This jumpsuit was one of the standout pieces of the Fall 2009 Gucci collection. Lily Donaldson wore it on the runway with a blue fur chubby topping it for Look 8 of the show. They also showed a silver version at the end of the show which I included a photo of so that yuou can see how it looks like on the body. In Vogue's review of the show mentioned her pant looks with this skinny leg saying; 'Giannini's personal imprint, repeated many times throughout the show, is the "Frida" pantsuit, which she introduced as a boyish balancer for all the glam gowns in her first collection. Now it has acquired bigger shoulders and a relaxed-hip, skinny-leg trouser fit, and, given its many representations in fabric options running from silk to jacquard to silver sequin to metallic leopard spot, it must be vindicating itself as a house best seller. For which, well done.' The twin of this jumpsuit was featured in the ad campaign that season making it a fabulously well documented piece from this part of Gucci's history

The jumpsuit is made out of a slinky silk jersey that has incredible drape and movement. This is a piece that is meant to come to life once on the body. You have to look at the runway photos to get an idea of how this will drape over the body because my dress form does not come close to doing it justice. It is cut with a simple tank style bodice at the front suspended from two skinny straps that curve up and over your shoulders. It is meant to blouse over a bit at the waist for a slouchy easy feel. At the back it dips extremely low with a tie running across the back to hold it in place. This leaves the majority of your back bare and exposed and is very sexy. The jumpsuit skims over the hips from there and narrows down to the hem for a skinny fit leg. At each side of the top of the hip / low waist there are ties inside an enclosed seam that allow you to cinch it in and get it to sit how and where you want. This allows you to bring the waist up and have the top blouse over more or you can leave is super loose and have that seam sit on the hips for a full and easy feel through the waist. A strip of velvet runs across the top and then down each side for a slight nod to a men's tux. It is fantastic. It looks like it was worn very little if at all. Excellent condition 

Unlined and you step into it to wear. The back ties into place and the waist is adjustable as described above. Tagged a size 38 and seems generous since it is supposed to drape and tie into place around you. The fabric does has stretch so should fit a range of sizes. It is very hard to measure given its loose and easy cut.

Waist: to 16" flat across from side seam to side seam and can adjust with the ties
Hips: 18-21" flat across from side seam to side seam
Bodice: approx 20" from top of shoulder to dropped waist
Pants: 42" from waist to hem
Inseam: 33"
Rise: 13"

Modern Sizing Equivalent: XS-MED

Item# DD3930

Reference Photos/Video: (1-4) Fall 2009 Gucci Runway Collection. Look 8 worn by Lily Donaldson.  /  (5) Look 41 worn by Lily Donaldson.  /  (6-7) Fall 2009 Gucci Ad Campaign.

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 Oscar de la Renta dress is incredible. It dates to the late 1970s - early 1980s and it has the bit of a bohemian vibe to it that is heavenly. The color is a soft taupe that has a gold metallic thread worked through the silk. It has this tiny and intricate pattern that is printed onto the silk and done in rows. He used this to give the bodice and skirt some contrast by setting the bodice and sleeves with the rows on the vertical and the skirt on the horizontal. The silk is feather light in weight and just floats beautifully over the body once on. It will softly move with the slightest breeze or movement on your part. The dress comes with an inner separate dress made from a nude colour silk chiffon. The outer dress just slips on over that. The outer dress is cut with extreme volume and if you choose to wear it as is it has this fabulous easy feel. It comes with its original extra long sash that you can use to cinch in the waist and dramatically change the way the dress looks and sits on you. The sash is made of the same silk chiffon and has gold fringe at each end. You could probably also wear this belt as a neck or head piece and leave everything else loose and easy. The neckline has a small neat collar and it buttons to close. The bodice of the top is cut to be very loose and full. Each sleeve is also full and billows out above a ruffled cuff. The waist is dropped and then skirt falls to the floor under that. I took a photo of the dress without the sash as well so you can see how full it can look. Wearing it that way really plays on its bohemian caftan feel. And I love that because the inner slip is separate if you needed more or less room underneath you can just sub it out for a slip that fits you. It makes the dress extremely versatile size wise and it should work on a range of sizes keeping that in mind. It a just gorgeous and even better in person as you get more of a sense of the gold that runs through the fabric. It appears to have been worn very little if at all. Excellent condition

The inner silk chiffon dress acts as the lining. The outer dress slips on to wear and has buttons partway down the front. The inner dress closes with a back zipper. The cuffs have elastic above the ruffle. I have put a range of sizing based on the fact that you could sub out the inner slip for one lager or smaller if needed but make sure the shoulders will work.

Outer Dress
Sleeves: 26"
Shoulders: 14.5"
Bust: 20" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Seam at hips: 23" flat across from side seam to side seam
Dropped bodice: 24" from neck to low waist seam
Skirt: 34" from low waist to hem
Total Length: 58" from neck to hem

Inner slip
Bust: 18" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 52" from shoulder to front hem, 54" to back hem

Sash: 17" wide x 110" long including fringe

Modern Sizing Equivalent: XS-LRG

Item# DD3929

Reference Photo: Fall 1977 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.

The twin of this jumpsuit walked the runway for the Resort 2007 collection. It was Look 5 on the runway and I love that we found runway footage of it so that you can see how fabulous it moves and sits on the body. The show took place in the Grand Central Terminal in New York and stars like Mischa Barton, Naomi Watts, Julianne Moore, and Maria Bello all sat in the audience. Karl said of the show that season; 'Cruise is all about traveling, so the symbol of the station is a good idea... and I love the space, I always have. I think it is one of the most beautiful spaces in New York.' This is a superb example of Karl's view on how to do casual and still be very 'Chanel'. The twin of this jumpsuit is also showcased in the book 'Chanel: Catwalk'. I always love finding such well documented pieces and this one is just extra cool and chic to boot.

The jumpsuit is made out of a textured white cotton that somehow has been done so that it has the look of the classic Chanel boucle. It is cut to skim over the body and feel easy to wear. It is cut to be loose and easy through the waist with belt loops so that if you chose to cinch it in you could. On the runway the jumpsuit was shown with a Chanel belt. You could easily wear it with any belt you already own or wear it as it as sold and without a belt. Each leg is shaped with a bit of a flare at the hem that is just the perfect cut. Depending on how tall you are they will end at the ankle or below. Top set pockets are slung low on each side of the hips and then there are two more pockets at the back. Those are also top set and have those back ones are detailed with a silver studs that are engraved with 'Chanel Paris' spelled out on them. I love that built in waistband with its belt loops and crossed over X at the back. It is like a design detail all on its own and makes wearing a belt optional. The front laces up with three white cords. Each cord is capped and the Chanel logo is on their bases. Behind the laces there is a modesty panel that is attached at one side and buttons into place on the other. This covers the space between the laces so that you get a sexy feel but you are actually entirely covered. If you wanted more skin to show you could fold that panel back on one side or have it altered to make it removable and button into place on both sides. The interior of the front panel, around the neck and around the waist is a finished in a super soft silk that is embossed with more Chanel logos. It is gorgeous. It can be worn with flats for lunch or heels for night. Excellent condition

Partially lined through the top as described above and then the rest of the jumpsuit is unlined. It laces at the front and there is a hidden set zipper under that. Tagged a Chanel 40. It looks to have been worn very little if at all. 

Slightly inset shoulders: 14.5"
Bust: to 20 " flat across from side seam to side seam
Waist: to 16.5  " flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 59" from neck to hem of pants 
Inseam: 31" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3616

Reference Photos/Video: (1-2) 2007 Cruise Chanel Runway Collection, Look 5.  /  (3-4) From the book "Chanel: Catwalk" by Thames and Hudson.

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

John Galliano was moved from Givenchy to Christian Dior in October of 1996 and stayed there until he was dismissed in February of 2011. This dress is from the Spring 2006 collection and was a piece that would have been produced in limited quantities. It has a definite wedding feel to it and it would make an exceptional wedding dress or a dress for an event in an extended wedding celebration. The dress was never worn and still has its original little sealed miniature Dior bag attached with extra fabric inside. It is like getting something out of a time capsule and could not be closer to doing that then if you could go back and buy it off the rack new.

This is a stunning Dior dress and it is even better in person and on an actual body. As with many Galliano piece this dress is entirely cut on the bias and it is 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. The dress is made from a creamy ivory champagne coloured silk satin that has a texture worked into the fabric that helps it to catch the light and give it a slight shimmer feel. It  is very beautiful. The fabric and the way it is cut and draped allow it to hug the body but without being tight. It skims over you and definitely highlights every curve yet is very comfortable and easy to move in. The dress has a wide V plunging front and it has that same plunge effect at the back. There is a slightly off set ribbon of fabric that runs down the center and past the waist and all of the fabric is gathered into that in soft folds. This is what gives the dress its hourglass shape and it is incredible to see in person. The waist is cut on the bias and while there is a seam at the waist is it not super cinched in as it sits slightly low. If you wanted it to be very fitted it would be easy to alter it to fit you perfectly. At the base of that front vertical ribbon there is a flat double bow and underneath that he has added panels of fabric that give the dress this pretty volume on the one side. The panel opens up and expands out to be very full. At the back he has set another flat bow low at the center and this also expands out underneath with panels of fabric to give you a trained feel. The skirt has yards and yards of fabric in it and I love that the way that he has used those panels highlights the insane hourglass feel the dress gives you. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. Excellent condition

The dress is fully lined in a second layer of the same silk. It closes with a hidden set zipper at the back. It appears to have never been worn or worn very little as described above. Tagged a US10 FR42 IT46 but Dior always cut small. With the cut and extra fabric the inner skirt would give you I feel like this one could  possibly be altered up or down at least one size if not more.

Shoulders: no true seams
Bust: 15-18" flat across from side seam to side seam
Waist: 13-14.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 18" from top of bodice to slightly dropped waist seam
Skirt: 46" from waist to front hem, 52" to longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3926

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 and was eventually made available at other retailers. The line was high end and extremely well made and it was made to appeal to his non-couture clients who wanted to be able to purchase a piece of the Givenchy dream. This label continued until 1992 when it was retired and rebranded as the Givenchy Couture label.

This is actually a skirt and top set which is great because it makes it very versatile. When worn together you definitely get the feel and look of a dress but you can also break them up and wear them with other pieces of your wardrobe. The base is a gorgeous silk chiffon dyed to a stunning blue colour. Worked through the silk is a dense application of gold sequins that are strung together with a gold metallic thread that becomes a part of the design. These give the dress a subtle shimmer as they catch the light from every angle. The top is cut to be loose and blouse over you. It has a high collar that is finished with a different pattern of the gold thread and sequins to give it a bit of contrast. The sleeves are quite full and then narrow down as they reach the cuffs. The cuffs are finished with that same contrasting band as the collar. I took a photo of the top on its own so that you can see that it was finished in the proper couture method of leaving a panel of the silk chiffon with no embellishments on it below where the sequins end. This is so that you can tuck it into the skirt without ruining the sequins and also so that it lies flat under the skirt and stays in place. The skirt is made out of the same blue and gold sequin fabric and has that same contrasting border detailing placed at the hem and the waist. It falls to the floor and gently widens out as it nears the hem. Both the skirt and the top are gorgeous on their own and together they are magic. Excellent condition

Both pieces are fully lined in a fine blue silk chiffon and there is also a inner silk lining in the skirt. The top has a hook and eye at the back of the neck and hidden set zippers at each cuff. The skirt closes with a side painted metal zipper below the waist line and hook & eye on the waist band above that. Light padding in each shoulder. Hand finished. Marked a vintage 8

Top
Neck: 14" around
Sleeves: approx 21"
Shoulders: no true seam
Bust: to 19" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Bottom hem: 18.5" flat across from side seam to side seam
Length: 16" from neck to bottom of sequins, 21" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3923

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

This dress was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. This dress dates to the Fall 1972 collection and I am very pleased to have found a reference photo for a version of the dress in the same colour-way and also one of its twin in a different colour-way that was used for the Ad campaign that year. These photos let you see jusy how fabulous it looks like on too. I love it.

This Lanvin dress is gorgeous. I am in absolute love with it. The dress has a gorgeous bright colour and print combination. The wool challis fabric it is made of is light in weight and holds colour exceptionally well so the colors are still crisp, bright and true. I love when I find great examples of this label from this time period. The dress has sleeves to just past the elbow and a high scooped neckline. It zips down the back and I think its amazing how the pattern at the back and on all the other seams have been matched. The waist is cut with a loose and easy cut and I have added a pretty velvet ribbon that I will send with the dress to cinch it in a bit. You could also add a thin neat belt like you see in the reference photos and by changing the colour of the belt it would change what colour is picked up from the print. From the waist the skirt falls to the floor and it widens as it nears the hem. Just under the more fitted hips he added a series of wide cut knife pleats and they allow the skirt to have lots of swing and movement. The pattern that runs over the entire dress is spectacular and it is an instantly recognizable piece of his work.  Excellent condition with a note to review  below

Fully lined in a fine turquoise blue silk and closes with a back painted metal zipper. The ribbon at the waist is not original but will be included. Loose elastic at the cuffs. I see a small repair near the seam of the arm and a small nick out of the fabric near the edge of the neck. Please review the two shots after the label photo. Both are stable and it stood up to cleaning just fine. This was taken into consideration when pricing.

Sleeves: 16"
Shoulder: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3824

Reference Photos: (1) 1972 Lanvin.  /  (2) Lanvin Ad in Vogue Paris, September 1971.  /  (3) Lanvin Ad, 1971.

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

It is extremely rare to find the accessories that appeared on the runway from the Alexander McQueen shows. They were often not produced in significant numbers and were often only found at the flagship store in very limited quantities if they were even made available at all. This masterpiece is from the Fall 2004 show entitled 'Pantheon Ad Lecum' or 'Towards the Light'. The twin of this collar walked the runway topping a dress worn by Karen Elson and it was spectacular. In the book Alexander McQueen these feather capes are remarked up in particular as being a nod to the Native American culture. This is a remarkable piece of McQueen's history and I have never seen one for sale before and might never again.

The collar is glorious. It sits on the shoulders and comes up and around the neck in a graceful curve to frame the face. It is completely covered with rows of overlapping feathers done in rows that follow the curving cut of the collar. The feathers cover every square inch of the collar front to back. Worked into  and through the  feathers are hand cut mother of pearl shell discs along with large oval amber coloured glass beads. The shell discs have a raw feel to them and the glass beads catch the light beautifully. Smaller round amber glass beads are mixed in and all of the work has been done by hand. It is backed in an ivory silk satin and closes with a back zipper. It is a true treasure that is a once in a life time find. Excellent condition with a minor note below.

