It is gorgeous.

The dress is made out of a printed silk chiffon that combines numerous abstract versions of various exotic skins. These are laid out in a pattern that mixes and matches them all and this effect is heightened even further by the detailing work that is done on the skirt. The dress is cut to highlight every curve. The bodice is a single layer of the silk chiffon. To keep it in place you slip your arms through the sleeves and then simply tie it around the neck. The front is gathered into two halters that run from the high set waist to the attached scarf at the neck and there's a slit that runs down the center to leave a sexy glimpse of bare skin. The sleeves are long and simple, narrowing down slightly as they reach the wrist. The back is left bare across the top and that long scarf falls from the neck to cascade over it for a bit of a peekaboo effect that is very sexy. The skirt starts from under the bust and is fitted through the waist. Inside there's a bit of a stiffened net corset to help shape and hold it in place. It is fitted over the hips and narrows down as it reaches the hem. An small open vent runs up the back to allow you to walk. The skirt is quite remarkable with the long strips of fabric sewn and overlapped horizontally around it. When you look at it close up you realize it that it's all individual strips and it is quite remarkable. It is stunning and so Versace in feel. Excellent condition

The halter part is unlined and the skirt is lined in a black silk chiffon. There is a stiffened net partial corset that runs around the interior waist for shape. It closes with a hidden set side zipper and ties into place around the neck. No size tag present. It appears to have been worn very little if at all.

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 17" flat across from side seam to side seam with room for an A-C cup at front, maybe a touch more if needed
Seam under the bust: 15-16" flat across from side seam to side seam
Natural waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 10" from neck to seam under the bust
Skirt: 29" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD4216

Reference Photos/Video: (1-4) Fall 2005 Versace Runway, Look 25. Model: Hana Soukupova.  /  (5) Demi Moore for the Fall 2005 Versace Ad Campaign photographed by Mario Testino.

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.

On the designer site the description of Cecilie's work says is  best; 'Cecilie Bahnsen operates at the intersection of couture and ready-to-wear to create luxury clothing with a relaxed, timeless style. Celebrating the traditions of fine French fashion and the design culture of Scandinavia, the collections combine craftsmanship and details with architectural volumes and sculptural silhouettes to offer a contemporary take on femininity. Unique fabrics are hand-designed each season by founder and LVMH Prize finalist Cecilie Bahnsen, a Copenhagen native who returned to her home town to found her eponymous label in 2015 after studying at the Royal College of Art in London and working with couture houses in Paris.' A version in a white quilted fabric walk the runway for Fall 2019, Look 26 and it was also released in black of which we found many reference photos of it. It is my understanding from my client that a very limited amount were made in the ivory silk faille that I have today. It is stunning in this fabric and colour.

This particular shape is part of her core aesthetic and what catapulted her to fame. These voluminous baby doll dresses are a signature and this one is stunning. These are dresses that you can wear flat boots with and stomp about and then with your next wear you could add your highest heels, pile on the jewellery and be as 'ladylike' as you could possibly be. It would also make a wonderful wedding piece for a bride looking for something nontraditional or as a piece worn to one of the events surrounding a wedding weekend. The fabric is a synthetic that feels and looks like a silk taffeta. It has a lot of volume while staying as light as air. The neckline is squared off and the sleeves are big and poufed. The dress falls in three tiers. The first lays flat across the bust and then the two under that widen out significantly for that baby doll look. At the back the waste dips down on a pretty curve and panels come across the back above that and tie into place with wide black velvet ribbons. This leaves a peek-a-boo effect of bare skin behind the ribbons and panels. The back of the dip sounds slightly lower than the front and the effect is just romantic and pretty and whimsical. Her dresses are high fancy and this gorgeous ivory one is no exception. Excellent condition.

Behind the bust is lined in a ivory silk and the rest of the dress is unlined. It zips to close at the side with a hidden set zipper. The black velvet ribbons tie the back into place. Tagged a UK6 US2. It looks to have been worn very little if at all.

Bust: the front panel is 15" flat across from side seam to side seam but the adjustable back allows you to adjust it by quite a bit up from there
Waist: the front waist seam is 13" flat across from side seam to side seam but the dipped back allows you to adjust it a bit up from there and it would just lie less dipped. The total room is 30" around bit it is meant to dip a bit
Hips: open
Bodice: 11" from top of shoulder to seam under the bust
Skirt: 25.5" from seam under the bust to front hem, 30" to the back em

Modern Sizing Equivalent: XS-SML

Item# DD4213

Reference Photos: (1) Fall 2019 Cecilie Bahnsen Runway, Look 26.  /  (2-5) Various on-model shots. Credits unknown.

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

The twin of dress walk the runway as look 42 complete with a veiled hat and bouquet of flowers. The intention for this to be used as a wedding piece was clear. Alber Elbaz cited Acapulco as an inspiration and its not hard to imagine that he was thinking is a beach wedding for this gorgeous little dress. In Vogue's review of the collection that noted the same saying; 'You could see it in the lime-and watermelon-wedge pendant necklaces, the straw hats decorated with tropical fabric flowers, and the raffia-accented flats'. This was one of the four final dresses of the show and all four were ready-to-wear wedding dresses, which is not something you normally see mixed in with a collection to that extent. The dress was also featured in Vogue Spain that season and was a sell out at retail. It is just gorgeous.

This is such pretty and easy to wear dress. It is actually a very simple shape that is meant to skim over the bust, waist and hips. It is strapless with a pretty curve to the top neckline that is very flattering. It has an inner built-in boned silk corset to hold it in place and the dress floats over that, widening out as it nears the hem. The fabric is a woven silk that has a slight transparent feel to it. It's then lined in an inner ivory silk layer that makes it opaque enough to wear but still keeps that light fluffy feel. It's very light in weight and just feels like to floats around you. The front is covered in layers of ruffles. These are actually three long ruffled pieces that are set in curving rows over the front. This curving back and forth technique lets them be fuller at the sides and adds to the volume that you see. It would be flatter if they were just strips of ruffles sewn on independently. It's quite genius. The ruffles all have a bit of stiffening at their ends to help hold their shape and have a raw finish. The back is left ruffle free so you get some shape. The dress can be worn full and easy or you can use the matching wide silk satin ribbon belt to send in and give it added shape. In the photos where I have shown it with the ribbon I tied it just under the bust but you could of course place and tie it wherever it suits you best. It's flattering, shows a mile of leg, and is a really fun alternative to the more traditional wedding dress. And even if it's not what you may think of as a main wedding dress it would be a great dress to change into for the reception. And it has enough style that you could wear it for any occasion. It is fabulous. Excellent condition with a note below

Fully lined in an ivory silk and has a built-in boned corset. The corset zips independently at the side and then the outer dress zips to close over that. Comes with its original matching belt. Tag a size 38. See some marks on the inside bodice and there's the faintest touch of discolouration on the top part of the ruffles on each side. None of these would be seen once on. A touch creamier in person.

Inner bust: 16" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 29" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4212

Reference Photos: (1-2) Resort 2010 Lanvin Collection, Look 42.  /  (3) Tiiu Kuik in Lanvin photographed by Michelle Ferrera for Vogue Spain, November 2010.

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 gorgeous dress is from the Fall 2003 Dior Boutique Collection and is a staggeringly beautiful example of the work John Galliano was doing during this time period. It was featured in the ad campaign on Angela Lindvall that season in red and walked the runway on Ana Beatriz in white for Look 14 of the presentation. I love having all these reference photos for you so that you can see just how amazing the dress is. It is just spectacular and one of my favorite Dior pieces to have come into the shop.

The dress is made out of a stretch silk feeling fabric that hugs your curves amazingly once on the body. A wide strap extends out from the sides and curves around the back of the neck. The bust dips down and is gathered in and towards the center. This gathering extends from five separate horizontal panels stacked on top of each other and brought into the center knot to emphasize the breasts. Below that he continues to play with this horizontal panel and knot idea bringing that gathered feel down in three other spots on the front of the dress. Panels of fabric are set on curves and angles which allow him to help shape it around the body. It has a touch of a 1940s dress feel to it and is extremely sexy on the body. The back is a simpler version of the front with no knots present. The halter there dips down to leave your entire upper back bare. There is a small slit set off-side under the center of the very bottom knot at the front and this allows a little bit of added bare leg to show. It is incredibly good and a well documented piece of fashion history. Excellent condition

Unlined and closes with a hidden set side zipper. There are two fabric buttons to close at the back of the neck. No size tag present. The fabric does have some stretch

Waist: 15-17" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: approx 43" from top of neck to hem
Slit: 9.5" from hem up

Modern Sizing Equivalent: MED-LRG

Item# DD4207

Reference Photos/Video: (1-4) Fall 2003 Dior Runway, Look 14. Model: Ana Beatriz Barros.  /  (5-7) Angela Lindvall for the Fall 2003 Dior Ad Campaign.  /  (8-9) Jamie King in Dior at the Dior Dance for Life to Benefit the Aaliyah Memorial Fund, 2003.  /  (10) Kim Cattrall in Dior at the "Sex and the City" Sixth Season Premiere, 2003.  /  (11) Rose Byrne in Dior at the  Christian Dior Launch of the New Collection "D'TRICK", 2004.  /  (12) Ali Larter in Dior at the Dior Sponsors Artist's Ball Honoring Matthew Ritchie, 2004.

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 the second time I have has this dress in the shop and this time I found one with a matching crop jacket. I loved this dress the first time and I love it even more this time. James Galanos launched Galanos Originals in 1951. He was only 27 years old.  By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. His ready-to-wear was made to couture standards and on par with the French couturiers of the time. Grace Kelly was a huge fan and his work is held in all of the major museums around the world. He is one of my personal favourites and this dress is a stunning example of his work.

The label on this dress is the one that dates from 1954-1963 and when researching within that time period we found a dress in the Met Museum's collection with the same label and that uses the same technique for the way that the skirt is set into the bodice of the dress. The 1957 dress in the Met's collection was also photoed for Vogue that year. I have included both those for reference and it gives you a great idea of how this dress will look on the body but i think this one is even better with its more bare upper body. In the Vogue's description at the time the skirt was described as being; 'narrow in outline, but with beautiful easy folds from the waist, falling in self contained spirals' which is a lovely way to describe the way that it is set into the dress. I love the bright floral print that covers the entire dress. It gives it a bit more of a tropical feel then the more formal version held at The Met. The fabric is a beautiful light weight silk that is completely covered with the large flower print that you see. The colours in the print are spectacular and combine a bright orange, yellow and green on a black backdrop.The skirt is cut so that it gathers up and into the middle of the dress. This gives it that lovely curved line at the front and the draping down each side that you see. It also creates a touch of volume across each hip which makes your waist look smaller. The bodice is suspended by tiny straps made out of the same silk. The front has a wide set scooped neck and the back is the same. The back of the dress closes with a series of buttons that run from the nape of the neck to the waist with a zipper set under that. It is seriously gorgeous on and gives you curves while feeling very forgiving. Over that pops the simplest little jacket made in a matching printed floral silk. It can actually be worn either way around and I shot it both ways. It closes at the back of the neck and then it's open below that on one side and on the other side it has a slit that runs up the center. You can see how this gives a completely different look and feel to the set depending on which side you choose to wear it. The sleeves narrow in at the wrist with a little zippers for the perfect finish. It's a fabulous addition to the dress and the entire set really showcases just what a genius he was. Excellent condition

Both pieces are fully lined in a black silk chiffon. It closes with a low painted metal zipper at the waist and then has a row of buttons above that. The jacket closes at the neck with hook and eye and each cuff zips to close. The silk is cut on the bias. It appears to have been worn very little if at all.

