The Fall 2011 show was set in a 'forest' constructed on soil that was meant to look burnt and desolate. When asked why he did the set like this, Karl responded by saying 'The world is a dark place'. To offset that gloom he put bright white lights at both ends of the runway to signify hope. In talking about the clothing itself, Vogue's Tim Blanks said in part; 'He (Karl) elaborated on the audacious theme he established for Spring, where jackets and coats looked moth-eaten or tattered. Here, many of the looks had the ashy appearance of clothes that had weathered a natural disaster because they'd been packed tightly in a trunk.' He noted this dress in particular saying; "The palette stayed shadowy throughout, the proportions slightly man-sized, with rounded shoulders. Even the more overtly "feminine" pieces looked like damaged goods, say a skirt of spectacularly shredded chiffon or a pair of full-length knit sheaths that dissolved into loose strands of wool at the back.' and finished his review with; 'Aside from the mesmerizing scenario, the collection's genius lay in Lagerfeld's supernatural prescience about the way a lot of young women want to dress now, mixing the street with enough high fashion fantasy to make the result seem rich and strange.'. The dress is gorgeous and it is always nice to find the twin of a runway piece. I included reference photos, video and one bit of a shot of the back of the dress so you can see how it works on an actual body.

This Chanel dress is wonderful. The cut is simple and classic from the front and yet the back is very avante garde and unique. It is made from a soft but chunky boucle feeling knit that combines black with a grey tinged ivory to keep with the theme of the show. On the runway Karl paired it with knit versions of his signature gloves and a low boot. The wool is light in weight but with enough substance to hold the shape. The light weight makes it a lot easier to wear then you would think. The look of weight comes from the nubbiness of the knit but it is actually quite light. The bodice of the dress has a scooped neck that is finished with a ribbed pattern. The sleeves are barely there and are also edged in that same ribbed pattern for contrast. It is cut to skim over the bust and waist. The skirt continues from there, gliding over the hips and then the dress falls to the floor and gently widens out as it nears the hem. It is in its original supermodel length. At the back it has a curved cut out that leaves the entire back exposed but then he has crossed straps over it for a bit of a peek-a-boo effect. All of the edges are finished in a fringe from the same wool to give the dress that tattered feel that was the theme of the show. Glittering black rhinestone encrusted buttons with the double C embossed onto them close the neck and straps at the back. The construction is immaculate. Excellent condition.

Unlined and slips on to wear. The straps at the back and at the neck button to close. It appears to have been worn very little if at all. It is tagged a Chanel 44. The fabric does have some stretch so should work on a range of sizes.

Bust: has no true side seams but will cover up to 20" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 61" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3965

Reference Photos/Video: Fall 2011 Chanel Runway Collection, Look 45. Model: Jac Jagaciak.

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 came from the house archives of the Tiziani label, which was launched in 1963 in Rome by American designer Evans Richards. The label quickly became a favorite among celebrities and socialites including Elizabeth Taylor, Doris Duke, Gina Lollobrigida, and Principessa Borghese. The label is also famous because a very young Karl Lagerfeld designed for the label. Lagerfeld worked at Tiziani from 1963 to 1969 which makes the pieces he designed while there some of the very earliest examples of his work. This piece is unlabeled but I sourced it from a person who had purchased it direct from the owner of the atelier archives through a verified auction.