The collar zips to close at the back and is lined in a hand set ivory silk satin. All the work is done by hand. There may be the occasional bead missing but nothing that stands out. The feathers around the very top of the neck show a slight crushing that is impossible to avoid given the way they are set in place. It is otherwise as close to being fresh off the rack as you can get and a remarkable piece of fashion history.

The neck is 15.75" around and the width at its widest point is 21". The collar is 2.25" high and then it is 9" wide from the bottom neck seam to the edge.

Item# DD3919

Reference Photos/Video: (1-4) Fall 2004 Alexander McQueen Runway Collection. Look 34 worn by Karen Elson. (5) Text from the book Alexander McQueen edited by Claire Wilcox, Abrams

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. 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.' This dress fits perfectly into that aesthetic and I think it is amazing. It is not 100% perfect but it is still a stunning example of the couture work that the atelier as doing and I think its small flaws are forgivable.

The dress is a wonderful example of Pipart's vision for the house. It is made from a fine red silk net that has been covered with hand placed individual leafs or petals. These completely cover the underlying structure and are only attached at their tops so that they have a slight movement when you move. Each petal is embroidered so that they have a touch of structure and lie perfectly in place. The petals are made from a red silk organza so are very light. Under the top net dress there is a full inner silk dress. That inner dress has a simple bodice that is suspended from the shoulders by tiny straps. There is a slight built in peplum around the hips that adds some shape and volume to the upper part of the skirt. Under that is a full inner skirt that is finished with more of the leafs at the hem. The bodice is beautiful. It is scooped across the high neck and then the outer layer floats over the red silk inner dress. The sleeves are cut to be full and wide and they have a slight cap at the shoulders. The waist has a band of red silk and I added a red velvet ribbon there which will be included with the dress. The skirt falls over the inner peplum around the hip and then falls in a widening curve to the floor. It is stunning in person and on the body. Great condition with notes to review below.

Fully lined in red silk as described above and closes with a back hand set zipper. Elastic in the sleeves. Finished to Haute Couture standards. I took some photos of the inner hand done seams for you (the ones before the metal fastener and string shot). There is no label present but it has its couture fastener that this atelier used during this time period attached to an inner seam. There are some small repairs to some of the petals and some have small vertical breaks in them where they were stored folded. Please see the photos after the tag shot. Some slight bubbling to the silk over the band around the waist. There may be other small breaks that I missed. Strong and stable enough to wear and if this bothers you, you could probably steal from the inner hem to replace the damaged petals. If it was labeled and with no issues this would easily be triple the price or more. I included the exterior measurements ad well as the interior as it would be easy to adjust or add to the inner dress if needed

Sleeves: 15"
Shoulders: 14"
Inner bust: 16" flat across from side seam to side seam
Outer bust: 18" flat across from side seam to side seam
Inner waist: 12" flat across from side seam to side seam
Outer waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist, including a 3" band
Skirt: 38" from bottom seam of band at waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3917

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

There is a certain 'mod' silhouette that we tend to associated with Pierre Cardin but he was actually a designer that had a huge range. At times some of his other silhouettes get overlooked and they should not be. This wonderful Haute Couture example is from the estate of Baronessde Alain nee Mary Chauvin du Treuil and it was made for her during the period of 1968-1970. It is a beautiful and elegant piece that may not be as 'mod' in feel as some of Cardin's other pieces during this time period but that does show the breadth of his talent and the elegance that he was also capable of.

The dress is made from a handmade crocheted Guipure lace. This type of lace is characterized by crocheted motifs that are held together by large connecting stitches. The colour of the thread work changes as it travels from shoulder to hem. It begins as a pale pink tinged french lavender colour at the top and then gradually deepens to a deep rich purple at the bottom. The texture and weight of the pattern changes as does the openness of the lace. There is a lighter, more open feel at the top, and then like the colour, it gets gradually denser as it reached the bottom hem. The shape is kept very simple so that the lace and colour take center stage. It falls in a sleek column over the body with just a subtle nod to shape through the waist. Underneath, it is lined in a high end pink silk whose colour peeks out through the outer layer. I love the wide cut sleeves and how they are finished following the pattern of the lace. Each shoulder has a slight high cap to it that is lovely. It is a dress that may seem unremarkable on a hanger but it transforms into a very chic and elegant piece once on the body. Excellent condition

Fully lined in a pink silk and closes with a hand set back painted metal zipper. Hand set lining and the crochet work is entirely done by hand. It looks to have been worn very little if at all. 

Sleeves: 20"
Shoulders: approx 14.5" but no true seam
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD2903

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 Vogue review of the Fall 2006 show was extremely complimentary. This was the best collection that Frida did for Gucci while at the label and this dress was the star of the show. The review said 'Gold pantsuits, Ziggy eyes, ultraminis, and patchwork purple crocodile biker jackets: Yes, Frida Giannini is doing glam rock for fall. 'I was thinking of David Bowie and the way people played with their image to be something different every time they went out in the seventies," she said. "It's less romantic and more about energy and showing off.... some of her ultrashort metallic jersey dresses actually read as more sub-Versace (which is a reference many young designers are enthusiastic about now), though she also tempered things with maxi, printed, and sequined options for the slightly more modest nightclubber. Even at their least wild, though, these looks weren't designed to be seen during daylight hours'. To this day this is one of the most recognizable of all of her pieces. I have included numerous examples of the celebrities that wore this dress that season and I am sure there are more. It really is an extraordinary dress. 

The dress is in mint condition and was only worn one time. It comes to me from its original owner and was carefully stored so it is as close to getting it fresh off the rack as you can get. The dress has a silk base and then thousands of tiny matte and shiny gold sequins as well as tube beads have been applied to it to completely cover the dress. The sequin and bead work cover every inch of the dress with just little bits of the fabric underneath left to show to highlight the design. The way that it catches the light from every angle possible is incredible. It is very sexy and flattering which is probably why it was photoed so much that season. The front plunges down into a low V right to the band at the waist. The bodice is cut to skim over you and the sleeves are long. The skirt is short and fitted. I love the play on a cable knit sweater that the dress has. You can see this in the way that every second vertical band of sequins is done in a twisted rope pattern and how the hem, band at the waist, sleeves and cuffs are finished with bead work that gives it the feel of the ribbed edging on a sweater. The dress comes with its original matching tie belt that is also completely covered in sequins. These sold out instantly when they were dropped and were extremely expensive with only a limited amount of them produced. This is an iconic piece of Gucci's history. Excellent condition

Fully lined in a pale taupe silk and closes with a side set hidden zipper. Hidden set zippers at each cuff. Tagged a size 38. It appears to have been worn very little if at all. 

Sleeves: 25"
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Seam at top of band: 13.5" flat across from side seam to side seam
Seam at bottom of band: 12.5" flat across from side seam to side seam
Hips: to 17.5" flat across from side seam to side seam 
Bodice: 13" from neck to top of band
Band: 4"
Skirt: 18" from bottom of the band to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3910

Reference Photos/Videos: (1-3) Fall 2006 Gucci Runway. Look 14 worn by Caroline Trentini.  /  (3) Fall 2006 Gucci Ad Campaign by Craig McDean.  /  (3) Doutzen Kroes for TIME Style & Design Magazine, 2006. Photo by Lee Broomfield.  /  (4-5) Lindsay Lohan for Harper's Bazaar, July 2006.  /  (6-7) Nicole Scherzinger in Gucci while performing with the Pussycat Dolls at the American Music Awards, 2006.  /  (8) Tommy and Dee Hilfiger at the World Music Awards, 2006.  /  (9) Doutzen Kroes for Elle France, 2006.  /  (10) Alessandra Ambrosio at her birthday party in 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 dress is instantly recognizable as an Alexander McQueen piece. And it is an incredibly interesting piece when you fully delve into its history. This was a part of the McQueen wedding dress line for the Spring of 2012. By that date the label was under the direction of Sarah Burton. However this dress is a ivory lace version of the dress that Lee designed for the 2007 runway for Look 20. I have seen the twin of this dress for sale at more then double my price and mislabeled as being a 2007 original. But it is not. It was produced in 2012 as an updated dress made wedding appropriate and was based on the 2007 dress that I have included here. The 2007 collection was titled "Sarabrande" and the Alexander McQueen website stated this of that collection:The inspiration is Handelís Sarabande of the title is a majestic and elegant dance - the portraits of Goya, the turn of the century exotic and socialite Marchesa Luisa Casati and garden flowers. As always, there is a melancholic undertone: faded flowers are trapped in chiffon and lace, ruffled skirts constructed out of tiers of delicate petals and prints are botanical brightly coloured birds and blooms, scattering swallows and winding stems of leaves. Show pieces include a dress made entirely out of frozen flowers. Tailoring is this time more fluid than it has been and clothing indebted to horsemanship is worn with finely worked, oversized pirate shirts. McQueen's idealisation of the feminine form continues with an exaggerated hour-glass silhouette.' So the dress is an original Alexander McQueen design but one that was executed after his death. The connection to Lee makes it very interesting and the dress is exceptionally beautiful.

The dress is stunning and even though it is meant to be a wedding dress I think that his work transcends any box assigned to it. As stunning a piece it would make for a bride it would also be spectacular for the events surrounding a wedding weekend or as a gala / event piece. The dress is very fitted through the bodice and waist with a fully built in corset whose boning acts as a secondary design element. You can just see it peaking though the lace over the bust and bodice and the curves and complex pattern iff the boning makes for an interesting detail in itself. The breasts are formed and cupped and and the skirt falls to about the knee, depending on your height, at the front. The sleeves are to the elbow and made from a single layer of that stunning lace. It is set to sit off the shoulder and the runway version in black really gives you an idea of fit. On the runway I think they added a hip peplum or tulle under the back and sides to create a more bustle effect. On this one the train falls in a more graceful and soft feeling down the sides and then down the back to slightly train behind you. If you loved the look of the runway it would be easy to have something made to support the fabric underneath and recreate that look. It is an incredible dress and though it does look pretty on my dress form it is no where near as gorgeous as it will be on an actual body. Excellent condition with one minor note below. 

The bodice has a full complexly boned corset and cups and closes with a back hidden set zipper. The lace snaps into place over the top portion of the zipper and just above it. The skirt is fully lined in an ivory silk. This was never worn but there is a small yellowing spot on the back of the lace above the zipper that happened during storage. It is on the underside of the lace that snaps to close so once it is snapped into place the lace above it hides it completely. I have added three photos after the label shots to show this. The first is the mark on the lining, the second to show that it peaks out on the lace just slightly and the third shows it snapped close with the other side over it completely hiding the mark. The corset does have some stretch. Tagged a 42

Sleeves: 12.5"
Bust: approx 17.5" flat across from side seam to side seam with a B-C cup
Waist: 12-14" flat across from side seam to side seam
Seam at the bottom of the corset/top of the hips: 16-17.5"
Natural hips: open
Bodice: 19" from top of natural shoulder to bottom seam of the corset
Skirt: 38" from top of natural shoulder to front hem, 64" to the longest point of the back 

Modern Sizing Equivalent: SML-MED

Item# DD3907

Reference Photos/Video: (1-3) Spring 2007 Alexander McQueen Runway. Look 20 worn by Camila Finn.  /  (4) Cate Blanchett in Black Lace Alexander McQueen at the 2007 Golden Globe 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.

Giorgio Sant' Angelo was the winner of two Coty Awards and two Council of Fashion Designers of America honors and was known for his innovation and pioneering use of stretch fabrics. He has had an entire museum exhibit dedicated to his work and career and is firmly entrenched as one of the great designers. His work captured a moment in fashion history and his love of color and strong lines will forever be collectible. Pieces reside in museums worldwide including The Met where there is a dress from this same collection that uses the same ribbon decoration as this one has. On the notes for The Met's dress they state; 'Giorgio di Sant'Angelo was noted for his use of multiple inspirations. In this evening dress, he combines both Renaissance and gypsy or possibly Native American influences. The ribbon and braid appliqué are reminiscent of Seminole patchwork.' This is an incredible example of his work during this time period. 

This dress has an extra special layer of meaning because it was only worn once and it was for my clients wedding. She even sent me a photo which I have included here so that you can see exactly how beautiful the dress is once on the body. The dress is not 100% perfect but its flaws are forgivable given it rarity and beauty. The dress is made from a natural linen colour cotton crochet thread. The entire dress has been crocheted with an open weave. Its loose and easy cut makes it incredibly easy to wear. The dress has a top crocheted layer that lies over an inner stretch jersey lining. Both these layers are meant to simply skim over the body in a long straight cut sheath that widens out as it nears the hem. The body of the dress is suspended from the shoulders and falls in a tubular column to just past the hips. The skirt is set into that and is done in tiers that widen out to be very full by the time they reach the hem. Each tier is separated by metallic ribbons in a variety of bright colours. That pop of bright collar against the natural feeling thread is just spectacular. The sleeves are equally uncredible. Each widens out to the elbow and then the same metallic ribbon runs around them where they form big rounded drops to the cuff. I love the little flowers worked through the crochet work. The edges of the hem and on the sleeve are finished with a more lace like feeling scalloped edge for that little extra bit of detailing. It is an incredible dress. His work is so rare and this is just a wonderful example of it. Great condition with notes to review below. 

The dress is lined with an attached cream jersey dress as described above. It closes with a back zipper and each cuff snaps to close. There are light marks on the exterior crochet thread under each arm and two small spots at the back towards the side. They are not on the interior dress but just the outside layer. It was cleaned but not soaked aggressively so these might come out with a specialty cleaning. Without these marks this dress would be double in price. There is a minor repair under one arm along the seam. Please see the last three photos after the label shot. The jersey has some stretch. The measurements below are of the comfortable range while lying flat 

Sleeves: 25.5"
Bust: 15-19" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Hips: 19-23" flat across from side seam to side seam
Length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3906

Reference Photo: (1) From original owner.  /  (2) c. 1975 Giorgio di Sant'Angelo Evening Dress from The MET Collection Online.

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 this jacket was shown on the runway with a matching skirt for Look 32 as seen on the Fall 2002 Tom Ford for Yves Saint Laurent runway. The Vogue review of that collection stated in part: 'Tom Ford is very, very good at being wicked. The designer was in an adult-erotic frame of mind at Yves Saint Laurent, taking potential clichés such as black satin ribbon, taffeta, velvet, chantilly lace and fur and applying them in an offhand way to extravagant, body-emphasizing pieces that often looked as if they might fall off at the slightest pull of a bow. What, after all, could be more provocative than a woman wearing expensive clothes that look as if they were made to be undone by a lover? ... The show was full of amazingly detailed, sexily cut suits, fabulous coats and sweeping evening gowns delicately inserted with lace.' Ford's work for the Gucci and YSL label during this period has now reached cult-like status and this jacket is an incredible example of what he was doing to make it that way. 