Dress
Bust: to 18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 44" from waist to longest point of hem

Jacket
Neck: 16" around
Bust: 18" flat across from side seam to side seam and narrowing to 17" at the hem
Length: 17.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4204

Reference Photos: (1) F/W 1957 James Galanos Dress in The Met Collection.  /  (2) Model in James Galanos photographed by Irving Penn for Vogue, October 1957.

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 have had this tucked away in my archives for quite some time and decided it was time to let it go. This is it gorgeous little caftan dress that could potentially play double duty as a light evening coat with a bit of a tweak. It has all reminded me of the caftan that Joan Collins was photoed in 1975 and I suspect that it was made in the same time period. This one zips to open down the front  and on this one the zip is closed at the bottom but it could be opened and switched to one that fully opens. That would give it added versatility and allow you to wear it as a light coat as well as a dress. Of all of Thea's pieces her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector and obviously so was Ms Collins. This one is just fabulous.

The caftan is very beautiful and is made from a stunning ultra soft silk velvet. This fabric is extra special because it looks to have been block printed in some manner. It's very unusual. The colour portion of the fabric is almost like an orange gold colour and it seems to glow from within. You get a bit of a sense of that in the photos but in person it's even better and it is quite beautiful. The print has flowers mixed with abstract patterns and dots that run over the entire dress. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs and this could certainly be a found antique textile. The dress closes down the front with a hidden combination of a zipper and snaps above that. This allows you to leave it open as low as you want in the front and then there is a slit that runs up to meet the base of the zipper from the hem. As mentioned above, the zipper does not fully undo but it could be changed to one that does, and then you would have a piece that you could wear as a dress or as a light coat to layer over other pieces. The cut of the dress is easy to wear. The neckline is a simple scoop and the sleeves are straight. It is cut to skim over the bust waist and hips and then flares out as it reaches the hem. The hem slightly dips longer on either side. You can easily 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 and one its own or over so many things. This is very special and it is also very beautiful. Excellent condition

Fully lined in a black silk and slips on to wear and then zips and snaps down the front to wear. It's easy and open shape should allow it to fit a range of sizes. Finished by hand throughout. It looks to have been worn very little if at all

Sleeves: 23" and upper arm is 13" around
Slightly dropped shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from neck to longest points of hem at the sides with 3.5" turned under
Front slit: 21.5"

Modern Sizing Equivalent: XS-MED

Item# DD4203

Reference Photo: Joan Collins in Thea Porter, 1975.

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 from the fall 1978 Rive Gauche collection and is a fantasic example of his earlier ready-to-wear. In our hunt for documentation on this piece we also found several runway photos and it seems that it was a highlight of the collection and was shown layered over several looks. It is an absolutely fantastic coat and one of my favourites that I've ever had come into the shop. It is that perfect throw over anything and go but go knowing that you will probably be stopped all day to ask where you got it.

The coat is made from a olive coloured soft ribbed corduroy. I love nod to men's wear that it gives the coat. Yves was very much into non-gender pieces during this time period and this pieces really gives the feel of having stolen a well loved coat from your fathers, boyfriend or brother's closet. The fabric is very soft to the touch and feels so good when on. This fabric choice let him keep the lines and shape of the coat soft and slouchy. It has a very men's trench coat feel to it but softened and with that fantastic fit that Yves excelled at. The front does up with a row of hand carved buttons. The collar above that is neat and simple and looks great worn flipped up. It is easy fitting through the bodice and there is a top stitched leather tie that's true the waist and let you adjust it in or out. Under that the skirt of the coat flares out in a soft and easy shape. Slanted pockets trimmed the same deep brown leather as the waist tie sit on each hip. Two more pockets just like those sit low on the bodice above as well. All four pockets are functional. The sleeves are fantastic. They are cut with a wide and easy feel and then gathered in at the wrist with a buckled strap made of the same dark brown leather on one side and backed with corduroy on the other. Once on it has this slouchy cool feel that is just unbeatable. I love it and it is also a remarkable piece of fashion history. Excellent condition with a small note below

Fully lined in an olive coloured muslin. It closes with the buttons at the front. You can adjust the shape through the waist with the leather tie to wear it completely straight up and down or cinched in for shape. The two bottom buttons at the front are broken. Please see the photo after the label shot. They could of  course be easily replaced. They are original buttons. Minor wear to the edges of some of the leather bits. The loose and easy shape of the coat should allow it to fit a range of sizes. It will feel more oversized on a smaller frame and more fitted on a larger.

Sleeves: approx 25" and 20" around the upper arm
Shoulders: no true seam
Bust-hips : 24" flat across from side seam to side seam and you can bring the waist as needed with the leather tie
Length: 48" from neck to hem. If you really cinch in the waist and blouse over the top it will come up in length accordingly

Modern Sizing Equivalent: SML-LRG

Item# C611

Reference Photos: Fall 1978 Yves Saint Laurent Runway.

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

The fabric used for the lower portion of this dress matches the Fall 2000 couture ruffled Chanel coat that I have in the shop and both pieces are from the same client. That said, I do not believe that they were purchased as a formal set because the numbered tags on each do not fall in sequential order like they normally would if that was the case. However, if you look at the runway photo for that look, you can see the similarities to the piece that was shown underneath the ruffle coat on the runway. There is a similarity in the top portion of the dress to Look 34 and we believe that this was a custom made piece whose fabric was chosen to give the option of wearing with the coat. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is a beautiful example of the work that Karl was doing for Chanel during this time period and how a couture client could work with Karl to get the look that best suited her and her lifestyle.

This is a beautiful and chic shifts that can easily be styled to work for day or as an evening peace. The skirt is made from a rich black silk and it is immaculately tailored. The cut is very simple. It falls from an easy cut waist and then skims over the hips and narrows in slightly to the hem. Panels of silk are set vertically to create the shape of the skirt and the tailoring is immaculate. I love the slash pockets that are set low on the hip. Attach to the skirt is a sleeveless top that is made from precisely spaced knife pleats all the way around. The fabric has a slightly open woven look and feels like it is a mix of linen and silk. This gives it a slight touch of transparency over the inner lining. The effect is lightness and a touch of volume but without it being too transparent to wear. A softer panel of the silk runs from the top of the waist band and appears to circle back and behind the neck and then comes down and loops in under the bottom of the band at the waist. I just is a little unexpected detail. That soft collar also hides a rather low plunge for a bit of sexiness. The back of the neck is gathered and closes with three hand made fabric covered buttons. The top buttons to close below that but the buttons are all hidden under a pleat so that the line does not appear broken in any way. Is a stunning piece. Excellent condition

The top is hand lined in the same fabric as the exterior and the skirt is hand lined in a black silk. It appears to have been worn very little if at all. Appropriate Haute Couture label and numbered tape present. It is completely made by hand.

Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: 19.2" flat across from side seam to side seam
Bodice: 14" from neck to top band at the waist
Skirt: 25" from top band at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4202

Reference Photos: Fall Chanel 2000 Couture Runway, Looks 20 & 34.

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 slightly more dramatic version of Yves classic tuxedo suit. For the runway it was presented with a longer skirt and that one was shown for Look 38 of the Fall 2001 Haute Couture collection. My client ordered it with the pencil skirt you see so that she could have more options to wear it. The Fall 2001 collection was one of his final collections and to have a piece from this season is very special. Vogue noted that "Cocktail hour incorporated every possible variation on the tuxedo: There was a button-front dress, a smoking jacket that morphed into a full tulle skirt, and, naturally, an updated version of the masculine tux immortalized by Helmut Newton in the '70s." Yves play on the tuxedo and 'Le Smoking' suit is one of is most famous hallmarks that he first presented in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. I have included runway photos, video and a photo of the original sketch. The sketch shot includes the fabric swatches above as per his atelier records and you can see it is the same fabric as this one. It is extraordinary set and I love it.

The extra wide collar is what sets this one apart from the many versions he did over the years. It is so bold and yet still elegant and refined in feel. There is nothing quite like the experience of slipping on a tailored to perfection piece of true Haute Couture. It somehow feels different and the feeling is something you can only really experience for yourself. The construction on both pieces is meticulous and it has been sourced from the original couture client. These tuxedo suits were all done a play on a men's tuxedo in mind and then were shaped and tweaked by Yves to be immensely flattering on the female body. It's looks simple but has master level tailoring behind it. The jacket has this sleek cut to it that follows the curves of the body. It is slightly cropped to sit just at the top of the hip. The lower part of the collar is finished in a black matte satin. It's size has been exaggerated to make it the focal point. under that is a single faceted button. Pockets are top set on each side and the shoulders are shaped. The fabric has a fine ribbing to it and it holds the lines perfectly. The skirt is cut into a simple pencil shape. I love that you separate pieces which gives you the versatility of being able to mix and match each piece with other things you already own. It is also a suit that depending on how do you style it, it can easily work for either day or as an evening suit. Yves tuxedo suits changed the way the world approached woman's wear and any example of the Le Smoking version is particularly collectible. This is a wonderful example of his couture tailoring. Itis an important piece of fashion history from one of his final collections. It appears to have been worn very little if at all. Excellent condition

Both pieces are hand lined in a black silk. The jacket closes with a button at the front and the skirt closes with a zipper and hook & eye at the waist. There are two pockets on the jacket. Both pieces are completely made by hand to couture standards. All proper Haute Couture tags present

Jacket
Sleeves: 23"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3559

Reference Photos/Video: (1-7) Diana Gärtner for Yves Saint Laurent Fall 2001 Haute Couture Runway Collection. Look 38.  /  (8-9) Sketches for the Fall 2001 Yves Saint Laurent Couture Collection as shown in the "Yves Saint Laurent Haute Couture: The Complete Works" Book Set.