The dress is made from a purple silk that is heavy enough to keep the shape that you see. It was then heavily beaded by hand in some areas to highlight the design of the dress. The bodice dips into a V neck that is detailed with a knife pleated ruffle edged with a pink silk satin trim. The ruffle is integral to the design of this dress. It is used throughout to accent the lines and design. It defines the band at the waist that gives you shape and is used on both the cuffs and hem. It is also used to define the panel of beading that sits on each sleeve. The sleeves are incredible. They are cut to be a very full pouf above the wrists. At the middle point of each sleeve is a wide panel that is completely beaded all the way around the arm. More beads sit in one shoulder and there is a heavily done design of them that runs over and down the front of the skirt. The bead work is amazing. It is a mix of hand done embroidery, real metal thread, seed beads, crystals and large oversized domed appliques. These catch the light to give the dress a touch of high glamour. The green of the beadwork pops against the purple silk and they add incredible texture. The body of the dress is fairly simple in design. The bodice is cut to skim over you and the waist is defined by that wide band at the waist. It is cut slightly more on the loose and easy side rather then cinched heavily in. The skirt falls to the floor from there and there is a substantial amount of silk in it. It is hand lined in silk. The bottom hem of the skirt is finished with knife pleating and ruffles to tie in the extravagance of the upper part of the dress. It is made entirely by hand and it is finished to a couture level. It is an amazing piece of fashion history. Excellent condition

Fully lined in a purple silk and closes with a back zipper. Each cuff buttons to close. The inner skirt is finished with a wide stiffened hem that is hidden in the silk lining. This helps to give the skirt structure and the volume that you see. Hand work throughout and made to couture standards. Light padding in each shoulder. There is the tiniest bit of fading to the edge of the purple silk lining on the inner arms. It otherwise looks ot have been worn very little if at all.

Sleeves: 23.5"
Slightly dropped shoulders: 16.5"
Bust: 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 11" from neck to first seam under the bust, and 17.5" from neck to waist
Skirt: 42" from the dropped waist seam to hem

Modern Sizing Equivalent: MED-LRG

Reference Photo: Cherie, Owner of Shrimpton Couture.

Item# DD3251

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

Halston used this particular spaced sequin technique predominantly between about 1977 to 1982. Instead of layering and overlapping the sequins, they were laid out flat in rows, side by side, to create a pattern over the silk. It creates a beautiful visual effect. It is also unusual to find his more colourful pieces. This is a stunning example of his work from this time period.

The silk chiffon that is used to make this dress has been dyed to a fabulous purple. The silk is cut on the bias and has a touch of transparency to it. To wear it you would just add a long nude or purple slip underneath and you could pay with how opaque the end result is by the choice of fabric you chose that you layered under it. Of course in this day and age you could also wear something that leaves you more bare. Onto the silk are thousands of hand placed iridescent purple sequins. This allows the dress to catch the light from every single angle and it is stunning to see.  Halston imported these sequin fabrics from India. During this time period India is where some of the best sequin work in the world was being done. Each individual sequin has been meticulously sewn into place by hand. The design that the sequins are laid out in is done to highlight the curves of the body and visually create more curves. To wear the dress you slip it on and there is a single prong set rhinestone button at the back above the keyhole. The dress then just falls into place over the body in his signature long simple sheath silhouette. The sleeves are long and and straight cut. You end up entirely covered from head to toe and yet with the lightness of the fabric, it's transparency and bias cut movement of the fabric, is still very sensual and sexy. This is a balance that Halston excelled at. The dress is feather light and feels like a dream on. It is stunning and a wonderful and rare example of his work. It looks to have been worn very little if at all. Excellent condition

Unlined and slips on to wear with a prong set rhinestone button and loop at the back of the neck above the open keyhole. Hand applied sequins and hand finished.

Sleeves: 23"

Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3961

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

Donald Brooks pieces are extremely well made and his main label pieces, like this one, border on couture in their construction as they were all made to order. Brooks launched his main line label in 1963 with a collection for the Spring 1964 season. He quickly became one of the most sought after of the American designers and his client roster included Mrs. Kennedy, Claudette Colbert and Faye Dunaway. The New York Times said that he was one of 'the three B's of fashion' alongside Bill Blass and Geoffrey Beene. He helped to launch the American Council of Fashion Designers, won three Cody Awards and he designed the costumes for numerous Broadway plays. He launched a secondary boutique line 1971 but by 1973 both of his self-named labels shuttered as he chose to focus on his costume and stage work which was really his first love. This is an exceptional piece of his work