This is a stunning jacket and it looks like it was never worn or worn very little. It is the twin of the one that walked the runway and is a classic piece that defines Tom Ford time at the label. It is made from a deep blue velvet and the construction is immaculate. The shoulders are slightly sloped but shaped with padding. The sleeves are incredible. They are cut on a curve with no seam at the elbow which is in the proper and traditional tailoring method. You will notice that they are also cut very long. Once on they are meant to be pushed up slightly on the arm like you see on the runway shots. The body of the jacket is cut as precisely. It skims over the bust and nips in at the waist and then flares back out over the top of the hips. There is a neat flap pocket on each hip and another pocket on the breast. All have their original tacking in place. The collar takes a play from a men's tuxedo and is finished in a blue matte silk satin. The last perfect detail is the buttons. Each is a French cuff style button with two velvet covered buttons attached together that slip through the button openings. It is stunning. Excellent condition. 

Fully lined in a blue silk with two button closures as described above. Lightly padded shoulders and the pockets have their original tacking in place. Tagged a FR38. It appears to have never been worn. The body of the jacket has a slightly generous cut but the sleeves are slim 

Sleeves: 30.5" and meant to push up when worn
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 24" from top of bodice to waist
Sleeve opening: 16" around and the upper sleeve is 13" around 

Modern Sizing Equivalent: XS-MED

Item# S969

Reference Photo: Yves Saint Laurent F/W 2002 Collection, Look 30. Model: Caroline Ribeiro.

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 jacket is extraordinary. We have dated it to the Fall 1959 Haute Couture collection based on the similarity in the buttons used on it to another Balenciaga suit that is held in The Metropolitan Museum's permanent archives. Cristobal Balenciaga was known for his fine tailoring and sculptural approach to design. Christian Dior himself declared Balenciaga as 'the Master of us all'. Balenciaga's impact on fashion cannot be underestimated. He passed away in 1968 so any time I acquire a piece that pre-dates his death I am especially thrilled to have it in the shop. 

This jacket is a little work of art. it is made out of a black wool that has an almost rough feeling texture to it on the exterior. The inside of the jacket is lined in a fine black silk that feels like heaven once on. It is cut with a nod to simplicity that hides exquisite and precise tailoring. Each sleeve ends above the wrist. They are cut on a slight curve with minimal seaming in the proper tailoring manner. The shoulders are slightly sloped for a feminine feel. The collar is notched and neat to frame the neck. It is cut with a slight nod to a box shape but with curving vertical seams that bring the waist in slightly. It is cropped to the top of the hip and I love the way the front is notched upwards where it closes at the front. This would give you just a tiny peek of what you are wearing under it. The last perfect detail are the two elaborate buttons that sit at the front. Each is quite large and are covered in a jet black beads. The beads are set on their ends and have slight movement when you move. It is like wearing two pieces of fine jewelry. It is exquisite. Excellent condition. 

Fully lined an a fine black silk and buttons to close at the front. All the buttons holes are properly tailored to couture standards. Made to Haute Couture standards with a tremendous amount of detail put into the construction of it. It looks to have been worn very little if at all other then the slight wear on the actual tag. It has its proper haute couture numbered tape under the tag. 

Sleeves: 17.5"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Bottom hem: 18.5" flat across from side seam to side seam
Length: 19" from top of neck to hem

Modern Sizing Equivalent: SML-MED

Item# S971

Reference Photo: c.1959-60 Balenciaga Ensemble, MET Collection Online.

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 exceptional example of Valentino's Haute Couture work that he was doing at the cusp of the 1970s. It is an extension of the collection that he showed for the 1969 with it's ivory colour and chic feel. Finding pieces from this time period in such wonderful condition is a rarity and I am very pleased to have this beautiful coat in the shop. I am also pleased to have found a reference photo from that season so that you have an idea of just how elegant this coat is once on the body. It is an extraordinary and historically important piece of Valentino's couture work and it is utterly gorgeous to boot.

The coat manages to elegantly combine a seemingly simple feel with the precise seams and masterfully tailored precision cut that it is finished with. It is constructed with long vertical seams that create the curves of the coat. The coat is more fitted through the upper bodice and then skims over the waist and flares out just very slightly as it nears the hem. The collar is neat with a beautiful notched front and rounded curves that sit high up on the neck. The fabric is a creamy ivory wool and this fabric choice allowed Valentino to be able to sculpt the exact shape that he desired. Mother of Pearl feeling buttons adorned with a gold brass rims run down the front in a double row for a slight military or pea coat feel. Circling all the way around you above and below the waist line is a series of precisely done pin tucks that add detailing to the coat and also emphasis the waist while still allowing it to simply skim over the body. What is even more extraordinary is that the same pin-tuck detailing has been done to the lining as well. This is the kind of detail that you would only ever see in couture where no detail was left undone. No shortcuts were taken in the construction of this coat and it is a stand out piece in every possible way. Cream and ivory colours is never the easiest to photo and I can assure you that it is even better in person. Excellent condition with a couple of minor notes below.

Fully lined in a hand set ivory silk taffeta. Proper finished buttonholes. The coat closes with buttons at the front and an inner button. Finished to Haute Couture standards and entirely done by hand. Pockets on each hip. This is a medium weight coat. I see a small and very faint mark on the back of one elbow. A slight bit of rust on one button. Please see the shots after the label shot. It looks like some of the inner seams have been reinforced. Any colour change in the photos is lighting. It is a slightly more creamy colour in person and better then how it photoed. 

Sleeves: 22"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 53" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3901

Reference Photo: Spring 1970 Valentino.

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 loved Clare Waight Keller's time at Givenchy and am very pleased to have this piece that is very well documented. The collection was inspired by Japan and while many of the pieces in the collection were easily recognizable as being under that influence she also mixed in some very strong powerful pieces like this dress. Vogue stated for their show notes; 'Waight Keller is often strongest when she is most nuanced and she has a consistent track record of keeping her designs wearable". Claire was also quoted as saying “There’s a powerful woman in there that I really love; she’s a very strong character who loves a strong shape—something that gives a real sense of fashion.”. Indeed this is a dress for a powerful woman. It was a key piece of the collection and was a part of the ad campaign that season. A version that was hot off of the runway was also worn by Rooney Mara. This dress is more to the longer version that Rooney wore. 

I love this dress. It has strong clean lines and yet with the skin left showing with the open cut outs at the side and the play on transparency with the lace it also manages to have a soft and sexy feel. The sleeves are long and I love how one is opaque and one is made from lace so that you can see the skin through it. The shoulders are shaped and squared off. The bodice has built in lace triangles backed in a nude chiffon and they are inset into the dress at the front and then on the opposite side at the back. It skims over the bust and nips in at the waist. One side has an open cut out so that you get that unexpected flash of bare skin there. Under that the skirt falls in a bias cut. One side is gathered along a curved seam that helps shape the hips and then there is a panel of lace worked into the skirt under that. I love how the lace falls slightly lower then the rest of the skirt's hem. It softens the line and also gives it this wonderful movement when you move. The dress has never been worn and still has its original hang tag attached. It is wonderful. Excellent condition 

Lined in a black silk through the opaque parts and a nude silk chiffon behind the lace on the bodice. It closes with a back hidden set zipper. Light padding in the shoulders. Original hang tag attached. Tagged a modern 38 . The original retail on this was over $4kUSD

Sleeves: 24"
Shoulders: 15"
Bust: 16.4" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 49,5" from neck to shortest part of the hem, 54" to the longest

Modern Sizing Equivalent: XS-SML

Item# DD3890

Reference Photos/Video: (1) Resort 2019 Givenchy Collection Image.  /  (2-3) Resort 2019 Givenchy Ad Campaign.  /  (4-6) Rooney Mara at the premiere of "Don't Worry, He Wont Get Far On Foot", July 2018.  /  (7) 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.

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

This dress is gorgeous. It is made from a bight pink light and fine silk taffeta that allows it to have the fullness you see without it being weighty once on the body. The dress is meant to feel like petals of a flower as it wraps around the body. The bust is strapless and the bodice is fitted. Inside is one of his signature wired cup bras built into the dress for support. Silk petals are layered over and around it and they are set to go upwards towards the shoulders. The neckline curves over the breast and dips in the centre. The petals are lightly tacked into place to they are allowed some movement. The silk is very light and fine so that when you move the lightly move with you. The waist is defined by a gathered band of the same silk and nipsin for shape. Under that the skirt flares out and lie the bodice is covered in petal shaped curves of silk. These are layered down wards so that each layer floats over the other to the hem. Underneath is an inner skirt that has stiffened netting to help hold the shape and volume that you see. If you wanted to make the skirt very full you could easily add a light - medium weight crinoline under it. The layers again have a subtle movement when you move that is wonderful. It is a gorgeous dress. I love it. Excellent condition 

Fully lined in a pink silk with a light boned through the bodice and built in bra as described above. Inner skirting as described above. It closes with a back zipper and then the petals close and are held inlace with a series of hidden snaps. I see one tiny repair on the back lower inner skirt near the hem that is not visible as it lies under the petals. Otherwise looks to have been worn very little if at all. 

Bust: 15.5" flat across from side seam to side seam with an A-B cup
Seam under the bust: 13"
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist and the petals extend about 2" above the top of the bodice. This includes a3" band between the cups and the skirt 
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3893

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 lovely dress by Karl Lagerfeld for Chanel and it twin walked the runway for the Fall 1997 season. Kristen McMenamy looked gorgeous in it as she walked the catwalk in it and I am very pleased that we have found runway footage for you to reference so that you can see how lovely the dress moves once it is on an actual body. We also found a backstage shot that has Karl in the photo with Kristen wearing the twin of this one. That makes it that much more significant. It is also a Chanel size 44 which is always a pleasure to find when so many vintage Chanel pieces are so very, very tiny. 

The dress is so pretty and such a statement piece. The way that he has layered the fabric through the body of the dress is so unusual. Under the top layer of black silk chiffon there is a watercolour print that is done in a wide variety of colours. This is muted and blurred by the black chiffon on top of it. Depending on how strong the light is that hits you, you see less or more of that underlying colour. It is cut to skim over you with a seam under the bust and then another under the hips. Under that last seam near the bottom there is a skirt made from two layers of a black silk chiffon. This lets you get a glimpse of leg underneath without being fully transparent and also create a beautiful movement when you move. The final detail is that pretty beading that you see. It covers the straps that curve up and sound each shoulder and then wraps around the top of the bodice. More beadwork defines the seam under the bust and also covers the band that sits above the lower skirting. It is so pretty and unusual and a great and well documented example of Karls' earlier work for Chanel. Excellent condition 

Fully lined in a black silk chiffon and closes with a back hidden set zipper. Tagged a vintage Chanel 44 

Bust: 18" flat across from side seam to side seam
Seam under the bust: 17" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 57" from top of shoulder to front hem, 60" to the back hem

Modern Sizing Equivalent: SML- MED 

Item# DD3895

Reference Photos/Video: Fall/Winter 1997 Chanel Runway. Model: Kristen McMenamy.

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

Christian LaCroix launched his Haute Couture house in 1987 and immediately his string aesthetic took the world by storm. A ready-to-wear line soon followed, along with perfumes and menswear. His collections are always exotic, lavish affairs and his designs seemed to span the decades with their eccentric glamour pulled from multiple sources of inspiration. This dress is from the Fall 1997 collection. On the runway it was shown as with a modified glove/detached sleeve. This version has a full attached sleeve and is gorgeous.

The dress is made of two pieces. There is a slinky and sexy underdress that is made from an almost acid yellow that has a touch of a lime colour to it. Attached into this is a black lace bra. The straps of the bra are what suspends this underdress from your shoulders and then the top of the bra is set so that it peaks out from the silk slip once you have it on. This silk underdress is cut to be loose and easy and just skims over you widening out gradually as it nears the hem. Over this you then slip the black lace overlay. The effect of that amazing colour peeking out through the lace is fabulous. The overlay is made from a fine black lace done in two different patterns. Across the top of the bodice, the sleeves and running down the side and around the hem is a more dense floral patterned lace. Then the body of the dress is a more netted lace with little sprigs of flowers scattered over its surface. The neckline is cut straight across and the sleeves are long. It is cut to skin over the inner dress and then it widens out as it nears the hem. On one side the lace extends out to a panel so that you get a denser black effect on that side with the extra fabric. This also gives the dress extra movement when you move. It is very beautiful and I love that with it being two pieces you can also used them separately. The inner dress could be worn on its own for a dramatic shot of colour and the outer overdress could easily be worn over a variety of things underneath to give it a whole new look. The pieces weigh next to nothing and it looks to have been worn very little if at all. Excellent condition 

The inner dress acts as the lining to the lace overlay. There is an attached bra that hooks to close and then the underdress snaps to close at one side. The lace layer slips over that and buttons to close at the back. There are snaps at each wrist to bring the wrist in a bit. The bra could easily be switched out for one that fits you perfectly as it is just tacked in place. I have put the measurements of the actual dress instead of the bra with this in mind. The dress is generous around the top so you could put a smaller or larger bra if needed. 

Underdress
Bust: 17" 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: 52" from top of bodice to hem

Overlay
Sleeves: 24"
Shoulders: no defined seams
Bust: 18" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: open
Length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3896

Reference Photos: Fall/Winter 1997 Christian Lacroix 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.

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 gar as quantities.  This one is a very unusual Ossie twist on one of his classic designs and that makes it extra special. His designs transform once on the body and no matter how fabulous the dress looks like on the shots it is even better on an actual body.

The design of this dress reminds me of his classic 'graduation gown' in how it is loose and easy through the body but this version has a more filled in front then the plunging graduation dress design. It has that incredible flow and drape that he was known for and it is so easy to wear. His signature sexuality that he worked into his pieces is displayed in those little keyholes on either side of the front. The bodice is detailed with a deep squared off panel of ruched gathering. Then at each corner where it meets the piping that go around the neckline it is left slit open. The neckline piping extends out into ties and you tie them into place so that there is a little bare keyhole of skin showing. I think if you are not broad through the shoulders you might even be able to wear it was a off-shoulder piece. I have added a pretty grosgrain ribbon that you can wrap around you and tie to give the dress some the shape. You can also easily wear it loose and open so it has a more caftan feel through the body. I photoed it both ways for you to see. The skirt flows from the front gathers at the neckline and at the back it begins right under the shoulder yoking. It cascades to the ground and is balanced by huge sleeves that puff up above each cinched wrist. The sleeves are very long with tons of volume and I love the ruffle finish at their ends. This dress is made out of his signature black moss crepe and has a beautiful flow to it. I own similar versions of this dress myself and they will always be in my own personal collection. I can tell you from personal experience that it is a dress that you will wear over and over. It easily goes from day to night and is a dream to wear. Excellent condition.