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work from the early 1970s and this one is even more special since it is both a book piece and the dress from the ad campaign that season. Especially luck finding this photo because on my dress form and in person the dress can look pretty straight up and down, but once on the body it transforms into the bombshell dress you see in the reference photo. It's spectacular

This is a killer dress. It is one that will come to life even more once it is on an actual body because as mentioned above, this is a dress that in person it is even better. The first thing you see is that the entire dress is covered in overlapping gold sequins that catch the light from every angle. This alone takes your beathe away when you see the dress in person. The bodice of the dress has this cut out and  sculpted feel to it that is fantastic. There is a wide collar that wraps around your neck and then curves down into the bodice. A low scoop out is open and bare under that and then the bodice is seamed to be fitted and shaped around you. It nips in at the waist and then the skirt under that curves over your hips and the falls to the floor in a sleek column to the floor. At the back it is slit up the center quite high so that you see a flash of leg as you walk away. The entire back is also left bare and open and it is as incredible from the back as it is from the front. The dress is wonderfully made. It is a stunning dress and you will definitely turn heads in it when you walk into the room. This might 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 fabulous event. Great condition with a note below.

Unlined with narrow silk panels covering the inner seams and hand stitched into place. It closes with a zipper at the back and hook and eye at the neck. It looks like someone extended the back neck at some point and stitched in a small overlap at the front. There are areas on the bodice and near the back edge where some sequins have started to loose their gold colouring. And on looks like those areas are catching the light differently but they could easily be replaced if you if it bothered you please see the photos after the label shot. Hand finished throughout.

Neck: 16" around
Bust: 16-18" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 60" from lower seam at neck to hem
Back slit: 22.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4199

Reference Photo: Spring 1973 Loris Azzaro Ad in Jour de France Magazine, as seen in the book "Azzaro: Fifty Sparkling Years".

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 an interesting dress because a version of it was shown on the runway for Fall 1972 but this one seems to be even more elaborate than the runway one. And it is usually the opposite of that in many cases. I like to think that the woman that bought this saw the one on the runway and then worked with George to make this one even more dramatic and spectacular. George Stavropoulos was known for his evening wear. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there and that starting price point equals to around $26,000US in today's dollars. A vintage Stavropoulos dress is an incredible thing to own and this is one of the best ones I have ever seen.

This dress is drop dead gorgeous and I think it's even better in person. The dress is made out of a ivory coloured silk organza that is heavily embroidered with a leaf pattern. Those silk 'leafs' have been embroidered over the entire dress to highlight the cut. Part of the design are actually individual embroidered leafs that have been appliqued and embroidered into place. It is stunning to see in person. The silk is feather light and I love the airy feeling that this creates. This light feeling is highlighted even more all of those little embroidered pieces. On the skirt they are set so they are scattered lightly over the upper skirt and become denser as they reach the hem. Along the hem are these curving inset panels. They are attached to the dress but the design is finished to follow the jagged edge of the embroidered leafs. I love this double layer of texture this gives around the actual hem and then above it on parts of the dress. The skirt is very full. I have photoed it with nothing underneath but there is enough room that you could add a crinoline underneath  and get a very full look if you wanted. The lightness and fullness mean that when you move the dress will move with you and the effect is gorgeous. The neckline is beautiful. It is squared off on both sides and the applique work is set to go inwards around the neck and slightly up the sides of your neck. It also frames the opening at the front and the back. The bodice is layered over an inner dress that the skirt is attached to. This gives it the look and feel of two pieces but it is actually one dress. It also exaggerates that gradual widening that you see happening from the bust all the way down to the hem. At the same time it also allowed him to do another spectacular edging where that jagged edge is picked up and tied into how it's done at the hem. The last perfect touch are those magnificent sleeves. Each one falls from a rounded soft shoulder and is cut with tremendous volume. They have a huge and elaborate pouf to them. Each of them ends in an elaborate cuff with the same detailing applique that the other edges have. They are the perfect finish to this high fantasy gown. The workmanship is incredible and it is absolutely beautiful. This is a fabric that is notoriously difficult to work with and it shows just what a genius he was by the way that he was able to make it sit so beautifully. The majority of work is all done by hand and it would have taken many hours of work to create this dress in this way. This is a dress that must be on a body to really come to life. As good as it looks here it is nothing compared to it on and moving. This would make an extraordinary wedding gown for the bride looking for something unique. Excellent condition.

Fully lined in an ivory silk that has a stiffened inner hem to help hold the volume. It closes with a zipper on the inner dress and then the outer dress snaps into place over that with hidden set silk covered snaps. The inner seams are finished by hand to couture standards. The colour in person is softer and even prettier then how it photoed. The camera gives it more shadow than it has in person on the embroidered parts. It is a touch creamier in real life. This is cut generously underneath the top added bodice but the skimming design will work on a smaller frame as well and could easily be altered if needed

Sleeves: approx 21"
Shoulders: no defined seam
Inner bust: to 18" flat across from side seam to side seam
Inner waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of shoulder to inner waist
Skirt: 44" from inner waist to longest points of hem

Modern Sizing Equivalent: SML-LRG

Item# DD4200

Reference Photo: Fall 1972 Stavropoulos Runway.

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 might be one of the cutest dresses that Yves ever did and the print is of course an homage to his own French Bulldogs that he loved so much. Its twin walked the runway and was styled with a wide leather belt to really play on the proportions and cinch in the waist. It is one of my all time favourites and I am very pleased to have this wonderful dress in the shop for you.

This is gorgeous little dress. On the hanger it looks like nothing tell me a pill is that fantastic print. But it's just hits the body his genius with cut comes to life. The top is meant to be full and easy over you. The upper bodice is yoked on the front and the back and it has light padding in the shoulders for structure. A row of glossy white buttons closes the partial opening at the back of the neck. The waist is seamed and it is meant to blouse over top of it. If you decide to add a belt like they did on the runway it will really emphasize the waist and the volume above even more. This skirt is cut to be slightly fuller around the hips and then narrows down slightly as it reaches the hem. I love the slash pocket sit on each hip. The sleeve incredible. They come out from the top of the shoulder where they're slightly gathered and they are cut to come out from just above the waist and narrow down to an elastic cuff. This makes them incredibly full and when you push the up to just past the elbow they are even fuller as you can see in the reference photos. It's just a beautiful little dress and perfectly represents this time period. Excellent condition with a small note below.

Unlined and closes with a side set zipper. Three buttons at the back of the neck to close the small opening there. Elastic in each cuff. There is the tiniest bit of yellowing to one of the bulldog prints at the neckline and I see a repair at the top of the side zipper. It is completely hidden once in by the volume of the sleeves. Please see the photos after the label shot. Tagged a vintage YSL 40. It's oversized cut should work on smaller frames too

Sleeves: 17" and will pouf up more when on
Extended shoulders: 18"
Bust: open with no true side seams
Waist: 13.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 18" from top of bodice to waist and will pouf up when on
Skirt: 24.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4197

Reference Photos: Spring 1987 Yves Saint Laurent Runway.

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 an interesting dress because it's from the Miss O label that Oscar de la Renta started during this time period for his younger audience. What makes it interesting is that a very near version of it walk the runway for the Fall 1988 show. You can see how he slightly changed the design to give it a bit of a younger feel and make it easier to wear. I've included that runway photo here for you said that you can see how fantastic it is on the body. It is a gorgeous little dress

The dress is made out of a soft black jersey fabric that has an almost T-shirt feel to it when you touch it. The fabric is gathered over the dress from the top of the bodice to the hem and all the way around the back. Vertical stitches give it a pattern within the pattern and extra interest. It is to cut to hug the body and the neckline is cut flat across the front. Wide black velvet straps curved over each shoulder and attach to the back. From the front it's a fantastically fitted dress that shows off all your curves and has the interest from the gathering. At the back is where it gets spectacular. A black panel runs over the zipper and onto that panel are seven floral buttons that have rhinestones set inside and into the buttons. This creates a beautiful bit of flash and glitz at the back. Under that there's an inset of black lace lined in a nude chiffon for a sexy little kick as you walk away. It's very chic and sexy. Excellent condition

Bust: to 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 17" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4194

Reference Photo: Fall 1988 Oscar de la Renta Runway.

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 stunning example of Halston's later work. It is from 1983 and of this point Halston had just signed the international licensing agreements that would be the beginning of his downfall. That makes this a piece from one of his final self designed collections before being forced out of his own company. His prices for the main line were sky high at this point and the work put into the pieces was impeccable. When hunting for documentation for this one we found one photo of an unknown woman wearing it to a Nato party that year. There is the possibility that it is from a slightly earlier collection and the woman is re-wearing from her own closet. Either way it gives you a better idea of how spectacular it is on the body. 

The fabric for all of Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his main line collections. These beaded pieces were especially intricate and the majority of the garments produced were heavily beaded and/or sequinned. This set is gorgeous. Both pieces use a black silk chiffon as their base and then onto that is an intricate design made of a combination of tiny tube beads, faux pearls, tiny silver sequins and rhinestones. These have all been hand applied and individually applied over the two pieces. The bead work is laid out so that it becomes heavier around the edges of both pieces. Both piece also have this fantastic fringe made out of little pear-shaped faux pearls spaced side by side that follow every edge. It's incredible to see and like jewelry on the pieces. Clusters of all the other elements are tightly spaced around the edges of the jacket, the end of the sleeves and then around the hem of the skirt. They scatter out in a wider dispersed pattern from there to completely cover both pieces. The skirt has a simple cut with an easy-to-wear elastic waist and then it widens out slightly to the hem. The jacket has no collar and curves down and around to the hem. There are no closures and it's meant to be worn open and over something else. The shoulders are soft and it is looser fitting through the body. The sleeves are incredible. They have those insane fringed cuffs and each sleeve is cut to balloon out above the wrist. You can see that in the photos I have here and even more so in the reference photo attached. I love the versatility of having the two pieces because you can mix and match them with other pieces, but together they are truly spectacular. The silk chiffon keeps them extremely light in weight and even though they are backed in another layer of black silk chiffon there's still a bit of a play on transparency that the set has. It's spectacular. Excellent condition with a note below

Both pieces are fully lined in a black silk chiffon. The jacket has no closures and the skirt has elastic at the waist. All the applique work is done by hand. Perhaps the occasional loose or missing bead or applique. Tagged a vintage Halston 6. The elastic in the waist feel stretched a bit and would be an easy fix if you needed the waist smaller. Its current range of measurements are listed below but it could go down by a few inches if needed.

Jacket
Sleeves: 24" approx.
Slightly dropped shoulders: 16"
Bust- bottom seam: approx 18-19"
Length: 22.5" from neck to hem

Skirt
Waist: 13-19" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4193

Reference Photo: Guests at a Halston Party for NATO Committee, October 24 1983.

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 beautiful silk chiffon and cut metallic velvet fabric was integral to the Fall 1977 presentation by Oscar de la Renta. The twin of this set walked the runway along with two other versions in this same beautiful fabric. I love that we found these photos because it give you an idea of how beautiful the dress is on the body. The fabric is absolutely stunning and the lines of this drape fantastically. It's also rare to find documentation of pieces this early which makes the set that much better.