This is an absolute dream piece. This is the type of dress that you will only ever find in vintage. I really cannot gush about it enough. I have had this in my archives for several years now and it felt like the right time to let it go. 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 shorter choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. As good as it looks here it only really comes to life once on. The cost to produce this level of fabric now would be sky-high. It is an intricate combination of an ivory silk cording that has been hand stitched into place around several types of netted lace. This combination of lace and cording then lies over an inner matte silk satin. The cording and lace add incredible dimension and texture to the dress. The work that would have gone into the fabric alone is mind blowing. The lines of the dress are equally as beautiful. The bodice has a slight dip at the front neckline and is cut to skim over the bodice from there. There is an inner lining that goes down into a scooped curve so that you see the skin of the upper back and bodice through the lace. The waist is just above the natural waistline. A wide ivory colour silk satin ribbon is attached and wraps around you and then at the front it is finished with the stunning four sided rounded bow that sits up and off the dress. The skirt falls from there and widens out as it nears the hem to give the dress a slight babydoll feel. I love how the all of the edges are finished with a scalloping effect. At the back it zips to close and then has hidden silk covered snaps to secure the fabric over the zipper to hide it. The amount of detail in this dress is just fantastic. It is an absolute work of art. Excellent condition

The bodice is lined in a combination of a nude lingerie weight netting and silk taffeta. The skirt has a full matte silk satin underskirt under the net layer. The sleeves are unlined. It closes with a painted metal zipper at the back and the outer lace snaps over that. Inner waist stay hooks to close. The sleeves buttons to close with hand covered silk buttons and loops. The dress is a more traditional ivory colour in person and more creamy feeling. Perhaps a touch of grubbiness to the edges along the neck but I am being picky. Perhaps a broken thread here and there but remarkably no noticeable broken areas despite all the intricate thread work. Finished by hand throughout.

Sleeves: 24"
Slightly dropped shoulders: 15.5"
Bust: to 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of bodice to waist
Skirt: 25.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3959

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 set walked the the Fall 1984 Haute Couture runway and was worn by supermodel Kirat Young. It was also photoed that season for what I believe was an editorial shoot. I have included those reference photo here for you so that you can see how amazing it is on the body. Emanuel Ungaro launched his label in 1965 after working for both Balenciaga and Courrreges. He was a brilliant designer who was known for his of extravagant fabrics and flamboyance. His Haute Couture pieces are not easy to find and this set is stunning and even better in person 

I always love a set because of the versatility you get with one. You can wear these together as shown or wear the dress on its own and mix the jacket in with pieces you already have. The dress is particularly amazing. It is cut in that signature Ungaro silhouette for this time period. He made these dresses to hug and highlight every curve of your body. The dress is made out of a silver silk velvet that has a metallic silver and gold foil worked through the fabric. This gives allows it to catch the light from every angle but it feels subtle and not garish. The fabric is hand draped and stitched to give it an incredible soft pleated texture. The bodice has a highly modified sweetheart shape with one side set at a high peak and the other in a soft curve. The gathers are shaped to follow the line of the bust and emphasize the breasts. On the side that it zippers to close on there is a strip of hand applied beads and sequins that run down the full length of the dress for extra detailing. The jacket is made from an ivory lace that is hand applied over an ivory silk. Onto the top lace layer is a mix of embroidery work, little silk appliqué pieces, rhinestones and faux pearls. The shoulders are padded and the top of the sleeve is gathered around the shoulder so you have fullness there. They narrow from there to the wrist. The waist is brought in and shaped with vertical seaming and the hips flare out dramatically. There are no closures on the jacket, it is meant to just slip on and sit over the dress. It is finished with a dramatic Ostrich and silver foil feather border that that wraps around the neck, down the front and all the way around the hem. Both pieces are completely made by hand and the proper Haute Couture numbered tape is present. It’s gorgeous. Excellent condition

The dress is hand lined in a ivory silk and closes with a hand set side zipper. The bodice is boned. Interior waist stay hooks to close. The jacket has no closures. Padding in each shoulder. I see minor marks on the interior lining of the dress and perhaps a slight grubbiness to the inner arms of the jacket. Please see the last photo after the label shot.