Unlined and slips over the head to wear. The grosgrain ribbon pictured is not original to the dress but will be included. Each cuff has elastic at the wrist. The lose and open flowing silhouette will suit a variety of figures and sizes. Tagged a vintage UK 10 and has a very generous cut

Sleeves: 28" but will come up a bit when on
Shoulders: no defined seam
Bust: to 20" flat across from side seam to side seam
Waist: open and can be defined by the attached tie
Hips: open
Length: 60" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3883

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 my favourite dress that I have ever had in the shop from this time period. It photoed great and yet it is still somehow 10x better in person. It is meant to be on an actual body and my dress form is not doing it the true justice it deserves. The dress has a label that says it is by Ramon de la Vergne Paris and in 1946 he was registered as being one of the 106 Couture Houses of those days. It is very well made and just one the prettiest pieces I have seen from this time period. 

It is now so rare and so hard to find these in such amazing condition as this one is in. The dress is also surprisingly long for a piece from this time period. It has been beautifully finished and it obviously is a high end piece. The fabric is an early silk net that is just wonderful. It has been dyed to the deep grey blue tone and then bright joyful flowers are screened across the entire surface. The neckline is scooped and cut wide across the shoulders. The fabric is gathered all along the neckline and I think that if you wanted this to be an off-shoulder dress it would be easy to switch out to an elastic through the seam at the neck to allow it to do that. The bodice is cut in that loose and easy way of the time period and skims over the bust. The waist is seamed but cut to be more on the full and loose side. I added a pretty velvet bow that will be included with the dress but it could be worn without it as well for an easier feel. The skirt falls to the floor under that and is made from several yards of the netting. I love the gathered detail that runs around the skirt just below the knees and then the wide ruffle that finishes the hem. When you stand still it falls in a smooth column but when you move you see just how much volume is there. This pops over an inner blue silk satin underdress and you could get many different looks by switching this out for another colour or even being very daring and wearing g the outer net dress over nude foundation garments. The big pouf sleeves are the perfect finish to this spectacular dress and I love that even the inner dress has the same full round sleeves that the netted layer does. It is truly incredible and if you are a fan of these pieces from the late twenties and into the thirties you know just how exceptional and rare it is. Excellent condition with a note below about the underdress 

Both piece are unlined and both close at the back with a series of snaps and hooks. The outer net dress is in wonderful condition and appears to have been worn very little. The inner dress has a spot on the neckline where it looks like it was stitched in two spots. The inner dress shows scuffing and I see a couple of small marks on it. I have added the arm opening measurements and would like to note that you could probably remove the band on the outer dress arm and make it elastic. It is quite gathered so you should be able to get up to 16” as well I think. For a garment almost 100 years old it is truly amazing.

Dress
Shoulders: approx 15"
Bust: to 20" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 46" from waist to hem
Arm opening: 11” around 

Inner dress
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 14" from neck to top seam of waist
Skirt: 42" from top seam of waist and including the 2" band to hem
Arm opening: 16” around 

Modern Sizing Equivalent: SML-MED

Item# DD3879

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 extraordinary dress from an extraordinary show. The show was themed based on a heady combination of Russian and Balkan Fantasy. It was opulent and excessive and thoroughly Galliano in nature. John had done extensive research in the archives of the Benaki Museum and had delved into the eighteenth and nineteenth century folk dress and textile collection from the Balkan/Ottoman empire. The models walked in a laser light filled tunnel that created the illusion of snow falling on the models. The pieces were made in the Paris atelier and the beadwork was done by Lesage. The amount of detailing was to Haute Couture standards, an extraordinary fact given that this was a RTW runway show. The show closed with seven "Ukranian Ice Princeses" wearing transparent dresses that trailed behind the and with head wrapping and high fantasy makeup done by Pat McGrath. This is one of those dresses and is perhaps the most photoed and recognizable of the seven. 

My client is the original owner and bought this in Paris. It is the twin of the dress on the runway except it is lined and I feel that they made certain elements on it a touch more substantial so that it would hold up to being worn. On the ruway the dresses where just the single layer of tulle and very delicate and fragile. and not under the bright runway lights so the colour feels deeper then the runways shots. It is so beautiful it almost makes you cry to look at it. It is made out of a fine netting that is cut on the bias and is in its original supermodel length. The colour is a kind of dusky pale grey with a touch of pale blue to it. It is cut to skim over the bust with tulle rolled and gathered across the scooped front. The neckline is cut wide and sits almost shoulder to shoulder. I love how the waist is cut on to curve up in that beautiful graceful line. The sleeves are a work of art on their own. Each is incredibly full and puts out over the buttons cuffs. They are cut long so once on they fall in a decadent drop that you can see in some of the runway photos. The dress skims over the hips and is cut to follow your curves. It flares out as it nears the bottom and is incredibly long. At the back it trails out behind you. At the back is is cut into a low V that plunges right to the was it. The transparency of the tulle allows you to see every perfectly cut seam and dart and they become a design element in themselves. The final perfect finish is of course the beadwork. A dense application of tiny silver tube beads is done all the way down the front of the skirt and also all the way down the length of the back. I have taken several close ups so that you can see how beautifully the work has been done. This is a once in a life time find. It would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration and of course it would work for any red carpet event or gala. It was never worn and still looks new. Excellent condition 

Lined through the body on a bias cut every silk. It closes with as tries of net covered buttons and loops down the side of the dress. Each cuff buttons with 6 net covered buttons. Tagged a FR42. It is cut on the bias so the comfortable range of measurements while lying flat is below. The length will come up a touch once on an actual body 

Sleeves:28 "
Slightly inset shoulders: "
Bust: to 19" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 16-19" flat across from side seam to side seam
Length: 69" from top of the shoulder to the front hem, 79" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3881

Reference Photos/Video: (1-9) Fall 2009 John Galliano Runway. Look 26 worn by Magdalena Frackowiak.  /  (10) From the book "Galliano: Spectacular Fashion" by Kerry Taylor.  /  (11) From the book "John Galliano: Unseen" by Robert Fairer.

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

Richard Tyler was the designer to wear in the 1990s and early 2000s. He won the Council of Fashion Designers of America New Talent award in 1993. In 1994 and 1995 he won the Council's Womenswear Designer of the Year award. Julia Roberts, Janet Jackson, and Sigourney Weaver were just a few of the stars who loved his work and his dresses made regular appearances on the red carpet. He was known for his impeccable tailoring and finishes and at the time employed some of the best tailor and seamstresses in the business. 

This dress is fabulous and I love having its full provenance to share with you. It made its debut on the Fall 2004 runway. That version did not have the bead work across the back. Then Marcia Cross was nominated for Best Performance in a Television Series, Musical or Comedy, for her role as Bree Van Kamp in Desperate Housewives. The series itself was also nominated for Best Television Series, Musical or Comedy, which they won. She had Richard custom make this dress for her and it was fitted with more inner structure and had the bead work added across the back. The dress was later auctioned off in a charity auction which is where my client obtained it. 

The dress is made from a printed velvet in a deep chocolate and is completely cut on the bias. The flowers are a muted copper gold tone and they catch the light beautifully as you move. It is incredibly soft and drapes like a dream. The front plunges low to just under the bust. Each cup softly drapes over the inner structure and then curves up and over the shoulders. It is set wide across so you see the collar bones and it creates a lovely line. Under the waist the velvet is gathered and that band of gathering is set on a curve that comes out from the waist and curves up to meet the plunge. The dress then skims over the waist under that and then flares out and widens as it nears the hem. The back is caught up just below the neck with a button and then it drapes over the back to the waist leaving a bare expanse of skin showing in the opening between. There is a beaded panel that goes across the back that holds everything place and adds a pretty detailing. This dips right to the waist and then the skirt falls to the floor and extends well past to create the dramatic trained effect that you see. My client did not end up ever wearing it so it only would have been worn the one time on the red carpet and for the charity auction. It is amazing and a wonderful piece of award show history. Excellent condition 

Fllu lined in a bias cut silk and has a built in inner bodice for support. The dress has no tags as it was custom made for Marcia. It closes with a hidden set side zipper and the inner bra hooks to close attaching to the beaded strap across the back. You could switch out the inner bra for a larger one if needed

Bust: the strap of the inner bra will go from 28" to 31" and the cups are about an A-B I think. Without the bra the bust is approx x 18'5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 90" to the longest point of the back 

Modern Sizing Equivalent: SML-MED

Item# DD3877

Reference Photos/Video: (1-3) Fall 2004 Richard Tyler Runway Collection.  /  (4) A model wearing Richard Tyler walks the runway at the Fashion Forward Fundraiser in LA, June 2004.  /  (5-9) Marcia Cross, in Richard Tyler, at the Golden Globe Awards, 2005.

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

The twin of this dress was shown on the Spring runway in 2003 for Look 59 which was the second to last closing look of the show. In Vogue's review of the collection journalist Janet Oxxard said in part; 'Front and center at life's rich pageant—that's where Oscar de la Renta wants to be. Leaving the monochrome color schemes and workaday fabrics to others, this is a designer who deals in luxury, elegance and—always—vibrant femininity.' This is one of the showstoppers of the runway show and is beautiful. A really wonderful example of his work

This Oscar de la Renta dress is stunning. It is red carpet worthy and would even make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is in fabulous condition. The dress is made from yards and yards of a white silk netting that has a black floral and leaf design embroidered through the fabric. The contrast between the stark white and the black is fabulous. The flowers are set between panels of embroidery that define and section the dress off. These run around the top of the bodice, circle the waist and then run down the skirt vertically. Two more bands circle the hem and all of them have the flowers embroidered and scattered between the more structured lines. It gives the dress this feeling of high decadence that is very beautiful. The flowers become a design element in themselves. The netting is just heavy enough to hold the shape and structure of the dress but even with all of that fabric it is not so heavy that it is uncomfortable to wear. It has a full built in boned corset inside the bodice so you don't have to worry about additional underpinnings. There are also built in underskirts. I did not add any additional crinolines to the dress for these photos. It has enough built in skirt that it falls on its own perfectly. The bust is strapless and fitted across the bodice. It is cut to follow your curves and there are cups inside to lift the breasts. It tightly hugs the bodice and then nips in at the waist. The skirt flows directly out from the waist and is cut to have volume all the way around you. Every angle is drama and gorgeousness. It is cut slightly longer at the back so that it flows out behind you just a touch. Inside there are six full layers of tulle with a more structured silk and stiffened net skirt in between the tulle layers. This gives the skirting the volume you see and keeps it full. I love the bareness of the shoulders the strapless silhouette gives you. It is the perfect balance to that full on princess skirt. It is a very stunning gown and is a beautiful example of Oscar's work. Excellent condition with a minor note below

There is a full built in corset that closes with its own zipper and then the dress closes over that with a hidden set zipper. Multiple layers of built in tulle and skirting as described above. One side of the net exterior layer of the skirt is a bit shorter then the rest. I see no evidence if it being taken up so if it was it was from the waist and very well done. There is so much fabric in the skirt and it is so long anyway it does really impact when on and it could be taken up all the way around from the waist if you wanted since the longer parts fall well past the inner hem anyway. It is reduced in price regardless. A few small breaks on the netting near the hem here and there. Tagged an ODLR 6 but seems to be cut small

Bust: 15.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 51" from waist to front hem, 54" to back hem. The part that is shorter on one side is 47"

Modern Sizing Equivalent: XXS-XS

Item# DD3874

Reference Photos/Video: Spring 2003 Oscar de la Renta Runway, Look 59. Model: Erin Wasson.

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 had this coat in the shop many years ago and it has managed to circle its way back to me. I am so pleased to offer it up once more as it is an extraordinary coat. Every piece of Haute Couture is special but when I can also document a coat with an editorial reference it makes it even more so. The coat dates to the Fall 1959 collection and a similar version in red appeared in the December issue of L'Officiel. A similar version forms hat same collection was owned by both Audrey Hepburn and Jackie Onassis. It becomes even more wearable and timeless done in this stark black  and it is beautifully tailored. The double row of buttons at the front and curving cut makes it feel as chic and wearable now as it was when first made. It is entirely finished by hand and you can clearly see that hand work in the setting of the lining into the dress. It is so chic and a very important piece.

The coat has a deceptively simple cut that hides the precise seams and masterfully tailored cut. It is constructed with curving vertical seams that create the curves of the coat. It is more fitted through the upper bodice and then skims over the waist and flares out slightly as it nears the hem. Silk lined pockets are hidden along the outer side seams and the collar is neat with a notched front. The fabric is a black wool with a slight texture to it and this fabric choice allowed Givenchy to be able to sculpt the exact shape that he desired. Black buttons adorn the front in a double row for a slight military or pea coat feel. I love the notched collar and the sculptural effect the coat has once on. No shortcut was taken in the construction and it is a stand out piece in every possible way. Black is never the easiest to photo and it is even better in person. Excellent condition.

Fully lined in a hand set black silk taffeta. Proper finished buttonholes. The coat closes with buttons at the front and inner silk covered snaps. Finished to Haute Couture standards and entirely done by hand. The Haute Couture numbered tape label is present under the main label and is numbered #25, followed by an unidentifiable number, followed by 40. This is a medium to heavy weight coat 

Sleeves: 22.5"
Shoulders: 16"
Bust: 18.5" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 42.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C600

Reference Photos: (1) L'Officiel de la mode, December 1959.  /  (2-3) Jackie Kennedy in Givenchy. Following quote from the JFK Library: "This coat was worn by Jacqueline Kennedy during a press conference announcing John F. Kennedy's candidacy for the presidency at the U.S. Capitol in Washington, DC on January 2, 1960. Jacqueline Kennedy also wore the coat during JFK's presidential campaign. Jacqueline Kennedy dubbed this coat the "good luck coat".  /  (4-6) Audrey Hepburn in Givenchy.  /  (7-8) Shrimpton Couture founder Cherie photographed by Erin Leydon.