This set from Oscar de la Renta has such a rich, luxe feel to it while still having a bit of a bohemian vibe. The colour is this absolutely stunning deep purple burgundy that is beautiful to see in person. This is a set made up of two separate pieces. Having these separate pieces makes it very versatile since you can mix and match them with other pieces in your existing wardrobe. The fabric is stunning. The base is an ultra fine silk chiffon that has a touch of transparency to it. Onto that is a silk velvet that is cut out into a floral and leaf pattern and then infused directly onto the silk. A metallic thread in the same exact colourway was then used to outline and highlight the pattern that runs over the pieces. This touch of metallic detailing lets the pieces catch the light from every angle and adds a bit of a glitz and glam to the set. Both pieces are lined with another layer of the same colour silk chiffon but there's still a stunning play on transparency with the outer fabric. The silk is light in weight and floats beautifully over the body once on. The skirt has a band at the waist for shape and then the silk falls to the floor from there to widen out slightly as it near the hem. The top goes over that and just slips on to wear. The neckline is simple with no collar and has an attached silk braided cord. This allows you to adjust the neckline so that you can wear it loose with a more open V underneath or tie it tight and just have a slit keyhole underneath. Each corded tie ends with a pretty fringed tassel. The body of the top is loose and full. Each sleeve is also full and billows out above an elastic cuff. Each sleeve is finished with another cord and fringed tassel detail. The banded waist already gives shape at the waist when you tuck the top in. You could emphasize that shape even more by adding a belt. It a even more gorgeous in person. And it has pockets on the skirt. It appears to have been worn very little if at all. Excellent condition

Both pieces are lined in a matching silk chiffon including the sleeves. The skirt closes with a side set zipper and a flat hook & eye at the waist. The top slips on to wear with an attached cord at the neckline. The cuffs have elastic at their ends and the cord there is decorative. It appears to have been worn very little if at all. 

Top
Sleeve: approx 24"
Shoulders: 15"
Bust-bottom seam: to 19" flat across from side seam to side seam
Length: 21.5" from shoulder to hem

Skirt
Waist: to 13" flat across from side seam to side seam
Hips:to 22" flat across from side seam to side seam
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4192

Reference Photos: (1-4) Fall 1977 Oscar de la Renta Runway.  /  (5-6) Oscar de la Renta Fall 1977 Ready to Wear Advance.

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 wonderful cape is from the Fall 1977 collection and several versions of it were shown on the runway that season. We found its runway twin in the same black as this and shots of a similar pom pom corded red and a blue version as well. The cape was also used for the ad campaign that year making it an integral piece of the Fall 1977 collection. I personally a twin of this exact black version myself and have worn at countless times. It's literally the perfect thing to pop over a dress at night time and so easy to wear.

The cape is in a very versatile black colour and the fabric is extremely soft and cozy. It feels like the fabric is a mix of a soft wool and mohair. It is so easy to wear. You just slip it over your shoulders and it drapes in place. A wide set ruffle extends out from the neck and drapes over your shoulders for added detail and drama. A black braided rope circles through the loop around the neck and you use this to control how loose or tight it sits. At the end of each braided rope is a fringed tassel that give a bit of movement when you move. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of documented fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a tie at the neck as described. The easy open cut should allow fit just about any size

Length: 54" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# C603

Reference Photos: Fall 1977 Yves Saint Laurent Runway & Ad.

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed on the cover of Vogue. A Coty award followed a year later. In 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. We will be happy to find runway photos of this coat from the fall 1978 collection. It seems that it was a highlight of the collection and was shown layered over several looks. It is an absolutely fantastic coat and one of my favourites that I've ever had come into the shop.

This coat is a dream. As good as it looks in the photos and in the runway does it is even better in person. The photos don't convey how soft the fabric is. It is made from ultra soft mohair with a large oversized plaid pattern woven through it. The cut is huge and oversized. It's like having a blanket wrapped around you. The shoulders are soft and fall down the arm and the sleeve below that is cut wide and straight. You can wear them long or you could roll them up for a really relaxed feel. The body of the coat is equally as easy to wear with a loose and easy cut and cocoon feel. There are pockets hidden along each hip and a neat little collar. The back has a touch of gathering into the top seam for a bit of detailing and at the front there are long attached ties at the top of the neck. This is the only closure of the coat. It is charcoal and will be one of your favourite things I know. Excellent condition

Unlined and closes with the attached ties at the neck. Pockets along each hip. A combination of blanket finished and ribbon finished seams inside. The cut is meant to be oversized and it is meant to be worn that way. It is tagged a size 6 but should fit a range of sizes. It'll just be even more oversized on a smaller frame and feel more fitted on a larger.

Sleeves: approx 22" from natural shoulder
Shoulders: no true define seams
Bust-hips: to 32"+ flat across from side seam to side seam
Length: 51" from neck to hem

Modern Sizing Equivalent: OSFA

Item# C608

Reference Photos: Fall 1978 Geoffrey Beene Runway.

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 from the fall 1970 Rive Gauche collection and is very early example of his ready-to-wear. It also has a bit of infamy because it's twin was a photoed on Catherine Deneuve for Vogue that season. That photo of her has become one of her most iconic. It is also found in many books on his work and on her and I have included one here. In our hunt for documentation on this piece we also found two other editorial photos where it was used showing its importance as a piece of that season. This silhouette went on to be one that he repeated in many future collections. I love it's nod to bygone eras but at the same time it still feels thoroughly from the seventies. Pieces very first collection of a decade are always extra interesting to me. They're either one that you never see again or they become an integral direction for that decade.

The coat been worn and loved but it's still in fantastic condition. It's made from a velvet that has ribbing so it almost feels like an ultra ultra fine corduroy. The pile is flat but very soft. This fabric choice let him keep the lines and shape of the coat. It has a very great coat feel to it but with Victorian inspired mutton sleeves and that fantastic fit that Yves excelled at. The front does up with a double row of hand carved buttons. The collar above that is exaggerated. Collars would get bigger later in this decade but at the time even this would have been startling and edgy. It is fitted through the bodice and seamed at the waist. Under that the skirt of the coat flares out dramatically. Pockets are hidden along each hip as you can see in the photo of Catherine. The sleeves are incredible. They are set and gathered high into the top of the shoulder for a slight capped feel. They pouf out dramatically under that to about the elbow and then are slim cut to the wrist from there. It is currently gorgeous and I love it. It is also a remarkable piece of fashion history. Excellent overall condition with a note below

Fully lined in a copper coloured silk. It closes with the buttons at the front. Tagged a 36. There is some wear to the velvet under the buttons and on the slimmer part of the sleeve where someone would've pushed the sleeves up. It's very minor. There's a small spot on the front of the coat and I photoed that for you. Some tiny areas on the back where the fabric has worn through along the hem. I photoed one but they do go across most of the back bottom of the coat. They make no impact when it's on. I see a tiny area of the start of thinning to the fabric on one sleeve. This is still infinitely wearable and such an important piece of fashion history the small flaws don't really deter

Sleeves: 24"
Slightly inset shoulders: 13.5"
Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 37" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C609

Reference Photos: (1) Model in Yves Saint Laurent, January 1970.  /  (2) Catherine Deneuve in Yves Saint Laurent, October 1970.  /  (3) Model in Yves Saint Laurent, 1970.  /  (4) From the book "Saint Laurent Rive Gauche: Fashion Revolution".

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

In 1968 Ossie Clark was designing his own couture line and also designing pieces for Alice Pollock for her Quorum Boutique. The Radley company approached Alice to find out of she could convince Ossie to design a top of the market collection that they would produce and sell to various boutiques and department stores. Dresses like this were the result of that collaboration. Even with this early version of 'ready to wear' the pieces that were made were still never produced in vast quantities and certainly nowhere near whet we think of today as RTW as far as quantities.  I have had black versions of this dress in the shop before and always love finding one of these. It is a classic Ossie design and one of Ossie's most famous and recognizable creations. A similar version in ivory is held in the Victorian and Albert Museum. Lily Sullivan also wore a version and you can see how it is transforms once on the body. Both of those fully button tot eh neck bit this one has a more V front and then has the buttons underneath that. I have included those shots here to give you an idea of just how fabulous the dress looks like on.

The design of this dress seems so simple when you see it on a hanger and yet it has that perfect flow and drape that he was known for. His signature sexuality that he worked into his pieces is displayed in that low front plunge that can be made even lower if you choose to wear it more unbuttoned. I love his pieces that button down the front. You feel covered, but he still somehow manages to make them feel extremely sexual. The buttons have been covered in the same red moss crepe as the dress is made from. They run from the bottom of the V neck, past the waist and down the top part of the skirt. The dress has it original matching fabric tie that wraps around and ties to give you some added shape and definition through the waist. The skirt flows from under there to cascade to the ground. It skims over the hips and then widens out quite a bit by the time it nears the hem. There is a wonderful amount of volume that flows around you when you move. I love that the back is cut slightly longer then the front. This is balanced out by full bishop cut sleeves that puff up above each moss crepe covered buttoned cuff. I own one of these myself and it will always be in my collection and I can tell you from personal experience that it is a dress that you will wear over and over. I absolutely love his red moss crate pieces. The colour is so good and it just makes a fantastic impact. This one is in wonderful condition to which isn't always the case with the red pieces. It easily goes from day to night and is sensational on the body. It is in its original uncut supermodel length which is hard to find with many Ossie pieces you now see out there for sale. Excellent condition with one small note below.

Unlined and slips over the head to wear with it original tie belt for around the waist. It buttons down the front. Each cuff has a fabric covered button at the wrist. There are two very light marks near the front center seam about 16" down from the final button. They are very light and where the skirt starts to get volume so not really seen when on but are visible when it is laid out flat. Please see the photo after the label shot. The red is a bit brighter then how it photoed. It is better in person. Tagged a vintage Ossie Clark UK 10

Sleeves: 28" but come up when cuffs are buttoned
Shoulders: 14.5"
Bust: to 18.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam and can be defined more by the tie belt
Hips: 16-18" flat across from side seam to side seam
Length: 61" from neck to front hem and 66" to the longest point of the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD3692

Reference Photos: (1) 1969-1974 Ossie Clark Dress in the V&A Collection.  /  (2-4) Lily Sullivan at the Inaugural Museum of Applied Arts and Sciences (MAAS) Ball in Sydney, February 2018.

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

In 1981 Halston was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. At this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This is a fabulous example of his work and it has the added distinction of being a well documented one. On the runway it was styled with a wrapped leather belt and these were sold separately as part of the collections that Elsa Peretti was doing for the label. It is an amazing set and even better once on the body as you can see from the runway shots we included here.

Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This set is absolutely gorgeous and all of the bead and sequin work on it is completely done by hand. Silver tube beads in two sizes are laid out in an intricate swirling pattern that covers all three pieces. Each bead has been hand applied onto an ivory silk chiffon that has a bit of transparency. To make it wear able the halter and pants are lined in a nude silk chiffon. I love the boldness of the silver and how all three pieces glitter and sparkle in the light from every angle. Each piece is kept simple in design to work in harmony with each other. The pants have an elastic waist and are cut to skim over the hips. Each leg falls in a straight peg silhouette from there. The halter has a high scooped neck and ends just above the waist. It curves back and around the neck to close and does the same at the waist. This leave the back completely bare. At the front the bust skims over you. The bottom of the halter is finished with a silk panel that has little loops set all the way around it. These correspond to hooks that run around the waist of the pants. You can choose to wear the pants low for your midriff to show, and either let that band on the halter show or flip it under, or you can hook the pants to the top to hold it in place and then wrap a belt around it similar to how it was styled on the runway. It is just incredible. Then you would slip on the jacket over that if you wished. The jacket is cut loose and easy with a closure at the top the neck only so you can see the pieces underneath. The set is very flattering on the body and easy to wear. It is pure glamour. I love the versatility of having all three pieces because you can endlessly mix and match them all with other pieces from your wardrobe. Even just wearing a set with or without the jacket dramatically changes the feel of it. This is a classic example of Halston's work. This would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative outfit in a more extended wedding celebration. And of course it could also be worn to any event.Excellent condition

The jacket is unlined and has a hook and eye at the top of the neck. The heart hooks to close at the neck and at the back. You can also hook the pants and halter together as described above. Elastic through the waist of the pants. The bead work is completely hand done. Perhaps the occasional area of loose beads and threads here. The elastic in the waist feel stretched a bit and would be an easy fix if you needed the waist smaller. Its current range of measurements are listed below but it could go down by a few inches if needed. Slightly creamy in colour in person

Halter
Neck: 14" around
Bust: no true side seams but covers up to 14" flat across the front
Seam at bottom: to 13" flat across from side seam to side seam and the hook could be moved to get another inch if needed or made smaller as needed
Length: 15" from neck to bottom seam

Jacket
Sleeves: 22"
Shoulders: 15"
Bust- bottom: 19" flat across from side seam to side seam
Length: 30" from neck to hem

Pants
Waist: 13-18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 40.5" from waist to hem with 3.5" turned under the hem
Inseam: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4189

Reference Photos: Spring 1981 Halston Runway. Model: Connie Cook. (3rd photo: Crystal beaded cardigan jacket and jumpsuit from the Summer 1981 collection. From the book "Halston: An American Original")

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

The Metropolitan Museum of Art hosted a Jacqueline de Ribes exhibit in 2015-16, giving her work an extra dose of much needed attention. De Ribes was know as 'one of the most celebrated fashion personas of the 20th century'. She began making dresses for herself and eventually opened her own label in 1982 at the age of 53, producing collections for the next 12 years. Which is remarkable in its own right. This dress is a variation of the one that walked the Spring 1986 runway and we have included the runway photo here. I love that you can see just how full and beautiful the skirt is from these photos. It is a gorgeous dress.

I love this dress so much with its incredible volume and amazing use of fabric and contrast with the black and ivory silk. The dress is made from yards and yards of bias cut silk chiffon. The fabric is so late but even with the multiple layers through the skirt you get this fantastic floating sensation all around you with your slightest move. The neckline is cut into a V at the front and dips lower at the back. It is suspended from wide black velvet straps that curve over the shoulders to meet the edge of the back. The back closes with a combination of a zipper and then a ribbon tied corset above that and hook and eye. This is all hidden from view however by draped panels of silk chiffon that are attached to the strap of the front and then go around to drape over your shoulders and curve around your back. At the front I love how the black silk chiffon sits over the ivory silk underneath for this incredible transparency effect the highlights the tiny pleat work done over each cup of the bust. More of the velvet ribbon defines the waist under that and curved up to between the breasts. From under that the dress cascades to the floor in a loose and voluminous cut. This is where the dress gets truly magical. There are three years of silk that make up the skirt. There's an inner silk layer and then over that is an ivory layer and a black layer that is split down the center so that you can see the ivory one underneath. All these layers flow out in an ever widening silhouette to the ground. There are yards and yard of chiffon that make up the lower portion of the dress. The bottom hem of both chiffon layers are finished with an inner wire that lets the hem curve and twist. This adds extra volume to the layers and creates a fantastically romantic and dramatic effect as the layers float over each other. It is amazing. Over all great condition with a small note to review below

Fully lined in an ivory silk jersey and closes with a back painted metal zipper with a tied corset above that. The inner zipper is curved under at the top and I think the corset part was a later addition. There are areas of yellowing to the draped shoulder part of the dress and some marks tot he interior here and there. See the last two photos after the label shot. Hand finishes throughout and made to demi-couture standards

Bust: to 16" flat across from side seam to side seam but can be adjusted upwards several inches if needed due to the corset back
Waist: to 13.5" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: 14" from top of shoulder to bottom of velvet ribbon at the lowest point
Skirt: 45" from bottom of velvet ribbon to hem

Modern Sizing Equivalent: XS-MED

Item# DD4190

Reference Photos: Spring 1986 Jacqueline de Ribes Runway.

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 one of the most spectacular Halston dresses I have had in the shop. It's from Spring 1981 and of this point Halston was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. He was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This is a fabulous example of his work and it really is one of the most special pieces I have had from his label. It is instantly recognizable as being from him. It is a spectacular dress. This 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 event.

Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This dress is absolutely gorgeous and all of the bead and sequin work on it is completely done by hand. Silver tube beads and silver sequins are laid out in an intricate and instantly recognizable pattern that covers the dress from neck to hem. Each bead and sequin has been hand applied onto an ivory silk chiffon that has a touch of transparency it's just as beauty of the dress. I love the boldness of the silver and how it glitters and sparkles in the light from every angle. No matter how good this dress looks in the photos it is even better in person. The cut is easy and flattering to wear. The neckline is high and scooped and is edge with tightly space beads. It skims over the bust to the hips and then flares out just slightly as it nears the hem. The sleeves are cut slightly wider at the top and then barrow down to the wrist where they have same border of sequins as the neckline. It is amazingly comfortable to wear because of the easy cut. Every square inch of the dress is finished in that amazing pattern that combines curving rounded patterns with angled bands. It is just incredible and I absolutely love it. Excellent condition

The dress is unlined and closes with a back set zipper. The bead work is completely hand done. Perhaps the occasional area of loose beads and threads here. Slightly creamier in colour in person. The loose and easy cut should fit a variety of sizes. It is incredible.

Sleeves: 24"
Slightly inset shoulders: 14"
Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4191

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

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. This dress is from the main Nina Ricci line and it is from the Pre-Fall 2011 collection. and Its twin was shown layered over a black top on model Caroline Brasch Nielsen. Peter Copping was the head of the atelier during this time period and he had been there since 2009. His take over of the label was met with rave reviews and he was asked to reinvigorate the then floundering label. He remained there until 2015 when he departed to take over Oscar de la Renta. That give us a date on this piece to about mid-way of his tenure. In the review of the collection that season by Vogue, this dress was one that was specifically noted  saying; 'Since taking over the reins at the romantic French label in 2009, Copping has had the most success with dresses, and there were lots of lovely options at his intimate show this morning. In addition to that red-carpet stunner, he showed a polka-dot chiffon that fell in tiers to the floor and a bustier hourglass number in tweed, both of which were worn over clingy knit sweaters for a played down, casual look''

This was one of the standout pieces from the presentation and it is gorgeous and even better in person. I know that it was styled over a slim fitting top to give it a more casual feel as Vogue noted above but I think it is far more beautiful worn on its own as the gorgeous dress it was intended to be. The dress is a fantastical confection of dotted silk organza tiers that run from the top of the dress to the hem. The bodice is suspended from the shoulder with straps made of the same silk. Each strap curves over the shoulder and then the first ruffle of silk starts where they attach to the dress. The bodice is cut into a modified sweetheart neckline that has a pretty vertical ruffle running down the center. More vertical ruffles run over and around the bodice to the back. A soft gathered band highlights the waist and acts as a break between the ruffles as they change direction on the skirt. At the bottom it hooks to close and there's an open slit that runs from that hook to the waist for a pretty flash of skin. Under that the skirt falls to the floor in a dramatic sweep of skirts that widen out as they near the floor. Set onto the silk of the skirt is a spiraling band of ruffles that create a slight angle as it cascades down the skirt. This cut is incredibly flattering and ruffles and silk move around you beautifully with the slightest movement. The skirt is cut longer at the back so in addition to all those beautiful ruffles you get this sweep of skirts as you walk away. It is truly magical. It appears you have been worn very little if at all. Excellent condition.

Fully lined in a burgundy silk and closes with a back hidden set zipper. Tagged a 36. It appears to have been worn very little if at all. 

Bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Bodice: 15.5" from top of shoulder to waist
Skirt: 49" from waist to front hem, 62" to the longest point of back hem

Modern Sizing Equivalent: SML-MED

Item# DD4184

Reference Photo: Pre-Fall 2011 Nina Ricci Collection, Look 18. Model Caroline Brasch Nielsen.

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 embroidered and beaded silk chiffon dress is from the from the Fall 1974 Jean Louis Scherrer Haute Couture collection. We found a version with no sleeves that walked the runway that season and you can see the similar bead work on the bust and that same incredible bias cut full skirt. Jean-Louis launched his own label in 1962 after assisting both Christian Dior and later for Yves Saint Laurent during his time there. He also designed on a freelance basis for Louis Feraud from 1959-1962. He studied fashion at the Chambre Syndicale de la Couture in Paris with the intention of opening his own couture house one day. In 1971 Scherrer that dream came true and he officially became a couturier. His Haute Couture work was some of the most expensive you could buy at the time and women happily paid for it. British Vogue to christen him 'The Aladdin of Couture' and in 1974 he shared his thoughts on the world of couture telling Vogue 'You can use marvelous fabrics, have wonderful, impossible embroidery – in fact, be superluxe, and superluxe is what the couture is all about.'