Dress
Bust: 16.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from top of bodice to waist
Skirt: 25" from waist to hem

Jacket
Sleeves: 23"
Slightly extended shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: approx 14" flat across from side seam to side seam
Hips: approx 19" flat across from side seam to side seam
Length: 32" from neck to hem, including the feathers

Modern Sizing Equivalent: XS-SML

Item# DD3367

Reference Photo: (1) Fall 1984 Emanuel Ungaro Haute Couture. (via @only_french_couture).  /  (2-6) Fall 1984 Emanuel Ungaro Haute Couture Runway Show. Model: Kirat Young.

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 is from the Spring 2017 collection which was an important and interesting show for two reason. First it was the first solo show for PierPaolo Piccioli and second he brought in Zandra Rhodes to make prints for the fabrics shown in the collection. This dress did not make the actual show but I have included a photo of the dress with the same print that did. The show was a huge success and the Vogue review for this collection stated in part; 'They (the models) were wearing a collection he’d based on looking at a lot of medieval art, but particularly at Hieronymus Bosch’s triptych, The Garden of Earthly Delights—not that the clothes read as historicist at all. “I like to know my history, and then forget it,” Piccioli said.... He’d also become fascinated by the work of Zandra Rhodes, the great British fashion designer of the ’70s and ’80s, known for her hand-drawn prints and floaty, haute hippy dresses, so he got on a plane to London to see her. “He was wonderful,” exclaimed the pink-haired designer, who was sitting in the front row today. “He and an assistant came to my studio for two days, I showed them everything in my archive, and he asked me what I could do to make prints from the Bosch painting. It’s just incredible to see what they did with them." In short, he aced it, not only meeting expectations but surpassing them too.'

I own the twin of this dress myself and I love it. It is one of my favorite pieces. It feels thoroughly Valentino but it also nods at the work and cut of Zandra. Then you add in that spectacular Rhodes print that covers its surface and it's just a joy. The dress is made from a fine light weight silk that is cut on the bias. Think scarf weight. This is what lets it move so beautifully over the body once it is on. When you walk, the fabric of the skirt and those fantastic caped sleeves catch the air and billow out around you. The colour is a beautiful clear red and the print draws in several other tones and shades of red. It plunges into a V at the bodice at the front and then at the back it is scooped quite low with a crossover of skinny straps to hold it n place and still leave your back bare. The seams runs angled under the bust and then it just falls from there to skim over the waist with no seam there to break the line. Depending on your height, the skirt falls to just above the floor in a sweeping expanse of fabric. This is a signature length for him and it allows your shoes to peek out from under the skirt. The skirt is cut beautifully and gradually widens out as it nears the hem. That and the bias cut of it is what gives it the floating effect it has when you move. There is actually several yards of fabric in the skirt. The sleeves are wonderful. Each is extremely wide and falls from the wide set shoulders. I took a shot where I held one out so you can see how wide they are. I love them. The precision in cut to have this all fall and move so beautifully should not be underestimated. It looks to have been worn very little if at all. Excellent condition

Lined through the front bust in a red silk and the rest of the dress is unlined. The dress has a low set zipper at the back. Tagged a Valentino 36. The easy cut should fit a range of sizes. It looks to have been worn very little if at all.

Shoulders: no true defined seam
Bust: to 16" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Length: 56" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3958

Reference Photo: Spring 2017 Valentino Runway, Look 44. Model: Blesnya Minher.

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

A few years ago I had this dress in the opposite colourway of a red on gold and I was so happy to have found this opposite version with its gold on red. Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. Even when the dress was as bold as this one is. He knew how to walk that line perfectly. This is an fantastic piece of his work and with its glamorous metallic fabric it is even better. The first one flew and I suspect this one will as well. This is one of my all time favourite pieces by him and it is exceptionally beautiful. 