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

Jacques Fath showed his first collection of just twenty garments in the spring of 1937. It was well received and he steadily built a strong clientele to become of of the busiest ateliers in Paris. He eventually expanded into the American market through the manufacturer Joseph Halpert. In 1948, Fath signed an agreement to produce two ready-to-wear collections a year with Halpert. Jacque did all the designs and then Halpert produced them in America. This was a clever way to avoid the high taxation on fashion that customs had implemented during this time period. This dress is from that early label and it has some extra historical significance since this agreement was one of the first of its kind between a couturier and a RTW company. Fath is considered to be part of the 'big three' post-war Parisian designers, along with Dior and Balmain. The Fath label was shuttered in 1957 after Fath's death three years earlier. One of his signature looks was a fitted hourglass silhouette and this suit has that in spades. It is gorgeous and a beautiful example of his work during this time period. 

This beautiful Jacques Fath suit dates somewhere between 1948 and 1954, the year that the Halpert company closed its doors and ceased producing. And if I had to guess I would put it more towards the earlier part of those dates as you can still clearly see the 1940s influence it has in its cut and line. It is made out of a deep navy blue silk that is so dark that it looks black in some lights. Many Fath devotees will tell you say that it was his designs that influenced Dior's silhouettes and you can see  that in the lines of this piece. It has that perfect cut of this time period that we do so often think of as being associated with Dior. The skirt is beautifully cut into a long lean pencil. The skirt is its original length which is almost miraculous after all these decades have passed and skirt lengths have gone up and down so much. The band at the waist flips inwards when you put it on so that there is no break to the eye at the top of the skirt and then it falls to just past the knees, coming in slightly as it nears the hem. At the back is a buttoned vent. Even though this is technically ready-to-wear it was very well done high end RTW and you can see that on how each button at the vent not only works but has a proper finished button hole to close. The jacket is cut loose and easy through the upper body as was the style during this time period and then the waist is nipped in. He loved adding button details and you can see that in the off-set to the side row of buttons that close the jacket. Their placement becomes an integral part of the design and adds so much detailing. The collar is round and neat. It follows the neckline all the way down to the first button. Each sleeve is slightly cropped and ends in a notched flare. I love this unexpected flare that adds to all the other stunning aspects of the suit. The silk keeps the suit light and easy to wear with enough structure to hold the shape. It is a piece that could easily go from day to evening with a change of shoes and accessories. It looks to have been worn very little if at all. Excellent condition 

Unlined with ribbon fished edges in the skirt. Beautifully finished throughout. The skirt zips with a painted metal zipper and has hook and eye on the waist band that flips inwards to wear. There are snaps inside the sleeves of the jacket and you may have been able to snap an inner cuff into at some point. The jacket buttons to close. 

Jacket
Sleeves: 19"
Shoulders: 14.5"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24" from neck to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 30" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3869

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

The twin of this coat was photoed with Yves Saint Laurent himself, backstage during the Fall runway show by Roxanne Lowit. We also found runway footage of the coat as it walked the catwalk that season. It is an exceptional rare and wonderful piece by Yves Saint Laurent. These gold brocade pieces are what defined that season and I am very pleased to have found this example. It is one of the only gold one I have ever come across and it is in mint condition. It is magical and is a definitive piece that you instantly identify as a YSL piece. 

The coat is made from a gold wool and metallic thread brocade that has an embroidered gold design woven through the fabric. This is done so that it has a slightly raised feel to it and gives the coat the beautiful texture that it has. The two parts of the design also allow for a play on the tones of gold used and the raised parts have a more metallic lame feel to them which makes the brocade pattern really pop. The coat perfectly represents this time period and what he was doing design wise. You can see the transition from the opulence and over the top feel of his earlier Russian collection and how he was slowly moving into simpler, sleeker shapes for the 1990s without sacrificing his love of high glamour and theatrical components. That touch of excess from the 1980s is still there through that gold fabrication, but the shape is getting slightly sleeker and more powerful in feel then his earlier collections. The collar is high to frame the neck line. Curved vertical seaming runs down the front and back from the shoulder. This draws the waist in and gives the illusion of more shape. The skirting of the coat is cut to be full and have that Russian feel to it. It is inset into the waist by a series of soft pleases and you can slip your hands into the hidden pockets to give it even more volume if you wish. The sleeves are magic. Each is set high into the shoulder so they cap and pouf at the top. They continue to be wide and narrow down just a touch to the wrist. Each cuff ends in a series of three gold toned metal and rhinestone encrusted buttons. These are set into proper dressmakers buttonholes that are decorative. Five larger versions of the same buttons run down the front to close the jacket. The buttons are a thing of beauty in themselves. With this one I think that if you wanted you could even add a series of hidden hook and eye under the waist so that you could close it all the way down and have it play double duty as a dress. It is amazing on the body and one of my favourite YSL pieces I have ever had in the shop. Excellent condition

Fully lined in a black silk satin. It closes at the front with the buttons. Padding in each shoulder. Tagged a vintage YSL 34 and has a generous cut through the waist and bust. Pockets along each hip. It appears to have been worn very little if at all. It is a medium weight coat

Sleeves: 24"
Wide set shoulders: 16"
Bust: 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C599

Reference Photos/Video: (1) Fall 1991 Yves Saint Laurent Runway Collection. /  (2) Yves Saint Laurent, Avenue Marceau à Paris, March 1991. Photo by Roxanne Lowit.

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 fabulous dress is the twin the dress that walked the fall 1986 Yves Saint Laurent Rive Gauche runway. I was so pleased to find a shot of it on because it really shows you just how much it comes to life when worn. He did several variations of this look for that season and I have included some photos of the one gold sided version as well since the cut is similar and it gives you some different angles to be able to see how the dress looks on the body. I am obsessed with his work and this one is so well known and documented. It is a pleasure to have it in the shop.

This gorgeous dress mixes a solid black silk crepe mixed with a gold lame that has a printed effect to it for the bodice. The skirt is then made from a slinky black jersey. It also comes with its matching sash in the same printed gold lame jersey fabric. The patterned portions of the gold have been used for each side of the front bodice and when it catches the light is gives the suggestion of a snake print. The bodice is set into a deep V. I have set it to be deeply plunged but you could cross it over a bit more and have the sash hold it more closed. The gold fabric is set to drape loosely over you at the front and it then curves up to the top of each shoulder. The bodice nips in at the waist and then the sash adds definition and shape. I love how the sash is so wide set around you and then the ties fall almost to the hem at the front. It makes it so glamorous and it gives the dress that wonderful 1940s feel too. The sleeves are short and simple so that all the focus is on the gold at the front. They are cut to have a slight pouf out above the elbows. The skirt is made of a black jersey and it falls to the floor in a pretty sweep of fabric. It is a gorgeous dress and a wonderful piece of his fashion history. Excellent condition with one small note below

The back of the bodice is lined in a black silk chiffon and the skirt, sleeves and front bodice are unlined. It closed with a side set zipper and the belt hooks to close. Each shoulder has light padding. Has its original matching belt. It appears to have never been worn, or worn very little. Tagged a vintage YSL 34. There is one small repair on a sleeve. Please see the photo after the label shot

Shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 18" across lowest seam at very top of hips, open under that
Bodice: 14" from neck to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3866

Reference Photos: (1-3) SS 1986 Yves Saint Laurent Runway Collection. Model: Mounia Orosemane.  /  (4) Model in Yves Saint Laurent, 1986.

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 1951, 27 year old James Galanos launched his first label called Galanos Originals. 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. That said, his ready-to-wear line was made to almost true couture standards and piece in it were made with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and other pieces. Grace Kelly was an early fan and he was truly one of the great American designers. His work is held in all of the major museums around the world and he is one of my personal favourite designers. This dress is exceptional and I was very excited to have it come into the shop.

The dress is absolutely gorgeous. The label that is in it was the one used starting in 1977. Looking at the dress it is almost hard to imagine that it is not from an earlier time period with its decidedly Old Hollywood feel. It is made out of a fine silk chiffon that has been dyed to a deep moss green. In the skirt they are also more olive coloured panels mixed in and this adds depth there. The bust is shaped and structured underneath that draped exterior. You would not think it to look at it but that part of the dress is very formed underneath and hides an inner foundation that follows the complete length of the bodice. The top is cut straight across and it curves in at the waist and then hugs the tops of the hips. A long chiffon panel snaps into place on one side of the interior and you can then drape this over your shoulder to create a few different looks. You can let it sit to cover your entire arm like a half cape or just have it trail down the back for a little floating detail as you walk away. You could also have it float over the entire upper chest to drape over the other shoulder. That panel is completely removable so you could also wear the dress without it for a true starless feel. The panel is long enough to play double duty as a sash or even a head piece. You have a lot pf options with it. The silk has been hand draped over the bodice and I love the contrast between the horizontal draping there against the vertical panels in the skirt. The skirt itself is a marvel. It is literally made up of vertical panels of silk that have been cut in different widths and slightly different lengths. These are layered over a inner single layer skirt of the same silk chiffon. When the dress is on it gives the illusion that you are very bare under the panels. Each panel is set in by hand and this would have been a meticulous and tedious method that would have added several hours of construction time to the dress. The panels give the dress a very unexpected sexy feel as they move around you and give the illusion that you will get a glimpse of your full leg at any moment. The dress is stunning on and the movement that the panel over the shoulder and the panels of the skirt have when you move is stupendous. Excellent condition 

Fully lined in a green silk and closes with a hand set zipper at the side. Hand finished throughout. The shoulder panel snaps onto place with silk covered snaps. It appears to have been worn very little if at all.

Bust: 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips at the bottom of the bodice: 17" flat across from side seam to side seam
Length: 48" from top of the strapless bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3862

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 my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. He designed many piece for the Queen of Belgium and like Ady, he had permission from several of the Haute Couture ateliers to produce their Haute Couture pieces using the patterns and buying the fabric direct. I also have some new information that he might have sold actual couture pieces through his salon as well. So this may be an actual Yves Saint Laurent. Either way it is definitely the Fall 1973 dress that I have included several reference photos for here. It is beyond beautiful in person and one of my favourite personal pieces from her estate so far. 

The level that this dress is made to is a beautiful thing to see. All of the finishes are by hand and it has all those lovely details that you expect in a couture level garment. It is made out of a silk taffeta and then the different sections are all of different colours. Using the silk taffeta helps it to hold its intended shape and I love the fullness of the skirt. The bodice is more fitted and cut to skim over you. It crosses over itself at the front and has that lovely ruffle detailing there that swoops down on an angle to the waist. The waist is cinched in under that and I have added a velvet ribbon to emulate the bow that Yve's originally showed it with. The sleeves are beautiful. Each is made on a curve to follow the shape of the arm. They are softly set into the shoulders and then taper down to the wrist where they close with a zipper. The skirt is a work of art. It curves out from under the waist and falls to the floor where it widens out as it nears the hem. It is incredibly full but betas the fabric is so light it does not seem that way at first. It is only when you move that you realize just how full it is. The skirt is made by altering panels of the silk taffeta over each other to create the ever widening tiers that you see. This technique also helps to hold the shape of the skirt and give its its volume. Each tier is finished with a ruffle that has been gathered and set by hand. The hours of work that it would have taken to implement this detail is mind boggling. I love that the tiers are done in different colours The same red as the bodice mixed with pink and burgundy. The interior is made to couture standards with all the inner seams finished by hand. I have included some shots of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition

Unlined and closes with a hidden set zipper at the side and then a series of hand covered snaps that run along the waist. Each sleeve zips to close. The inside is all hand done and it is finished to couture standards. 

Sleeves: 24"
Shoulders: 15"
Bust: to 17" 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 shoulder to waist
Skirt: 44" from waist to longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD3859

Reference Photos: (1) Model in Yves Saint Laurent Couture, L'Officiel de la Mode n602, 1973.  /  (2) Model in Yves Saint Laurent Couture for Femme Chic Magazine, 1973. Photographed by Claus Ohm.  /  (3) Yves Saint Laurent Haute couture hiver 1973/74. L Officiel 1000 modèles.

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

This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway. The dress is completely made by hand to Haute Couture standards and it is beautifully tailored and cut. It is one of the most iconic pieces Yves ever did and this one has this added layer of fascinating history to it. 

In the book 'Yves Saint Laurent: Catwalk' the collection notes for this season are a beautiful summation of his work for this presentation: "This bright and colourful collections was full of allusions and reminiscences and details from earlier collections. It conveyed a kind of 'enchanted enchantment', as San Diego Magazine put it, adding: 'Yves Saint Laurent, who has an unbelievable gift for feeling the pulse of his times, marched into centre stage with his incredible collection. His show which is always the high point of the collections, reversed many of his previous themes and led us into a spirited, fun-filled view of today’s life. He seem to be saying, 'let’s not be earnest, life is too short, and boredom is the greatest sin of all.'….  The atmosphere generated by this collection was a kind of 'joie de vie', an antidote to stress and anxiety, both frivolous and magnificent. According to Saint Laurent, 'Haute Couture is opera. And, like opera, it has to be superb.'

This is a dress that when you see it on the hanger is really doesn't look like much but the second it hit the dress form it came to life. I am so pleased to have so many reference photos for this one so you can see just how amazing it is on an actual body. It is made out of a rich light silk that drapes and falls over the body beautifully. The bodice is cut to drape into place in a loose and easy way and then it nips in at the waist. The skirt below that hugs the hips and is crossed over itself at the front. The entire dress wraps around you to close and is held in place by nothing more then hooks at the waist and a series of snaps across the one shoulder. When you unhook it the entire dress opens. It is so simple and yet so brilliantly cut that it is genius. A long attached tie drapes over that shoulder. This extends out from the panel that crosses over your bust and hides the deep plunge underneath. The sleeves are a work of art in themselves. Each is set into the bodice with a high cap and slight pouf. They are then cut to follow the curve of the arm and narrow down to wrist. A zipper is set into each cuff so it fits perfectly. Between those exceptional sleeves and that long panel that trails down to just past the hem it is nothing short of drama and boldness while still feeling exceptionally chic. It is absolutely gorgeous and the leopard print on the silk is just spectacular. He used a few variations of leopard in this collection and this is the one that has a touch of colour worked through the print. Inside the dress is completely finished to haute couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship. This is a very difficult fabric to work with and it is finished to perfection. It is an incredible piece and beautifully made. It appears to have been worn very little if at all. Excellent condition 

Unlined with couture finished inner seaming. The dress wraps around you and hooks into place at the waist and then has a series of snaps on the top of the shoulder to hold the draped panel in place. Hand finished throughout. Softly padded shoulders and the padding is also hand made. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 23"
Shoulders: 15"
Bust: is loose and open to 23" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 42" from neck to hem with 3" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3855

Reference Photos: (1-2) Fall 1982 Yves Saint Laurent Couture Runway.  /  (3) Model in a 1982 Yves Saint Laurent Dress.  /  (4-5) Fall 1982 Yves Saint Laurent Couture by Helmet Newton.  /  (6) A long evening dress in leopard-print satin crepe from the Fall-Winter 1982 Haute Couture collection on display in the studio of the Yves Saint Laurent Archives. Photo by Ithaka Roddam for W Magazine.