This dress is gorgeous. The color is a soft, dusty burgundy done in a bias cut silk chiffon that is light as air. The silk is feather light in weight and floats beautifully over the body once on. The neckline has a pointed slightly exaggerated collar and then the neckline dips into a V. It close down the front with a series of hand set, silk covered hidden snaps. Using hidden snaps eliminates the need for buttons and keeps all of the attention on the applique and bead work at the front. The bodice is cut to be very loose and full over an inner silk piece The bead work is all done on that top layer of silk and it's an extensive and detailed floral pattern. They start at the waist and follow the neckline to go up and under that fantastic collar and then they go all the way around to the back of the neck. I love the soft pastel colours and how the appliqué work combines silk floral cut outs along with beautiful embroidery work, beads and the tiniest possible sequins. Having the bodice only partially lined behind the top silk layer also gives you this beautiful see-through feel around the upper chest and back. That feel of transparency is carried over to the sleeves. Each sleeve is a single layer of the silk chiffon and cut to be very full so that they billow out above a buttoned cuff. The waist is seamed and the dress comes with original matching silk sash that you can tie around the waist for added detail and to create more shape. The skirt falls to the floor under that with many yards of chiffon. When you move the lightness of the silk allows the skirt to float and billow around you. You get a sense of the fullness in the runway photo attached. This is a couture piece so that means all of the seams are completely finished by hand and it is beautifully constructed. It a just gorgeous and even better in person. Excellent overall condition with a note below

Lined in a matching silk. It closes with hidden set snaps down the front on the top layer and there is a zipper on the inner layer. The cuffs button to close. Has it original tie belt. There are some faint larks on the skirt hem but you have to lay it flat to see. There is so many yard of silk in the skirt that when on this gets lost in the fold. There are also two pinhead size dots near the front waist which get hidden by the tie belt. Please see the photos after the label shot. Proper numbered couture label present

Sleeves: 24"
Shoulders: 14"
Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4185

Reference Photo: Fall 1974 Jean Louis Scherrer Runway.

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 exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. This best matches the work that he was doing from about 1969 to 1972 when he was doing these wonderful printed chiffon dresses. We found similar ones to this with variations on the print that this dress has and I have included them so that you can see how perfectly this will drape and fall on the body. I have had a dress with a similar print to this on the shop in the past from Fall 1970 which makes me even more certain that this one falls into that time period. It is a very easy and comfortable dress to wear but it also drop dead gorgeous. I feel that it perfectly represents this time period. His work was integral to the label's development over the decades that he headed the atelier and this is a stunning example of his vision. Beyond that it is just an extraordinarily beautiful dress. I have had this ion my archives for a long time and it is a beautiful piece.

This dress is incredible. I love this version even more then the ones we found for reference. The cut is extraordinary and those sleeves are pure magic. The dress is super light and very easy to wear. The outer layer of it is a fine silk chiffon that has an abstract dot print that covers the entire dress. The neckline is set high and is softly gathered to wrap around the neck. Under that the bodice is meant to skim over you to the seam that is set under the bust for a slight empire feel. It fall loose and easy over the natural waist and the skirt billows out from under that to the floor. It is lined through the body of the dress in a solid coloured burgundy silk to feel like heaven on the body. The sleeves are incredible. They are set into the shoulder with slight gathers along the upper shoulder for a subtle but very pretty detail. They are the full width from the should to that seam under the bust and this gives them incredible movement and drape over the arm. It is interesting to look at the dress from the interior because the inner bodice is almost like a bib shape and then the sleeves come out from the sides of that. Once on the body the entire dress has this stunning movement and yet feels minimalist and elegant. The fabric is so light that it will move with your slightest movement. I love the detailing of that wide band of the solid coloured chiffon that finishes each sleeve and the hem. It is very easy to wear but packs a tremendous amount of style with the that print combined with the lightness of the fabric and that cut. The tag is numbered and the dress made to demi-couture standards. It appears to have been worn very little if at all. Excellent condition

The dress is fully lined through the body in a deep burgundy silk chiffon. It closes with a back zipper. It appears to have been worn very little if at all. The tag is numbered and there is an additional hand numbered tag along an interior seam. Hand finishes throughout

Sleeves: 22" from shoulder to end and fall to 24" at their longest point
Shoulders: 15"
Bust: The inner lined bib covers to 13" across and then because of how the sleeves are set there are no true side seams
Seam under the bust: 15.5" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 11" from top of shoulder to seam under the bust
Skirt: 47" from seam under the bust and including the 2.5" band there to hem

Modern Sizing Equivalent: SML-MED

Item# DD4183

Reference Photos: (1) Model in Dior for British Vogue, March 1969.  /  (2) Model Kellie Wilson in gypsy-style Dior, wearing a long chiffon dress in lilac with white batik print, a ribbon belt and massive gold pendant Vogue October 01, 1969. Photo by Bert Stern.

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 gorgeous dress from Alexander McQueen. It is from his Spring 2010 collection and it is a one of the original variations of a dress that they still make to this day. Julianne Hough recently wore a black version from my archives and I have included some shots of her so you can get an idea of how amazing it is on the body. The one that she wore was from a later collection released under the creative direction of Sarah Burton but it was based on the dresses released from this original 2010 collection. I have two versions of this dress in the shop from this season at the moment, you can find the other one here. This is basically the printed version of the one that Julianne wore. It is a fantastic example of his work. I love it

The dress is made from a printed silk chiffon that is covered with one of his signature intricate designs. Prince a trailing design of leaves and flowers that float over the dress and follow the amazing draping that the dress has. It is strapless with a built-in inner cupped bodice that gives you support and holds the dress in place. The cups are shaped and these cups are one of the things that you see that is different from the later versions of this dress. These earlier piece have distinctively shaped cups The seams in the inner cups are exaggerated and this gives them this beautiful curving angle shape at the sides and peak at the front. The silk that drapes over that is all cut on the bias. The dress glides over the inner structure and falls in column to the skirt. The silk is gathered in towards the center of the front and the back so that there is more draping there and then it fall in draping curves down the sides. The choice of silk chiffon for this one gives it a lighter than air feel and as you move the silk billows and floats around you. It also creates this incredible movement when you walk. The dress is original supermodel length and looks to have been worn very little if at all. It is spectacularly beautiful.Excellent condition

Fully lined in a black bias cut silk and has a built in cupped corset. The inner corset closes with its own zipper and the dress zips to close over that with a hidden set zipper. Tagged a McQueen 44. The inner corset has some stretch. You could have the inner corset adjusted if you needed more or less room. Buttons on the inner bodice to add straps if you wanted. 

Bust: to 18" flat across from side seam to side seam with a B-C cup
Inner corset waist: 13-16" flat across from side seam to side seam
Inner hips: to 24" flat across from side seam to side seam
Length: 64" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4181

Reference Photos: Julianne Hough in Alexander McQueen from the Shrimpton Couture Archives for the Vanity Fair Oscars Party, 2022.

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

As with so many of Pheobe's pieces for Celine, this dress was very well documented and photoed when it came out for the Pre-fall 2018 collection. It is instantly recognizable as being Phoebe's work and is one of her more iconic looks. When I started to hunt for references for it I found all the ones that are here, plus there are probably more out there. It was a definite favorite among the fashion set and was a regular look in do many street style shots of the day. All of Phoebe Philo's pieces for Celine have reached cult status and the prices are just continuing to rise. Her work is a must have for the vintage collector and this is a particularly hard to find dress that is rare and collectible.

This is one of the easiest dresses to wear that has ever existed. You just slip it over the head and then adjust the shape around the waist with the tie belt and walk out the door. That tie belt allows you to wear it low and loose or you can cinch it in and wear it higher up on the waist and have the top blouse over. The jersey is fantastic quality and is covered in that iconic python / boa snakeskin print. The neckline is high with a collar that is notched at the back so that it sits out from the neck a bit. It is yoked across the front shoulders and then it falls loose and easy over the body. The body of the dress has yards and yards of fabric in it. The sleeves are equally as voluminous and they come out from the waist area and narrow down to buttoned cuffed wrists. Tons of subtle details like a strap that extend from the shoulder of each sleeve, and french finished outer seams that add weight and keep the lines of the dress in place even with all that volume. And it has pockets. This is the genius of Phoebe where she manages to have something be so perfectly simple and easy and yet have so much drama at the same time. I love it. It appears to have never been worn or worn very little. Excellent condition 

Unlined and slips on to wear with a short hidden set zipper at the back of the neck. Original tie belt included. Tagged a 42 but very generous in cut. It appears to have been worn very little if at all. It should fit a wide range of sizes as long as the neck works.

Sleeves: approx 31" and meant to scrunch up on the arm once on
Shoulders: no true defined seam
Bust - hips: to 40" flat across from side seam to side seam
Length: 52" from neck to hem
Neck: 19" around

Modern Sizing Equivalent: OSFA

Item# DD4180

Reference Photos: (1) Pre-Fall 2018 Celine Collection, Look 45. / (2-6) credits unknown.

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 the twin of the piece that walked the runway for the Fall 2000. I have, and have had, several Couture pieces from this collection now from the same client and she often ordered her pieces in a different colours from the runway but for this one she did stay true to the runway vision. The jacket is incredibly beautiful and so perfectly and sharply tailored. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

This car length evening jacket / coat is absolutely stunning. I am just in love with it. The length makes it so versatile and you can mix and match with almost anything in your wardrobe from jeans to evening pieces. It is made from a combination of a very high end black silk with that fabulous silk tulle ruffle at the front. The tailoring on this piece is immaculate. It slips on and has a hook at the top of the neck. There are shoulder pads for structure. The sleeves are long and I love how the shoulders are set into the body of the jacket so that they peak just slightly above the shoulder line. This is a very Karl signature that only got stronger as time went on. It has meticulous seaming set in curving lines to create the shape that you see. I took some closer shots of the seaming around the sides and arms of the jacket so that you can see how incredible it is. There is a hook and eye at the neck to close. I love the ruffle set at the front. It cascades down the front from the neck right to the hem. It is made of multiple layers of silk tulle so that it has volume. It is very full at the ruff of the neck and then gradually narrows down as it reaches towards the bottom hem. This adds unexpected detail and romance to the jacket. It is hand lined in a black silk and it is heaven to wear. This is a classic and exceptional piece of Chanel. The fact that it is true Haute Couture is just the icing on the cake. It is meticulously made to the highest standards. It is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Fully hand lined in a fine black silk and has a hook and eye at the top of the neck. It appears to have been worn very little if at all. Appropriate Haute Couture label and numbered tape present. It is completely made by hand

Shoulders: 14"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 38 3/4" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4179

Reference Photo: Fall 2000 Chanel Haute Couture Runway, Look 34.

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

My client purchased this coat and it was actually her husband who found it for her that day in the shop and brought it over. I'm sharing this story because there is a little additional component to it that I love. Alexander was in the shop that day and as her husband was walking it over, he noticed and came over and held it while she slipped it on. She was debating whether to go with this size or the size up and Lee insisted that she wear this size. She told me that he wanted it as fitted as possible on her and she went with his opinion. I asked her to be able to share this memory with you because I feel like for his pieces especially it is an important part of the provenance to know that he actually handled this coat himself during the buying process that day. That just makes me incredibly happy to know and it makes me feel like this coat is a little extra special because of it. 