This is an exceptional dress. It is a stunning example of his work during this time period and these metallic pieces are among my favorites by him. The base fabric is a red organza and it is lined in a red silk organza. Fused onto and through the silk are gold lurex appliques that give the fabric a two dimensional pop and makes it gleam and glitter in the light. That gold appliques cover the dress from head to toe with the red organza showing between. I love how each each applique has a red thread detailing running through the design which adds yet another dimension to the overall look of the dress. The neckline is a cut into a low V that plunges to just above to the high set waistline. The bodice skims over you and then is balanced beautifully by those spectacular sleeves. Each sleeve is cut so that it widens as it reaches its edge and then it is finished in a wide border of silk ribbon and split up one side. That same ribbon edging goes around the neckline and circles the waist in a double row. At the front center of the waist is a fabulous embellishment of coiled red and gold fabric. This all tops the skirt that is set into the waist with a series of soft folds. It flows to the floor from there, widening as it nears the floor with yards and yards of fabric. It is a beautiful and dramatic piece of vintage couture. Excellent condition.

Lined through the bodice in a red silk organza and a red silky rayon through the skirt. The sleeves are unlined. It closes with a back painted metal & nylon zipper and hook & eye at the neck. Hand finishes.

Sleeves: 22.5"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner hips: to 24.5" flat across from side seam to side seam
Bodice: 14" from shoulder to bottom seam of the 3" band
Skirt: 40.5" from bottom seam at waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3957

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 version of a dress from the Spring 1998 Haute Couture collection. I have included a reference photo here and you can see the similarities between the two dresses. It was not unusual for a client to have a dress completely customized to her and this most likely is a one off with no other exactly like it made. The dress is absolutely exquisite. It is a stunning example of Mr. Valentino's couture work during this time period.

This dress is absolutely beautiful. It is strapless with a fitted and sculpted bodice. The bodice and back have been shaped and set by hand into wide flat curving panels  that wrap around the bodice. It is a masterpiece lesson in couture techniques. The top of the bodice has a wide panel that curves over the sweetheart shape and then extends down into the skirt. Inside it is boned and has a full an inner corset for support and to hold the dress perfectly in place. At the back the pleats wrap around toward the zipper, cross over themselves and then extend into the skirt. The inner skirt of the dress is made of a fine black silk netting that is backed by silk chiffon. That  netting is then completely covered with a dense application of bead and sequin work that is entirely done by hand. I believe that the bead work was done by Lesage. It is all done completely by hand and this level of fine workmanship that would have taken many many hours to complete, perhaps even into the hundreds of hours. The outer skirt lays over this inner skirt and opens in an angle down the front so that you see part of the inner beaded skirt. What is truly incredible is that even though the entire inner skirt is beaded al the way around, you only see that one part of it from the front. That is the level of work that you see only in couture. The dress appears to have never been worn, or worn very little. Excellent condition

The inner skirt is fully backed in a silk chiffon. The outer panels of the skirt are unlined. The inner bodice has a netted silk corset that is boned and cupped. The bead work extends all the way up to just under the bodice on the inside. There is a zipper to close the corset with a second zipper over that to close the outer layer. Inner waist stay that hooks to close. The dress is completely finished by hand to haute couture standards. It appears to have been worn very little if at all. My photos do not do it full justice and it really needs an actual body to bring it to life. 

Bust: to 17.5" flat across from side seam to side seam, with a B-C cup
Inner waist: 14.25" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 10" from top of bodice to inner waist seam
Skirt: 40" from inner waist seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3156

Reference Photo: Valentino Spring 1998 Haute Couture 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.

For the Spring 1999 collection Oscar did a series of separates and dresses that featured these dramatic trained silk taffeta skirts. There were several variations shown on the runway and I have included some of those here. Ashley Judd wore a red sleeved version of the dress to the VH1 Divas Live event. She then changed and wore the skirt and jacket version to the after party at the Beacon Theatre in New York. The Met Museum holds a piece from this collection in their permanent archives too. This strapless dress version is spectacular and if it is a piece with drama that you are after - this is it.