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

McQueen's Fall 2006's collection was called "The Widows of Culloden" and it was dedicated to his muse and friend Isabella Blow. The Alexander McQueen site says of this collection: "The inspiration here is highly personal – the designer’s own heritage – which goes at least some way towards explaining the exquisite hand-craftsmanship that goes into each piece as well, of course, as bird head-dresses and McQueen tartan. The collection is luxurious and romantic but melancholic and even austere at the same time. The silhouette – all nipped waists, bustles and exaggerated hip lines – is designed to exaggerate a woman’s form and each piece is unique, a one-off couture creation with emotional content intended to be handed down from generation to generation like the most precious of heirlooms." This was also the show where Kate Moss made the famous glass box closing look. Vogue described that feat by saying; "Only Alexander McQueen could provide the astonishing feat of techno-magic that ended his show. Inside an empty glass pyramid, a mysterious puff of white smoke appeared from nowhere and spun in midair, slowly resolving itself into the moving, twisting shape of a woman enveloped in the billowing folds of a white dress. It was Kate Moss, her blonde hair and pale arms trailing in a dream-like apparition of fragility and beauty that danced for a few seconds, then shrank and dematerialized into the ether." They went on to talk about the collection saying; "The quality of the performance—and the extraordinary workmanship in the clothes that preceded it—was a timely reconfirmation of McQueen's unique powers as a showman-designer, and a far cry from the more straightforward presentations he¿s given the last few seasons. For this collection, he delved into his past, revisiting his Scottish family roots and refining the contents of the rampaging tartan "Highland Rape" show with which he began his career in London in the early nineties. Shorn of its original rawness and anger, the result was a poetic and technically accomplished tale that involved romantic images of Scottish fantasy heroines wandering glens and castle halls in vaguely Victorian tartan crinolines, bird-wing or antler-and-lace headdresses, feathered gowns, and pieces made from brocades that might have been dragged down from ancient wall-hangings." I have also included a shot from one of the McQueen book pages that tells more on the show and mentioned these suits specifically. This was one of his most extraordinary shows and this suit is the twin of the full shot that walked the runway for Look 15 in that show. It is fabulous. 

The suit is identical to the one that walked the show. Very few of these would have been produced and it is amazing to have such an wonderful piece of his work in the shop and to have the full suit. A piece like this truly showcases McQueen’s strong tailoring background and master cutting abilities. The suit is made from a mens suiting fabric and gives a nod to his heritage and strong tailoring roots. The jacket is also cut with a nod to a traditional men's suit and then he has twisted and shaped the collar and brought in the waist to create a more feminine shape. I love that it still feels very refined despite its avant grade shape and cut. The shoulders are shaped and lightly padded to hold their shape. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve. The body of the coat is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button there. I am obsessed with the collar. It is cut to be very over-sized and covers the entire upper bodice. The lapels curve around the neckline and run down to the button at the waist. It is wonderfully wide and has been finished with a series of properly done button holes that run around the outer edge. This gives it a very unusual detailing and I love that he did not do the all too obviously step of adding buttons. The back collar is rolled and secured with a stitch at each side to create height and shape. Under the waist the jacket skims over the hips. Pockets sit on each hip and they still have their original tacking. At the back it is cut to have a panel that flares out a touch. The skirt is as wonderful. It is cut with a flat front and no band around the waist. It is also high cut so curves up at the waist a touch. It flares out as it nears the hem and there is a panel of extra fabric set to one side. This flares out and moves when you move and is quite extraordinary. You really need to watch the runway clip to see just how stunning it in on and moving. The inside is lined in a copper toned silk that picks up on the colour of the exterior. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. It still has its original Bergdorf's hang tag and was never worn. Excellent condition. 

Both piece are fully lined in a copper toned silk. The jacket closes with a single button at the front. The skirt closes with a hidden set zipper. Both the skirt and the jacket are tagged a size 44. Padding on the shoulders and the pockets on the jacket have their original tacking to close them. It's original shop tag is still attached. 

Sleeves: 24"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 61" from neck to longest point of hem

Skirt
Waist: to 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 30" from waist to shortest point of hem, 34" to the longest

Modern Sizing Equivalent: SML-MED

Item# DD3856

Reference Photos/Video: (1-4) Fall 2006 Alexander McQueen Runway Collection. Look 15. Model: Ana Mihajlovic.  /  (5-6) From the book "Alexander McQueen" by Abrams and edited by Claire Wilcox.

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 example of Valentino's work that he was doing during the 1980s for his ready to wear boutique label. I have had the dress that matches this coat in the shop a very long time ago and was very pleased to find the coat after all these years. A couple of versions of it walked the runway that season and they were captured in runway shots where the models are decadently dragging the coats behind them in that very eighties runway kind of way. This one has hand hand written tag on it near the label so is possibly one of the actual pieces shown on the runway or was perhaps a special order. I love it.

This is that perfect over-sized, padded shoulder coat that feels suddenly so fresh again. It's overdone proportions were meant to balance out more fitted things underneath and that still holds true today. That impact of its volume mixed with that huge rose print is just fantastic. The coat is made out of a wool that has a felted feel to it. This gives it a lovely matte and soft texture that I am sure he did deliberately to mimic the velvet texture of a rose petal. It also softens the print and gives it a dreamy romantic feel. The coat is cut in that very eighties way with wide set, strongly padded shoulders. The sleeves are long and lean and the coat is a straight column from the shoulder to the hem. On the dress form it comes in a bit toward the bottom and it will do that a touch on an actual body too, but when laid out flat out it does have a very straight, long feel. Pockets sit low on each hip and a third one sits at one breast to giving it a touch of masculine suit cut. The collar is high and done in a ring of black velvet. That play between the masculine and the feminine is something that Valentino excelled at and this coat is the perfect combination of the two. It is perfectly representative of the feminine 'power dressing' look of this era. It looks to have been worn very little if at all. Excellent condition 

Fully lined in a quilted black silk satin and zippers to close at the front. Padded shoulders and all the pockets are functional. It is meant to be oversized so should fit a range of sizes.  

Sleeves: 24"
Shoulders: set over the natural shoulder due to the padding and are 17.5"
Bust: to 23" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam
Length: 49.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C595

Reference Photo: F/W 1985 Valentino Runway 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.

The Spring 1966 Dior collection was inspired by a recent trip to Mexico by the then Creative Director Marc Bohan. In the book 'Dior: Catwalk' the notes for this collection include a quote from the New York Times that said; "Fuchsia is the preferred colour and appears throughout the collection, accompanied by acid green, intense yellow, bright pink and deep purple" Besides the many caftan silhouettes in this collection - a young Barbra Streisand was photoed for Vogue in one of the evening pyjamas from this same collection that was taken immediately after the show - Bohan also did a series of chic little shift dresses and this is one of them. It is exceptional and an excellent investment piece as well. Dior prices continue to skyrocket and finding Haute Couture examples like and in this condition this are getting harder and harder to find. 

This is an amazing little dress that still feels perfectly on point for our modern girl which shows you just how well great design holds up even after 50+ years. It is cut in a sleek little shift that skims over the body to the hem with just the slightest bit of a flare as it nears the bottom. This gives it that perfect neat and chic silhouette that has an almost sculptural feel to it that was so prevalent in this era. The dress is beautifully constructed and it is cut to fit and flatter the body. The shoulders are soft and the sleeves are capped and simple. The shape through the body of the dress is a boxy silhouette with just the tiniest suggestion of shape through the waist. The inner construction is marvelous and that simple exterior has been lovingly created by carefully piecing together the various panels the dress is made out of so that it always lies perfectly on the body. I love the collar. It curves around the neckline and is set back from the front of the neck. You get into the dress by unbuttoning the panel at the front. Here sit six large very thick hand dyed to match buttons. Each is the same shade of pink raspberry fuchsia as the boucle the dress is made out of. Each button hole is precisely made by hand and perfectly finished. It is genius and meticulously tailored. The fabric deserves its own mention as it is a very high end nubby boucle. It has an almost coarse feel to it and the added texture it gives is wonderful. And of course it is in that same beautiful bright pink fuchsia that was so very relevant to this collection. In person the colour is far better and has more a pink cherry red undertone than how it photoed. Little vertical slash pockets on the front of the skirt are the perfect finish. If you are looking for a simple and chic statement dress this is it. It is simple, chis and elegant, yet extremely glamorous because of that stunning colour and nubby fabric choice. Excellent condition with a note to review below

Fully lined in a fine pink silk the same shade as the exterior. The dress buttons to close at the front. Hand dyed buttons. The colour is slightly different in person and more a true fuchsia pink then how it photoed. On the interior there is some fabric loss to the lining under each arm. On the exterior the fabric has felted a bit right near the inner seam. This would not show with normal movement. Please see the last three photos after the label shot. It otherwise is in gorgeous condition. It only opens above the waist so you need to be able to fit the waist over your shoulders to get it on. It is meant to sit slightly oversized and full through the body

Shoulders: 15"
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: 37" from neck to hem with 3.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3853

Reference photos: Christian Dior 1966 / credit 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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her label in 1928 after working at the Drecoll Haute Couture atelier. After only one season in business the Maggy Rouf label became an official member of the Chambre de commerce et d'industrie de Paris. The label continued to produce Haute Couture until 1965. Maggy developed a staunch following for her work and for her gowns in particular. One of the hallmarks of her designs was that each piece had a main focal point. Like the stunning back panel on this dress for example. Draping techniques, as we see around the hip area on this dress, where also a signature element of her work. This is a stunning dress and her Haute Couture examples are rare and becoming increasingly valuable. 

This dress has all the hallmarks of Haute Couture that you want from this era. It is entirely made by hand and the fabrics that were chosen to make it are exceptionally beautiful. Two different fabrics have been combined to make the dress that you see here. The main body of the dress is made from a rich, luxurious silk brocade made from a gold metallic thread woven through on a purple silk. This gives the dress an exotic, royal feel, and the fabric seems to glow from within as it catches the light from every angle. The thread is woven into the silk and not just applied onto it as a print. This gives it a slightly raised texture to it that is beautiful to touch and feel. Maggy chose a fine matte silk satin in a brilliant purple hue to use for the straps that curve up and over each shoulder and for that incredible inset panel at the back. The dress is cut to skim over you and curve in at the waist for shape. It is cut straight across at the neckline and has a panel in a contrasting pattern that is draped across the bust. The waist is curved in and there is a hand draped gathering that runs softly across the front at the hips. This balances out the panel at the bust and helps to highlight and show your curves in that perfect Hollywood starlet feel of this time period. The back is jaw dropping. The straps curve down to a low set back to leave lots of bare skin exposed. It is gathered in at the back waist to create shape. Inset at the low back is a sweeping train of the purple silk satin. This cascades to the floor ad opens and widens out as it nears the hem to create a trained back skirt. At the small of the back a flat bow in the same purple silk is the perfect finishing touch. Inside the dress there is a fully boned and structured bodice along with a waist stay to hold the dress perfectly in place. This dress is an incredible piece of mid-century Haute Couture. Excellent condition.

The inner bodice is boned and set into the inner purple silk lining. This inner bodice layer closes with its own series of snaps and hooks that run down and behind a painted metal zipper that closes the outermost layer of the dress. An inner waist stay hooks to close. The back train is lined in a stiffened netting to help hold the shape and the hem is finished in dressmakers tape. Inner silk lining. The dress is completely made by hand to the Haute Couture standards of the period and is done with remarkable construction technique. There is one tiny area on the inner lining's hem that has a touch of fading, that of course this is not something you would ever see when on. Perhaps the tiniest bit of grubbiness to the trains hem but I am being extremely picky.  Otherwise appears to have been worn very little if at all

Bust: 18" flat across from side seam to side seam
Waist: 13.5-14" flat across from side seam to side seam
Inner hips: 19" flat across from side seam to side seam
Length: 58" from top of shoulder to front hem, the train extends another 10" ato its longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3851

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

After the premature death of Jean Patou in 1936, his sister took over the house and eventually had other designers head the atelier. On the Jean Patou site the history of the houses designers is clearly laid out; 'Marc Bohan, born in 1926, made his debut with Jean Patou at the age of 18. He left the couture house to better find himself as the artistic director. He kept the legend alive from 1954 to 1957. He moved on to serve as the head of creation at the Dior house for the following thirty years. Karl Lagerfeld joined the fashion house as head designer in 1958 and left Jean Patou in 1963 to devote himself to ready-to-wear houses with whom he collaborated. Michel Goma remained at the head of the fashion house from 1963 to 1974. He developed ready-to-wear in parallel with his couture work. Jean Paul Gaultier began his career with Jean Patou during Michel Goma’s time there. He joined the studio in 1972 at the age of 20, completing his apprenticeship there. He left the house in 1974 to work at Pierre Cardin. Angelo Tarlazzi took over the reins of Jean Patou in 1974, succeeding Michel Goma. He left at the end of 1977 to start his own brand. During his time with Jean Patou in the 1980s, Christian Lacroix gave the brand a new life. Lacroix dared all the crossovers, unexpected combinations of colours, extravagant details (such as the famous tafetta hand-painted toile de jouy cocktail dress), and oriental inspirations reminiscent of those Jean Patou loved them at the time of his splendour. He received the prestigious Dé d'Or de la Couture award in 1986 for his work, before the fashion house ceased its activity in 1987 and Lacroix founded his eponymous house within the LVMH group.' After a lot of research I believe this to be an early example of the ready to wear collection debuted under Michel Goma's time there. It is a stunning coat and will forever remain a classic 

This is a lovely and classic feeling coat that is made from a slightly heavier weight black wool and this is what gives it its structure. It is cut in the manner of a longer pea coat feel with a more fitted upper body and then it flares out slightly through the lower half of the coat. Every line of this coat is fantastic. The collar is set to be oversized and sits across the front in this great curving notched affair that adds to the chic feel of this coat. A double row of buttons run down the front. The sleeves are long and each ends with the most amazing cuffs that are flipped over and notched on a curve to emulate the collar. All of the edges of the coat have been topstitched for a subtle detail that really emphasizes the lines and cut. This same stitching treatment edges the collar all the way around. Then it has a series of big thick round buttons that run down the front. It is very very well made and it is just incredible to see in person. The seams give it a wonderfully structured and sculpted feel and the dropped seam at the hip adds an interesting final detail. It is a gorgeous and chic vintage coat. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk and closes with the buttons at the front. Pockets hidden along the side seams. This is a medium to heavy weight coat and is beautifully made. Sizing is based on the shoulders and it is generous through the body so if you are small shouldered it may accommodate a bit larger size as well

Sleeves: 22"
Interior shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: 24" flat across from side seam to side seam
Length: 46" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C592

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 Chanel Cruise collections have an interesting history. Gabrielle Chanel actually sailed and her love of the sport led to her inception of a 'cruise' collection in the 1920s. She was not the first to come up with this concept but hers were among the first to show a complete collection in a fully fledged show. They eventually fell off in popularity and it was not until Karl Lagerfeld took over Chanel that the cruise collections started again. I have had a version of this dress in the shop before and I added the photos of that one on me here. The scarf on this one is longer as is the back train so has even more drama. It is a very easy to wear dress with lots of impact, and of course, Chanel is never a bad idea. 