When I saw this coat I literally gasped out loud. It is that amazing. This is a magnificent example of his tailoring skills and sense of cut and line. The coat is made from a  beautiful 100% cashmere in a rich deep black. My client only wore the coat a couple of times and it is pristine. The cashmere is rich and thick. The coat is immaculately tailored. The sleeves are long and each ends in a turned up cuff. The shoulders are soft with perhaps the barest minimum of inner structural padding to hold the shape. The cut is shaped by long vertical  seams and the ones at the back are curved to add some shape through the waist. At the front a 6" wide collar extend from around the neck and falls the full length of the coat on either side of the opening. At the bottom the outer edges of that long collar detail are tacked into place so that it stays perfectly in place no matter how you move. This also allows the collar to slightly sit out from the base of the coat underneath to give it a slight bit of volume. It is just genius. A glossy black fur collar wraps around your neck and falls to the waist. I think it is a dyed fox and the pelt is supple and glossy. It is as immaculate as the day it was made. This collar buttons into place so you can easily wear it without the fur if you wished. Pockets sit along each hip and then the final perfect detail is that incredible braided rope belt. The belt is extra long and made from a braided soft black leather it is thick and beautiful. Three tassels extending out from each knotted end and each tie is finished with a long tassel in a black yarn. This is a mix of textures along with the beautiful cut of the coat all come together to create one of the most magnificent coats I've ever seen in my life. This is machine at his best mixed with a wonderful story of his personal involvement with this exact coat. Excellent condition

Fully lined in a black silk with white piping detail where the silk meets the cashmere. It closes with the leather tie belt and otherwise has no closure. Tagged a McQueen 44.

Sleeves: 27"
Shoulders: 15"
Bust: to 18" flat across 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
Length: 48.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4178

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 have a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur coats are final sale.

This 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. This is a fantastic example of that yet is still cut with the sharp tailoring and flattering lines he was known for. This one he's a little special because we found the photo of its twin on the runway worn by Yasmeen Ghauri. I love having this reference photo because it allows you to see just how fabulous this dress is once it's on a body. It is a seriously stunning piece. 

The dress is out of a combination of a lightweight black crepe combined with densely applied ivory coloured sequins. It has an almost graphic colour block feel to it. The main body of the dress is done in the black crepe and it is cut in a shift shape with just a bit of curving in at the waist. It has a V at the front and then dips down into an angled deeper V at the back. The sleeves are capped and extend out from the shoulder without any seams to break the line. It skims over the bust waist and hips and flares out just a touch at the hem. I love how one side of the dress is covered in those tightly spaced rows of sequins. This goes over the shoulder to include the sleeve and then continues down to the back. It fully wraps around your side. On the side opposite to that is a low slung top set pocket. The pocket is also heavily embellished with the sequins and it is fully functional. I love how both the pocket and the sequins on the other side have the same curve along the bottom to define their edges. It is an absolutely gorgeous dress and an important part of Lagerfeld's history. Excellent condition

Fully lined in a black silky rayon and closes at the back with a zipper. Tagged a 42. The pocket is functional

Shoulders: no true defined seams
Bust: 18" 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: 36.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4173

Reference Photo/Video: Spring 1991 Karl Lagerfeld Runway. Model: Yasmeen Ghauri.

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

Yves Saint Laurent opened his first ready-to-wear boutique on September 26, 1966 in Paris. For the opening he showcased his Fall 1966 Rive Gauche collection but what a lot of people don’t know is that he already had a rtw line. He created his first ready-to-wear collection for the Fall of 1964 with an in-house boutique collection of 35 designs including accessories. This dress is from one of those extremely rare collections that pre-dates the opening of the shop. It is from the Spring 1966 collection and represents one of the earliest ready-to-wear pieces he would have made. Because it pre-dates the actual boutique opening it would have only been made available to you if you were an existing couture client. Only a few of these would have been made. The numbers are probably along the same lines as the couture pieces as far as quantity. This one is extra special because it’s documented which is even more rare. We found a copy of the original sketch and fabric samples in one of the the Saint Laurent books and even they did not have the actual dress to show with that sketch. He did two pieces for the collection in this fabric. The first photo after the label shot here is the twin to this dress and the second is the other similar one that was a part of this collection. Finding a piece that was a forerunner to the boutique launch when that boutique concept went on to revolutionize the world of fashion is truly something truly special. This is a dress made valuable by its place in history.

The dress is beautiful in its simplicity. It is made out of a loose woven cotton feeling fabric that has a stunning and vivid floral print screen onto it. The print is the same that you see in the sketch fabric samples in the attached reference photo. It is a bright combination of blue, green, pinks, corals and yellows all done in an intricate floral pattern that covers the entire dress.The sleeves are cut to go to just past the elbow and are cuffed. On the cuff they have two sets of little snaps spaced close to each other so you can bring the cuff in a little bit to hold them in place in case you wear them pushed up higher on the arm. Above that they pouf out above the cuffs for a pretty fullness. The neckline is scooped at the front and at the back. At the back that scoop dips a little lower for a bit of skin to show. I love how it buttons to close above the zipper at the back with two matching fabric buttons. At the front there is a seam that is set just under the bust. You were meant to tie a ribbon under there as you can see in the sketch. I added a pretty blue grosgrain ribbon but you could add any colour ribbon that picks up on any of the colours of the dress or the accessories you choose to wear with the dress. The dress falls from there and widens out to be very loose and easy over the waist and hips before falling down to the floor. This beautiful A-line baby doll feel is a perfect representation of this era. It would have been the height of chic to wear this shape of dress at the time and its still a classic silhouette now. I photoed the dress without any ribbon so you could see how it looks that way and I also took a shot of it with the ribbon tied around the natural waist. The look of the dress changes completely depending on which of the three ways you wear it and I love the versatility that this adds. The simplicity of the cut lets that stunning floral design take center stage. This is a stunning museum worthy example of his earliest RTW work and it is fabulous. Excellent condition with one tiny note below

Fully lined in a black silk and closes at the back with a zipper and buttons above that. Each cuff has snaps as seen in the photo before the label shot. The hem is finished with a finished edged seam and may have been let down at some point. There is a tiny area on the bodice where a couple of the threads of the weave have broken. It is backed by the lining so only seen upon close inspection but I am pointing it out for accuracy. Please see the photo after the label shot

Sleeves: 23"
Shoulders: approx 15"
Bust: 17.5" flat across from side seam to side seam
Seam under bust: 17.5" flat across from side seam to side seam
Natural waist: to 20" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Bodice: 9.5" from top of shoulder to seam under the bust
Skirt: 48" from seam under the bust to hem

Modern Sizing Equivalent: XS-MED

Item# DD4171

Reference Photos: Drawings of the Fall 1966 Yves Saint Laurent Collection. From the book "Saint Laurent Rive Gauche Fashion Revolution."

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 an interesting dress because Yves used the same pink feather styling that he did in this collection for a longer but very similar Haute Couture version that season. On the runway this dress was styled with a pink feather collar and then produced without. From a practical stand point it does make it far easier to get multiple wears out of it. It otherwise is identical to the runway version in design. Yves was a designer who mixed and matched ideas from couture to ready-to-wear with ease. More so than other designers I find. Sometimes the crossover details like this one has are just fascinating to see because of that. It is also a great way to get the design and look of a couture piece at a the price of ready-to-wear. The dress is absolutely gorgeous and I'm happy to have a video reference as well as photo reference so that you can see just how beautiful this is on an actual body.

The dress dips into a V at the front and skims over the bodice to meet the slightly high set curved seam at the waist. A wide black silk satin ribbon wraps around the waist following the curved seam. Where it meets in the center there is a large bow with five loops and a knot in the center. Under the skirt falls in three tiered layers of a black textured silk chiffon what a fourth layer acting as a lining under all of those. The top layer has extra fabric in the center and dips down for a pretty line that helps give the illusion of length. It also add some more chiffon that can float and move around you when you move. The layering of the silk makes it opaque enough to wear but still allows for the transparency and the lightness of the fabric to be apparent. The sleeves are beautiful. Each one poufs above an elastic cuff. Under the elastic there is a full circle ruffled cuff with two more layers of the silk for the prettiest feminine finish. In theory you could have a tailor or seamstress add a button in collar made of pink feathers if you really wanted to emulate the look of the runway piece. Either way the dress is absolutely gorgeous. Excellent condition with one small note below

Fully line in a black silk through the bodice. The skirt has an inner lining of silk chiffon. It closes with a side set zipper that goes up and into the underside of the arm. And waist stay hooks to close. Elastic in each cuff. Tag and YSL 38. A tiny spot of thinning of the silk at the back above the band. It looks like the bodice at the V was taken in a bit. Please see the photo after the label shot.

Sleeves: 26"
Shoulders: no true shoulder seam
Bust: 16.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to inner waist stay
Skirt: 25" from inner waist stay to hem

Modern Sizing Equivalent: XS-SML

Item# DD4167

Reference Photos/Video: Fall 1993 Yves Saint Laurent Reference Collection.

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 beautiful dress from the Christian Dior label that showcases the elegance the best of the brands work has always displayed mixed with the youthful spirit that John added to the house. John Galliano went from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing dresses in the house's history. His work is always beautifully cut and this one is no exception. It has that minimalist spirit of the nineties and early 2000s and it is stunning. This was a piece that was produced in limited quantities for retail. It was based on the dress that walked the runway that season for look 52. The runway dress was far more elaborate and it is always interesting to see how John translated his over the top runway collections into elegant, wearable and yet still glamorous pieces like this one.

This dress is fantastic and I think that its simpler lines it gives you more wearability than the runway version would have. This is a dress that you can dramatically change by what you accessorize it with. It can go from a gorgeous little more dressier day dress with flats to have a bit of a Grecian feel and then at night time you can full on glam it up and it suddenly becomes this sexy little cocktail dress. The bodice of the dress is elaborately pleated. The black silk jersey that it is made out of has been draped and gathered over an inner corseted bodice that is formed and cupped inside. There is a strap that knots at the base between the breasts and then curves up and over your shoulders and runs down the back. The straps are made out of the same jersey as the rest of the dress. The waist is seamed and you could add a wide belt to really cinch it in and add more shape if you wished. The skirt falls from under there in a beautiful biased cut. When you stand still it falls in a sleek column but when you move you realize that it is actually tremendously full. Your slightest movement will make it swirl and float around you. The intricate and elaborate pleats and gathering continue all the way around the bodice to the back. It is just a gorgeous little dress. It is very chic and minimalist. It appears to have been worn very little if at all. Excellent condition

Fully lined with an inner silk skirt and a fill built in cupped and boned inner corset bodice. It zips to close with a hidden set zipper. Tagged a US4 GB8 FR36 IT40. It appears to have been worn very little if at all.

Bust: 16.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Inner hips: 17.5" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist
Skirt: 24.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4168

Reference Photos/Video: Fall 2005 Christian Dior Runway Collection, Look 52. Model: Irina Bondarenko.