This Oscar de la Renta piece is so striking and it has all the drama that I love to find when I look for vintage. The dress is made out of a silk taffeta and the colour of the silk changes slightly in different lights. In most it seems to be a deep midnight blue but in certain light it has a more purple tone. The bodice is strapless and is constructed from a series of silk covered boning placed vertically side by side all the way around you. Each boning is placed at exactly the same space away from the next one and this technique creates incredible texture. Inside the bodice it has built in cups and a small amount of padding for support. It nips in at the waist and then the skirt falls to the floor and beyond. The skirt is cut to skim over the hips and is shaped to exaggerate the curve of the hips. It them narrows in towards the floor. At the back it gathered in and up to the back of the mid thigh. The edge of the hem is detailed with a jagged edging. Where it is gathered up and into the back of the skirt these create their own fabulous design as they fall from the back of the skirt. The skirt then extends out into a sweeping curve of fabric to create a train behind you. It is extraordinary. My photos do not do it full justice and it really needs an actual body to bring it to life. Excellent condition

The bodice is fully lined in a black silk organza, The inner bodice is boned all the way around. The dress closes with two zippers, one that closes the interior and a second that closes the exterior. Slight padding in each cup. Tagged a vintage 12

Bust: 17" flat across from side seam to side seam, with B-small C cup
Inner waist stay: 13.5" flat across from side seam to side seam. You can go to 14" if the stay is not hooked
Hips: to 20" flat across from side seam to side seam
Bodice: 10" from top of bodice to waist
Skirt: 42" from waist to longest point of front hem, the back skirt extend to about 62" from waist to longest point

Modern Sizing Equivalent: SML-MED

Item# DD2906

I also have another version form the runway in the shop at the moment and you can see that one here 

Reference Photos: (1-2) Spring 1999 Oscar de la Renta Runway Collection.  /  (3-5) Ashley Judd at the VH1 Divas Live Event & After Party, April 13, 1999 at Beacon Theater in New York.

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

This is the second time I have had this dress so despite that fact that it has no Bill Blass label I recognized it right away. It does still have its Martha label in it which is nice considering that its twin was used for the ad campaign that year in conjunction with Martha's, a high end boutique of this time period. It is as good as the first time I had it and is a dress that is a true classic. It is even more gorgeous in person too.

This beautiful sequin covered dress is absolutely stunning. It is also insanely sexy once on the body and it is beautifully made. The base of the dress is a snakeskin printed silk that is backed in a silk chiffon. Onto this are thousands of hand applied clear sequins placed side by side to completely cover the surface of the fabric. This flat application technique for the sequins is more time consuming due to the precision required and it also changes the way the light hits it as opposed to overlapping sequins. It gives the fabric the suggestion of liquid and when you move the light catches the sequins and creates the most magical effect. The neckline is a high and hooks behind the neck to leave the upper back and shoulders exposed and bare. The waist nips in and you can add a belt for even more shape as it was shown in the ads or leave it off if you prefer to not break the line. The skirt falls to the floor and gradually widens out as it nears the hem. It is truly beautiful. Excellent condition

Fully lined in a fine red silk chiffon. It closes with a low back zipper and the halter hooks to close at the very back of the neck. Hand finishes and original belt. I see a couple of sequins missing at the back of the neck near the hooks. Please see the final photo

Bust: to 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist
Skirt: 41.5" from waist to hem with just under 3" turned up under the hem

Modern Sizing Equivalent: XS-SML

Item# DD3950

Reference Photo: Bill Blass for Martha Ad, 1974.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. He was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and I love this one especially as it truly shows the range of his work. This set is also a little extra special because its near twin resides in the permanent collection of the Victoria & Albert Museum. Theirs is a skirt and similar jacket while this one is an actual dress and jacket. They dated it with a general reference to the 1960s but I feel that it has more the feel of the 1977 collection after finding the reference photo of a piece with similar details on it. Bill Gibb's work is extremely rare to find and knowing that this one is important enough to have been acquired by a museum is just an added bonus for a collector .