This Chanel dress is from the 2002 Cruise collection and it is phenomenal. It successfully marries an unexpected stretch jersey fabric choice with insets and draped panels of silk chiffon. The cut is pure evening, while the fabric has a more relaxed feel. This makes it wonderfully easy to wear and very comfortable once on the body. The colour of the dress is a deep midnight blue that almost appears to be black in certain lights. The fabric is light in weight but with enough substance to hold the shape and give it the wonderful curving shape through torso and the skirt that you see. The bodice of the dress is suspended by straps that curve over each shoulder.  One shoulder has looping panels of silk chiffon that you just fall over your shoulder. This panel then falls down the back of the dress all the way to the floor and a little past the hem for a very dramatic feel. The bodice is more fitted and a draped silk chiffon panel curves over it on both the front and back. The skirt is cut to hug your curves over the waist and hips. It then narrows in until it flares out in a dramatic expanse of chiffon and jersey at the hem. The back flares out behind you in a bit of a train and the bottom half of the skirt has a more transparent feel with its chiffon panels that are inset in points all-around the bottom portion of the dress. The movement that all these elements of the dress has once it is on is incredible. The double C logo sits on the top of one shoulder strap for the perfect finish. The construction is immaculate and it looks to have been worn very little if at all. Excellent condition

Fully lined in a matching blue silk chiffon and it zips to close at the side with a hidden set zipper. The fabric does have some stretch. It is tagged a Chanel 40. The fabric does have stretch and give so may accommodate a frame more towards a size large as defined by my size chart below 

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 59" from top of shoulder to front hem, 69" to the longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3850

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Star Bright' Headpiece - available on the site here >

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

This dress is from the Nina Ricci Haute Boutique demi-couture label from the 1980s and it has that amazing eighties aesthetic to it. 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. 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.' This dress fits perfectly into that aesthetic and I think it is absolutely fabulous. 

I love the bold cut of the dress combined with the richness of the black velvet and the luxuriousness of the silk taffeta. Using velvet allows the black on the skirt and the sleeves to be as deep and dark as they possibly could be. Then the use of the silk taffeta through the body offers this amazing contrast to that. It allows the body of the dress to become its own element. Before I even begin to describe the dress I have to tell you that it will truly only come to life on an actual body. Its genius  lies in the movement of the skirt and the shape and volume created through the body and the sleeves. I am actually seeing a lot of similar pieces on the runways this past season or so and they are all based on work like this. The sleeves are cut long and each narrows to a zipper cuff. At the top of each arm is an explosion of volume through the shoulders that is reminiscent of the earlier mutton sleeves. These modern versions are cut on a curve and to the same high level of tailoring that the sleeves of the far past would have been. The effect this creates and the volume it gives is remarkable. The silk taffeta that makes up the body of the dress runs from the neckline to past the hips and is gathered and curved to give you an hourglass feel. The neckline is a modified sweetheart and it curves over the breasts and is gathered in the centre where it is caught up with a large silk bow. It then follows your body to run over the waist and the upper hips where another bow sits off to one side. The skirt falls from under the silk taffeta and it is cut on the bias and done in the same velvet as the sleeves. It has a lot of fabric and is set on an angle with one side falling longer then the other. On the side that curves up there is a slit that runs right up to where the silk taffeta ends. This allows almost your full leg to show when you walk or sit. Trust me - once on the body this one is incredible. The dress is very well made with a hand set inner silk lining and that black silk interior gives it a rich and sensual feel. Excellent condition

Fully lined in a hand set black silk and closes with a back zipper. Inner waist stay that hooks to close. Each cuff has zippers to close. Hand finishes. It appears to have been worn very little if at all. 

Sleeves: 24"
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 58" from neck to longest point on the hem
Slit: approx 33" from the longest point of the hem to the top of the slit 

Modern Sizing Equivalent: SML-MED

Item# DD3849

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 made to level that I would consider to be demi-couture. It dates to the Fall 2006 collection and its twin walked the runway on model Jeisa Chiminazzo. Designer Lars Nilsson was the head of the atelier at the time and he had been there since 2003. 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 2006 so this dates to mid-way of his tenure. In the review of the collection that season by Vogue, they were harsh of the sportswear looks presented but raved about the evening looks saying; 'What his soigné fans love him for is his easy way with a dress. Several of the versions he showed today featured an artsy, swirling print, while the others came in those multicolored layers of organza, chiffon, or silk gauze. His facility with such concoctions makes spring a natural for Nilsson.''

This was a standout piece from the show and it is gorgeous and even better in person. The dress is a fantastical confection of black netted tiers that run from the top of the dress to the hem. The upper shoulders and bodice are a single layer of the netting and this curves over the shoulders and across the upper back to give you a glimpse of the skin underneath. Over the bodice it is cut into a modified sweetheart neckline that is caught up in a long loose and easy tie at the center for added detail. Under that the dress skims over you to the floor and each layer of the netting lies over the one beneath it. These tiers expand out in width as they progress down the body gently widening out as the dress nears the hem. This cut is incredibly flattering as the netting moves with you for a sensual feel but it hides all and every flaw. To give the dress the high glamour that it has, each edge of every layer has a wide band of beadwork that circles all the way around you. These bands are collectively made up of thousands of tiny tube beads hand sewn into place and following the edges of the netting. The gloss of the black beads against the black net is gorgeous. I love that the runway shots give you a bit of an idea of just how wonderful the dress is on. It is truly magical.  Excellent condition.

Fully lined in a black silk and closes with a hidden set zipper set the side. Tagged a US6 / FR 38. It appears to have been worn very little if at all. 

Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 62" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3848

Reference Photos: Fall 2006 Nina Ricci Runway Collection. Look 34. Model: Jeisa Chiminazzo.

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 spectacular piece is by Pauline Trigere and is one of her best documented pieces even if you did not immediately recognize it. It's twin was featured in one of the most iconic editorials ever for the December 1966 issue of Vogue that was lensed by Henry Clark. The entire editorial was shot on location in Turkey. The fashion details in that issue described this piece as a: "High waisted drift of sun printed chiffon with a toga-scarf. By Trigere of Staron silk". This is an exceptional example of her work and I love that you can play with the attached scarf to create a number of ways to wear it. You are only limited by your own imagination.

When you look at the photos from Vogue, or the photos here, especially the published one, you think this is a dress. However it is actually a jumpsuit with extremely wide cut legs. Inside there is a built in body suit in a nude crepe lingerie fabric that keeps the semi-transparent fabric of the legs from being too scandalous. This inner suit is cut long and seems to extend down past where the leg meets your torso. I think this would give you the option of wearing the pant higher up if you were small enough. The silk used is almost weightless and the colours in it combine pink with a pale mint, shades of coral and a tangerine colour, to give it the feel of a sunset. Which was the exact mood it was shot for in Vogue. The pants flow to the floor and are cut to be extremely wide and full. A long panel of fabric is attached at the front under the waist band and gathered. This can be worn several ways. I have shown it swooped up and over one shoulder like they did for the Vogue shoot and I also curved it up one side around the neck and then tucked  it under itself to create a halter that leaves the back completely bare. You could even add a belt to really secure it in place. That front panel actually extends down past the hem in length so there is a lot of fabric to play with for styling. In the photos the model wore a body suit under it and you could do the same or even just wear a bandeau or a skimpy halter to allow more skin to show. It is a very unusual design and I love it. I purchased this years ago I and was told it came from a models closet so there is the possibility that it actually is the actual piece used in this shoot. It is very beautiful. Excellent condition with a note below.

The pants and front panel are unlined. There an attached nude crepe half bodysuit inside the pants. This inner piece zips up the back with a painted metal zipper. The silk of the pants then snaps in place over the bodysuit to fully hide it. Hand finishes. Has a hand numbered tag inside #159. I see wear and repairs to the fabric on the inside band of the waist where it hooks to close. Please see the photos after the label shot

Top band of waist/Underbust: to 14" flat across from side seam to side seam
Hips of inner body suit: 19.5" flat across from side seam to side seam
Length of inner suit: 23.5" from top of band to inner seams
Pant length: 45" from top of band to hem with a 4.5" turned up interior hem
The front attached fabric panel is 56" long from where it is inset to the hem

Modern Sizing Equivalent: XS-MED depending on how how you wear it

Item# DD2996

(1) Editha Dussler in Pauline Trigere, from the editorial Eastward to Eden, Vogue, December 1966. Shot by Henry Clarke. (2) Outtake from that same shoot.

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 silk taffeta dress is by Marc Bohan for Christian Dior. It is from the Fall 1985 collection. In the 'Dior Catwalk' book, they include a write up from WWD that said the collection felt; 'young at heart, naughty and smart-chic'. They went on to note that many of the pieces on the collection were designed so that the 'hips are wrapped for attention and the knees are revealed'. The dress is a wonderful example of that young feel he was after and it is certainly a dress that is a reflection of its era. It is also a stunning example of his work during this time period. The dress is made even more special since we found a runway shot of the twin of the dress. For the runway it was styled with a lace mask and a pin nestled in the ruffled shoulder. It is an exceptional dress. 

The fabric of this dress is fantastic and no matter how great it looks in the photos you will love it even more in person. It is made out of a black silk taffeta whose underside in a silver pewter that has a bit of a metallic feel to it. This creates an incredible effect with the ruffles that cover the dress. As they move and flip over themselves you see the silver grey colour and the effect is fabulous. The fabric is light in weight and despite the elaborate construction of the dress is not at all heavy once it is on. Inside the dress has light boning through the bodice to give you some support. The bodice is cut with a modified sweetheart neckline and it is meant to hug the body. It is elaborately gathered and fitted around the bust with all of the gathered folds coming in to the seams that run over the bodice at the front, back and sides. These emphasize your curves and it make the dress very flattering once on. There is a huge and elaborate ruffle that curves around and under the arm and covers the one shoulder while the other is left bare. This gives the dress this fabulous shot gf glamour. More ruffles completely cover the skirt. These ruffles are set all the way around the skirt in a series of vertically placed silk panels. Each panel has been individually set onto the skirt to create the exaggerated ruffled effect that you see. The way they are set onto the skirt allows each piece to sit off of the skirt to create that fabulous volume. I really fluffed them up for the photos and the silk taffeta choice helps to hold the shape that you place it into while still being soft and not stiff. It is gorgeous and I love that we found the reference photo so you can see just how fabulous it is one. The dress appears to have been worn very little if at all. Excellent condition.

Fully lined in a black silk and closes with a side set zipper. The interior of the bodice is boned for support.There is a tiny bit of stress in the fabric near the seam of the ruffle as shown. It otherwise appears to have never been worn, or worn very little.

Bust: 17.5" flat across from side seam to side seam
Natural waist: 14" flat across from side seam to side seam
Hips: to 21.5" flat across from side seam to side seam
Bodice: 17" from top of bodice to waist
Skirt: 21.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3841

Reference Photos: Fall 1985 Christian Dior Runway.

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

Ted Lapidus began selling his designs in the 1950s in Paris. By 1963 he was an official member of the Chambre Syndicale de la Haute Couture and he debuted his Haute Couture label in addition to his already high end ready to wear. Starting in the 1960s and through the 1970s he did ready to wear and a boutique line. This is an exceptional dress from that time period and it is very beautiful.

This is a dress that has maximum impact once on but it so easy to wear. It is basically made from yards and yards of a black silk chiffon that is all cut on the bias. This falls from the little straps that wrap up around the neck and then run down the back after crossing over themselves at the front. It is fitted around the bust and the waist nips in. Under that skirt flares out beautifully as it nears the hem. The waist is seamed for a little bit off added shape and the skirt has tremendous movement when you move. It is very full with many yards of silk but so light that it falls in a sleek column when you stand still. The inky black silk chiffon that it is made of is feather and has a touch of transparency over its more opaque inner lining. This was then covered in an amazing pattern that has been created by fusing silver glitter directly to the silk. This gives the dress its sparkle and glitz and allows it to catch the light from every angle. I love the curving swirls and flowers that the glitter creates. The design has been laid out over the entire dress in a beautiful and intricate pattern. The workmanship to attach the glitter to the silk chiffon cannot be underplayed as this would have taken hours of meticulous hand work to accomplish. I love the effect of this once on the body. It is just absolutely gorgeous and one of the best of his pieces I have seen. Excellent condition 

Fully lined in a black silk crepe and closes at the side with a painted metal zipper. If you did not like the straps crossing at the front it would be easy to move then to a more standard strap that runs over the shoulder. I see no bare areas. 

Bust: 17" flat across from side seam to side seam
Waist: 13.75" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3838

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

Isaac Mizrahi presented his first collection through a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season which was his ultimate downfall. After the fall 1998 show Chanel pulled its stake and the company folded. He did have a couple of subsequent come back attempts, but for collectors these early years are the most important pieces to find.

This particular coat is very special. It's near twin was a highlight of the "Isaac Mizrahi: An Unruly History" exhibit in 2016 and a version was featured in Town and Country that Year. We also have a copy of the original sketch included here. My client had this one custom made for herself that year and worked one on one with Issac on it. Isaac was only 30 years old at the time of this collection and he was the hottest ticket in town. This jacket in all its versions was dubbed the 'Tee Pee' series. When the New York times reviewed the 2016 exhibit they mentioned this series in particular and it's impact culturally; You get the feeling that Mr. Mizrahi is always daring people to criticize him just so he can prove them wrong. Besides “Desert Storm,” other pieces in the exhibition also seem to willfully court controversy — even more so today than when they debuted. From a 1991 collection called the “Tee Pee” series, for example, there’s “Totem Pole Gown,” a strapless, form-fitting sheath of yellow wool embroidered with imagery mimicking the faces and patterns of Native American totem poles from the Pacific Northwest. (Ms. Campbell appeared in that dress on the Sept. 16, 1991, European edition of Time magazine, making her the first black model to appear on that magazine’s cover.) Another from the series is “Tee Pee Shearling,” a red coat adorned with beaded patterns emulating American Indian motifs. Like a Pop artist, Mr. Mizrahi was thinking not of authentic Indian art but of cheap kitsch sold at roadside souvenir stands. Still, considering today’s ethnic and racial identity concerns, often inflamed on social media, you can imagine the uproar that would ensue were Mr. Mizrahi to introduce such garments now.'......  I agree and I don't think something like this would be produced today unless it was by an actual Native American designer, and rightly so, but the jacket still has its place as a mirror of the times and Mr Mizrahi's own personal sense of wit and way of looking at the world around him during this time period. 