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 an incredible dress with its matching stole lands somewhere in that time period between the end of Christian's reign, Yves Saint Laurent's time there, and Marc Bohan's appointment as the was head of the Dior atelier. The closest I have found was a 1958 piece by Yves and I have added that reference photo here for nothing else but to give you an idea of what it will look like on the body. Regardless of under whose directorship it falls, it is a beautiful and early example of the work being produced by Christian Dior in this time period. This is the Christian Dior - New York label and is considered to be demi-couture from this time period of Dior's history. These where made for the American market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated. This would be an incredible dress for any collector and it might even make an amazing dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is seriously beautiful

This is a dress that makes you draw in your breath the first time that you see it. The dress is made out of a very high end ivory silk that feels like it has some weight to it. It's not so heavy that is unwearable it just is that fantastic earlier silk that has a richness to it that is hard to replicate in modern fabrics. The dress is strapless and the bodice is simple and perfect. It is boned and shaped but that is all hidden inside. This hidden interior shaping allows it to perfectly mold to your shape. The waist is seamed and nips in. The dress falls to the floor from there and here is where it really gets incredible. The upper portion of the skirt is the same silk as the bodice so you get this sleek feel from the waist to just about the knee. Below that the silk has been sewn into horizontal ribbing. Each individual section of ribbing has interior padding inside of it so that they stand out for an incredible 3-D feel. This gives it this incredible texture. Besides being a beautiful design detail it also weights the fabric so that it holds the shape once the dress is on you. These are techniques that you often see in older couture pieces that you just don't see as often anymore in modern design. Inside, the dress is lined in silk and silk organza and it is almost completely finished by hand. There's also a wide inner waist stay that hooks to close and acts as an inner support so that the dress stays perfectly in place once on. The dress comes with its original matching stole. The stole is finished with the flat silk on one side and the same puffed ribbing technique on the other. These were worn to cover the shoulders and act as a evening wrap against cooler nights. It is wonderful to have this original extra piece still with this dress. The stole is also an exact match to the bottom of the skirt so in theory you could also add all or part of it the bottom if you needed more length. The colour is a touch richer feeling in person than how it photoed. Incredible in person. There are endless couture level details put into this one and the workmanship throughout is perfectly and meticulously done. It is an amazing example of the fine workmanship and attention to detail of this time period and it is a true piece of fashion history. Excellent condition

The dress is fully interlined in an ivory silk organza and then lined again with an ivory silk. Hand set hidden and exposed boning in the bodice. A wide waist stay hooks to close. Hand finished to demi-couture standard throughout. It closes with a hand set, back zipper. I see a tiny repair on the inner lining of the bodice above the center boning.

Bust: 17" flat across from side seam to side seam with a A-B cup
Inner waist: 12" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 10" from to waist
Skirt: 41" from top of bodice to hem
Stole: 14.5" wide x 60"

Modern Sizing Equivalent: XS-SML

Item# DD4160

Reference Photo: A model poses for the presentation of the first Yves Saint-Laurent's Dior collection, 04 February 1958, Avenue Montaigne in Paris.

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

A full shoulder version of this dress in black was shown as Look 78 for the 2015 Resort presentation. This was a piece that was produced in limited quantities for retail and I love this chic ivory version. In 2015 Valentino was headed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. In the Vogue review for this collection they said: "Monastic, artistocratic, modest, and even prim have been terms applied to Maria Grazia Chiuri and Pierpaolo Piccioli's Valentino almost since they took over in 2009." In this particular collection the pair definitely ventured off into colour and print. Most of the looks in the show followed that more exuberant feel but the black two shoulder caped dress was one that maintained their more simple approach. For retail production it was also made in this ivory version that had one one single shoulder. I'll absolutely love this dress. In addition to runway photo I have included a photo of Louise Camuto  in a red version that she wore to the Valentino Gala that year so you can see how it looks on the body.

The dress does not have a single unnecessary seam. It really shows how sometimes absolute minimalism is best. Even with its simplicity it would still be a dress that is red carpet worthy or 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 other event too. The dress is made from an ivory silk crepe that has a beautiful drape. This is what lets it move so beautifully over the body once it is on. It is constructed so that it drapes and skims over the body perfectly. The skirt falls to the floor in a sweeping expanse of fabric. When you stand still it looks more like a sleek column but when you move you realize how much fabric is in there as it billows out behind you. The bodice drapes softly over you at the front. One arm is left bare for a bit of an expanse of skin to show. I love how the neckline curves up on an angle to the other shoulder. The shoulder that is covered is down by having the back panel of fabric wrap around from the back to the front of the arm. It them falls to the floor to create this elegant and still dramatic caped feeling over your arm. It is very beautiful. Excellent condition

Fully lined in an soft ivory coloured silk and closes with a hidden set side zipper. Tagged a Valentino 46. A minor grubbiness to the hem and the occasional small pull in the fabric. I don't think it has ever been worn. These are more from being hung with the skirt dragging on the floor. Very minor and just mentioning for accuracy. It otherwise appears to have been worn very little if at all.

Bust: to 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: approx 60" from top of shoulder to hem

Modern Sizing Equivalent: MED-XL

Item# DD4162

Reference Photos: (1) Resort 2015 Valentino Collection, Look 78. Model: Maartje Verhoef.  /  (2) Louise Camuto at the Valentino Gala, December 2015.

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 the all white ready-to-wear a version of that famous 1992 Valentino dress in black and white. Linda Evangelista wore the original on the runway and just recently Zendaya wore its twin to a premiere. It is one of the most instantly recognizable Valentino dresses and I love this more unusual all white version. This is the kind of dress that you can dress up or down and it might even make an amazing dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. Absolutely gorgeous and you can't go wrong in a piece this well-known. It is gorgeous

Like its famous graphic black and white counterpart this dress is made of multiple long vertical panels pieced together. Each panel has a tiny seamed piping along its edge and slightly overlaps its neighbor. Where the panels meet there is the slight three dimensional feel. The bodice is strapless and I love how the top of each panel has been rounded off to create a pretty and feminine scalloped effect along the neckline. Inside the bodice there is a full built-in shaped corset that helps to give you support and to keep the dress in place. This inner piece closes with its own zipper and holds the dress on the body. From there it starts to widen out and skims over the waist and the hips. It then flares as it reaches the hem. When you're standing still the panels create this gorgeous soft ruffled feel. But when you move you get a kick of fabric around you that is fantastic. The dress highlights the body but in that very refined and classic Valentino kind of way. I love that there are so many reference photos out there of the other version of this dress. It really gives you an idea of what it's going to look like on the body but just in an all white. This is one of the most recognizable Valentino dresses that there is and it is an incredible find. Excellent condition

Unlined with a full inner built-in corset. The dress closes with a side zipper and the inner bodice closes with its own side zipper. Ribbon edge finishes at the hem. The fabric has a slight stretch to it. The dress is perhaps a tiny touch more ivory in person than how it photoed. There is the tiniest bit of darkening to the edges here and there that I am just mentioning for accuracy. The exterior layer of the dress has more room through the waist than the inner foundation piece. So if you needed more room in the waist you could add to the inner piece and probably get at least another inch if not more

Bust: 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4161

Reference Photos: (1-3) Spring 1992 Valentino Runway Collection. Model: Linda Evangelista.  /  (4-5) Zendaya in Vintage Valentino at the Euphoria Premiere, 2022.

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 think at this point in time everyone pretty much recognizes certain Celine pieces from the Phoebe Philo days and this fringed black dress is one of those iconic looks. This was Look 15 in the Fall 2017 show and was one of two looks in the show that had this fringing detail. The second was for look eight where she wrapped a fringed scarf under a long jacket and over pants. When the collection went to production they also made a dress with sleeves that had this same fringe at the bottom. This one I have today is the twin of the one that was shown on the runway. On the runway they styled it with an added ivory under skirt that peaked out below the fringe. Without that under piece you will see a flash of skin through the fringe as you walk. This show is interesting to research as it is the second show after the Pre-Fall one where Phoebe went completely silent. She once again offered no press quotes, gave no background on her inspiration and was not present at the press previews. It drove the press mad and reviews that you can find online for this time period make that quite clear... but her loyal fans loved here even more for it. Her work has spoken for itself ever since and still garners the same devotion from her fans if not more.

This is such a beautiful dress. You just slip the halter neck part over your head, zip it to close at the back and walk out the door. It is in a black fabric that has some slight weight to it so it holds the shape very well. The neckline is slightly asymmetrical where it slips over your head and at the back of the collar it's notched so that it sits comfortably on the back of your neck. It skimmed down and over your body widening out as it nears the bottom seam before the fringe. At the back it's zippers to the side to follow a seam set there. The back is scooped and open and it is also cut on a slight asymmetrical curve. These are the small little things that people love about her designs. She has these little details that are so subtle but they have this wit and quirkiness and work perfectly to give her pieces that signature Phoebe vibe. The dress falls loose and easy over the body and then is that killer fringed bottom. The fringe that you usually see on things is almost always a braided cord but for this dress it is actually done with an ultra a fine black thread. Hundreds of thousands of threads are attached all around the bottom and they are so fine and light that they give it is incredible movement. They are also amazingly soft in feel. There is a tactile sensation that you just don't get with the fringe out there that you usually see on pieces. And it has pockets. This is the genius of Phoebe where she manages to have something be so perfectly simple and easy and yet have so much drama at the same time. I love it. Excellent condition 

Unlined and slips on to wear with a hidden set zipper set offside at the back. Tagged a Celine 38. Pockets hidden along each hip. It appears to have been worn very little if at all.

Bust: 16" flat across with no true side seams
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: approx 62" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4159

Reference Photos: Fall 2017 Celine Runway, Look 15. Model: Birgit Kos.

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

In 2004 Mr. Valentino still headed the label and the work he was doing was fantastic. The twin of this dress in white walked the runway for Look 76. 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.

This is such a gorgeous dress. It's simplicity combined with that almost shocking open side and its elegant deep blue colour that is so good on so many skin tones, add up to an incredible piece. It is in its original supermodel long length and made of a beautiful 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. It is really a dress meant to be on an actual body and not a mere dress form. As good as it looks here it only really comes to life once on. 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 that fantastic cut out on the one side. The opening of the cut out is piped in the same fabric for a bordered and finished feel. Then more of the piping is used to created a laced web feel that sits inside the circle. This gives you a touch of coverage and makes the skin that shows through feel even sexier. Extending out from that opening are long ties that trail down to the floor. These give the illusion of be able to tighten and adjust the lace. It is absolutely gorgeous. Excellent condition.

Unlined and  closes with a side hidden set zipper. It appears to have been worn very little if at all. Tagged a modern Valentino 6. The fabric is bias cut so does have some movement.

Waist: 12-14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 67" from top of shoulder to hem
Slit: 31" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4164

Reference Photos/Video: (1-5) Spring 2004 Valentino, Look 76.  /  (6) Portia de Rossi in Valentino at The 61st Annual Golden Globe Awards, January 2004.

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