The jacket is cut to be oversized and large as it sits on the body. This will allow it to fit just about any size. You just slip it on and it has no closures at the front. The collar and front edging flip over slightly when on so that you can see the red shearling on the inside. The entire jacket is shearling with the fur to the inside and the suede part to the outside. The cut is big and oversized. The sleeves are cut to an extra long length and you can flip up the cuffs to show the sheepskin there too. There are pockets on each side of the hips and the coat widens out as it nears the hem to be very wide and full. Onto the shearling are a series of hand beaded Native American motifs. These curve around and follow the shape of the jacket running across the front and over each sleeve. The design continues to the back where it is very extensive and elaborate. All of the bead work is done by hand and uses bright primary colours that pops off of the red. The jacket also has a band of suede fringe that runs along the bottom of the design all the way around you to the front and then all the way around the back and around each sleeve. The colour is a beautiful deep burgundy red and the beadwork pops beautifully against it. It is an extraordinary piece that definitely has it's place in fashion history. Excellent condition with one minor note below 

The suede is fully backed in sheepskin shearling. The jacket slips on to wear with no closures. Pockets on either hip. The cuffs can be flipped down or worn flipped up. I see an area of darkening to the suede around the beadwork at the back. Please see the photo after the label shot. The loose and over-sized cut should allow it to work on just about any size. 

Sleeves: approx 26" with the cuffs flipped down 
Shoulders: no defined seam
Bust-hips: 30-31" flat across from side seam to side seam
Length: 35" from neck to hem

Modern Sizing Equivalent: OSFA

Item# DD3827

Reference Photos: (1) Fall 1991 Isaac Mizrahi Sketch.  /  (2-4) Photos from "Isaac Mizrahi: An Unruly History" at the Jewish Museum, 2016.  /  (5) Fall Fashions 1991 featured in Town and Country Magazine.

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

After the premature death of Jean Patou in 1936, his sister took over the house and eventually had other designers head the atelier. On the Jean Patou site the history of the houses designers is clearly laid out; 'Marc Bohan, born in 1926, made his debut with Jean Patou at the age of 18. He left the couture house to better find himself as the artistic director. He kept the legend alive from 1954 to 1957. He moved on to serve as the head of creation at the Dior house for the following thirty years. Karl Lagerfeld joined the fashion house as head designer in 1958 and left Jean Patou in 1963 to devote himself to ready-to-wear houses with whom he collaborated. Michel Goma remained at the head of the fashion house from 1963 to 1974. He developed ready-to-wear in parallel with his couture work. Jean Paul Gaultier began his career with Jean Patou during Michel Goma’s time there. He joined the studio in 1972 at the age of 20, completing his apprenticeship there. He left the house in 1974 to work at Pierre Cardin. Angelo Tarlazzi took over the reins of Jean Patou in 1974, succeeding Michel Goma. He left at the end of 1977 to start his own brand. During his time with Jean Patou in the 1980s, Christian Lacroix gave the brand a new life. Lacroix dared all the crossovers, unexpected combinations of colours, extravagant details (such as the famous tafetta hand-painted toile de jouy cocktail dress), and oriental inspirations reminiscent of those Jean Patou loved them at the time of his splendour. He received the prestigious Dé d'Or de la Couture award in 1986 for his work, before the fashion house ceased its activity in 1987 and Lacroix founded his eponymous house within the LVMH group.' After a lot of research I have dated this to be from the Spring 1977 collection under Angelo Tarlazzi's time there. I found a reference photo of a dress from that year with a metallic lame finish and pleating and it seems that this was a theme used through that collection. 

The dress is magnificent. It is one of the best examples of Patou's work that I have seen and it is just an incredible dress in its own right. It is made out of a bronzed metallic lame that has a design worked through it in gold thread. This addition of a pattern worked into the silk lame allows the fabric to catch the light from any angle and gives it this wonderful extra texture. The entire dress had been knife pleated and each pleat is the exact same size as it's neighbour. The pleating adds yet another layer of texture to the dress and it is stunning The dress is suspended from the shoulders by two tiny straps made out of the same fabric. It plunges into a V at the front and then at the back it plunges all the way to the waist seam. This leaves a broad expanse of bare skin showing. To add to the sense that the top is just a bare bit of fabric covering you, each side also plunges into a V. As the silk lame fabric drapes over your bust and back the pleats open and expand to create a little bit of volume. The front has a seam under the V that is closed up the centre to the base of the V but I think if you wished you could have it opened so that it also plunged right to the waistline. Same with the sides. The waist nips in and then the skirt falls to the floor under that in a sweep of pleat work and lame. There is an incredible amount of fabric in the skirt. The fabric is feather light and so fine that when you stand still it falls in a column but then, at your slightest movement, it moves with you and you realize just how expansive the skirt really is. No matter how great the photos look it is that much better in person. The fabric is just stunning and every line of the dress is perfection. I am obsessed. Made to demi-couture standards. Excellent condition 

The bodice is partially lined at the front only with a silky rayon and the skirt fully lined in a brown silk. It closes with a back metal and nylon zipper. Tagged a vintage 36. The pleats allow the bust to expand quite bit but will also sit well on a smaller bust too. If the waist fits it should work an a range of sizes

Bust: approx 14-18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3825

Reference photo: Jean Patou L'Officiel Spring 1977 

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

This dress was so well documented and photoed when it came out for the Spring 2017 collection it is almost mind boggling. It is instantly recognizable as Phoebe's work and it is amazing. When I started to hunt for references for it I found all the ones that are here, plus there are probably more out there that I just have not yet seen. 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. 

The dress is made from a stretch jersey and this one is finished in one of the three colours/patterns released in this style. The bodice is set over the bust with a wide flat cut at the top and then it angles down to the keyhole at the waist. There are elastic straps that you slip your arms through and the front just skims over you. The back is left completely bare and dips quite low so your entire back is bare and open. The key hole at the front is set so that it is twisted over itself and just this little detail alone give you a glimpse into the magic of Pheobe's vision and quirky aesthetic. The skirt is suspended from that knotted keyhole at the waist. Elastic runs through the top of it so it is very forgiving and accommodating. The skirt widens out into a loose and easy draping of jersey to the hem. Once you have slipped on the dress it simply hangs and drapes down and around your body. It is incredibly comfortable and easy to wear while being devastatingly sexy. The jersey has a lot of stretch so the size on the tag is almost meaningless. This one is a 34 but will easily fit a range of sizes from probably about a 0 to a 6 or 8 with ease depending on your frame. This is true fashion history and one of the most documented pieces I have ever seen. A testament to the genius of Phoebe and the impact of her work on fashion. It appears to have never been worn or worn very little. Excellent condition

Unlined but the fabric is opaque. It slips on to wear with elastic at all the edges. It is tagged a 34. It appears to have never been worn or worn very little. The fabric has incredible stretch so it should fit a large range of sizes.

Bust: covers to 22" flat across the front
Waist: 13-19" flat across from side seam to side seam
Hips: open" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to elastic waist
Skirt: approx 42" from waist to hem and might come up a little depsneign on what size you are and its need to stretch horizontally

Modern Sizing Equivalent: XS-MED

Item# DD3823

Reference Photos: (1-4) Spring 2017 Celine Runway Collection. Look 4. Model: Mali Koopman.  /  (5) Edie Campbell photographed by Mikael Jansson, Vogue Paris, March 2017.  /  (6) Daphne Groeneveld phtographed by Zoltan Tombor for The Sunday Times Style, March 2017.  /  (7) Photo by Choi Yongbin, Harpers Bazaar Korea, 2017.  /  (8) Jip Boxstart photographed by Van Mossevelde for D La Republica, February 2017.  /  (9) credit unknown.  /  (10) Shin Min Ah photographed by Kim Yeong Jun for Elle Korea. April 2017.  /  (11-12) Vogue Australia's fashion director Christine Centenera in Celine at Vogue Australia’s 60th Anniversary Supper, December 2019. Photos by Hugh Stewart.

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

This dress is still being produced as part of the current collections by Roland Mouret and currently sells for approx US$2700. This one is part of the original series first produced back in 2005. My client was wait listed for the dress and finally was able to snag hers back in the day. The dress has been seen on countless celebrities and we have included many of them here. In 2005 it became one of fashion’s most revolutionary and sought after pieces. The best description is perhaps the one from the Mouret site itself: "The iconic Roland Mouret Galaxy dress creates the ultimate silhouette for the female figure, combining precision cutting, exceptional fabrics and exquisite detail to achieve the look. This classic piece lends an effortlessly stylish appeal to your daytime or evening wardrobe."

The secret to the body shaping magic that the dress has lies in the interior stretch nylon lining. This acts like a body shaper and creates a smooth curved silhouette for the exterior of the dress to lie over. The bodice has those signature high capped sleeves and the neckline is cut is a squared off cut out that is very flattering. It is fitted over the bust with the stretch nylon netting built in for support. The waist nips in and I have added a grosgrain ribbon that is not original to the dress but will be included. The skirt hugs the hips and then falls in a long pencil silhouette. At the back there is a vent that you can choose to button completely closed for a very pulled in feel at the hem or leave unbuttoned for a more straight pencil feel. These are sexy as hell once on the body and this one is like new. Excellent condition 

Full lined as described above. It is made of a stretch wool mix. Closes with a back zipper. Tagged a US 10. The measurement given are of it laying flat but it will have some stretch to wrap over your curves. 

Shoulders: no true defined seam
Bust: 19-20" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3822

Reference Photos: (1-2) Fall 2005 Roland Mouret Runway Collection. Look 28. Model: Erin Wasson.  /  (3) Cameron Diaz, September 2005.  /  (4) Victoria Beckham, December 2005.  /  (5) Dita Von Teese, February 2006.  /  (6) Carmen Kass, September 2009.  /  (6) Miranda Kerr, April 2011.  /  (7) Halle Berry, October 2012.

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 Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the most famous couture ateliers in the world. In 1954, Jules-François Crahay, Madame Ricci’s design assistant, was appointed the Artistic Director. The house’s style became more structured under his tenure and the signature curves of the Ricci silhouette elongated and became more modern in feel. Designer Gérard Pipart then succeeded Jules-François Crahay in 1964. Throughout the following three decades, Pipart's Haute Couture aesthetic celebrated a more flamboyant, bold woman and his ready-to-wear found a loyal following among the most stylish women of the day. This coat is an early example of Pipart's work for the house and is beautiful. I have dated it to 1965 based on the reference photos included here showing similar pieces from that season. It is exceptional and absolutely beautiful. 

This coat came out of an estate of an extremely wealthy woman who was a regular couture client during the 1960s. For the 1965 collection Gérard Pipart debuted the side button closure that featured large button closures off to one side. A cloth version of this design was photoed on Jean Shrimpton for Harper's Bazaar that year. I also found a reference photo for a similar all fur version. The coat I have for you is a wonderful combination of the two. The exterior is a quilted silk brocade done in a chic and stunning ivory. The fabric that was chosen for this coat is especially beautiful. It has a 3D puffed effect that is not just created by the stitching around the pattern in the silk that you normally see. Rather, different weights and thicknesses of thread have been woven into the fabric to create the design that you see. The interior of the coat is lined an ivory sheepskin that makes it warm and cozy. The design of the coat has been centered around simple but structured lines. The front wraps over itself and buttons with one large silk covered button near the side seam. All of the edges of the coat have been detailed and finished with a thick padded piping in the same fabric. This piping detail runs down the front, around the hem and circles around the end of each sleeve. Pockets lie along the seam on each side. The construction is at a Couture level of course and it is an absolutely stunning coat. This is a beautiful example of how refined true Haute Couture can be anode Pipart's work during this time period. Excellent condition with a note to review below.

The coat closes with the button at the front and there is a button and loop on the interior. The entire coat is lined in sheepskin. Finished to Haute Couture standards and entirely done by hand. Pockets along the seam. I see some fraying to the fabric around the back collar. There is a small mark on the back of one shoulder and a touch a a watermark on the silk of the other shoulder. Please see the photos after the shot of the label. The easy cut should allow it to fit a range of sizes.

Sleeves: 20"
Shoulders: 15"
Bust: to 24" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam and gently widens out
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C454

Reference photos: Jean Shrimpton in Nina Ricci for Harper's Bazaar 1965, Avedon; Brigitte Bauer in Nina Ricci for Vogue 1965, William Klien. Historical info on the house verbatim from the Nina Ricci website.

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 coat matches the tunic dress I had in the shop recently and I am very pleased to have had one of my clients send it to me. It's twin in the same pink, as well as a green version, are held in both the Fashion and Lace Museum Collection and the Museum Of Fine Arts, Houston respectively. This is a remarkable example of his Couture work during that time period. A piece in this shade of pink and in this exemplary condition is a rare find.

This beautiful, sculptural couture coat is stunning. The fabric is that classic Courreges thick textured wool jersey that despite its thickness is still decently light in weight and wearable. The slight texture to it and absolutely superb seaming details give the coat a rich, luxurious feel. Each curved seam and the soft but sculptural cut create a beautiful line that curves in slightly at the waist and then the bottom of the coat under that flares out. A half belt detailing anchors the back and is held in place by two large white buttons. The coat closes down the front with more of those same white buttons and they are also used to detail the pockets and belt detail at the front. Each button hole, including the back ones, are completely functional and are finished to couture standards. The collar is neat and round and the sleeves end in a jaunty turned up cuff with a notch for extra interest. I love the way it closes at the waist and how the detailing there gives it the feel of being belted. Two large pockets sit at the front of each hip. Very chic and very couture in feel. Extremely collectible and rare. Excellent condition with one small note below.

Fully lined in a hand set ivory silk and buttons to close. Hand finished throughout. The color is a slightly different shade of pink - and even better I think - than how it photoed. Looked to have been worn very little, if at all. There is one small area of thinning to the fabric near the front hem. Please see the photo after the label shot. 

Sleeves: 22"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C583

Reference Photos: (1) Courreges Coat, from Fashion and Lace Museum Collection.  /  (2) Courreges Coat, from the Museum Of Fine Arts, Houston.

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