My photos cannot convey how beautiful this dress is in person. The dress is amazing in its own right and is a stand out. It is suspended from the shoulders by two tiny straps. The bodice is set high for an empire feel and then the top is shaped and covered with the gold netting. The fabric is beautiful. It is a fine deep ivory netting that has a touch of a taupe gold feel to it. A pattern is then worked through it with a gold metallic thread. The gold is done in a fine floral design and this runs over the entire dress. Behind the netting the dress is lined in a fine silk that gives depth. The gold pattern becomes denser as it nears the hem so that the effect intensifies. The entire dress shimmers and catches the light from every angle and it is incredible to see in person. The skirt falls from under the bodice and it has been meticulously pleated into knife pleats that are the exact size of the one beside it. This helps to add some volume to the skirt while still giving it an ethereal fairy tale feel. The silk lining underneath is the palest taupey gold pink and this gives the netting just a touch of a pink feel to it in certain lights. It is incredibly beautiful. You can then slip on the jacket which is cut to fall over the full length of the dress. It has simple sleeves and is made out of a pale pink silk chiffon. Onto the silk of the jacket is an extensive pattern that has been embroidered by hand. The jacket is made up of four panels of fabric that are split along the seams between each panel from the hem to the waist line of the dress. These sit open along the seams and allow the fabric of the dress to show underneath when you move. The embroidery work in this piece is done in a combination of soft corals, mint and ivory. The tiniest little seed pearls detail parts of the embroidery and all of the edges of the outer jacket are finished with gold lace. It is a beautiful example of his work 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 and you can also wear the pieces seperately. Excellent condition with one tiny note below.

The dress is fully lined in silk and closes with a side metal and nylon zipper. The overlay is unlined and slips on to wear with hook and eye at the very top. It appears to have never been worn, or worn very little. I see one small mark on the front panel of the chiffon jacket near the hem. Please see the photo after the label shot. A small faint darkening to the silk under one arm of the jacket

Dress
Bust: to 16" flat across from side seam to side seam
Waist at seam: 15" flat across from side seam to side seam
Hips at inner lining: 19.5" flat across from side seam to side seam
Bodice: 13" from top of straps to empire waist seam
Skirt: 44" from waist seam to hem

Overlay
Sleeves: 19"
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Waist- hips: open
Length: 52" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3079

Reference Photo:  Bill Gibb Set from the V&A Online 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.

Bill Gibb was crowned Designer of the Year in 1970. He was one of the most influential designers in 1970s Britain and his clothes were worn by the rich and famous. His work has a high fantasy element to it that I love. Much of his work verged on couture and he was unrelenting in striving for perfection. This dress is from his 1976 collection and version from that same collection with similar elements use for it was photoed on Tina Chow for Vogue that season. His pieces were never produced in large quantities and this one is exceptional. It is wonderful to have such a gorgeous example of his work in the shop.

This amazing set is actually two separate pieces which is lovely as you can mix and match them with pieces you already own to extend their wear. The top piece is this fantastic evening coat that is pure drama. It is made out of a pale pink silk netting with a built in inner bodice piece that is made out of pale pink silk. This sits over a full length skirt that is made out of a fine silk chiffon with a soft pink silk lining. The top layer of silk on the skirt is knife pleated all the way around. This gives is some volume and movement when you walk. Around the hem are three stripes of silk satin ribbon in a pale blue, a pink and a mint green. This same ribbon detail is also used to edge the inner silk of the jacket. The effect of seeing the stripes on the skirt and the top through the netting of the jacket is stunning. The inner top also has the same knife pleat finish so that it feels like one ling piece under the netting once on the body. The very top layer that floats over everything is a silk netting that has been hand embroidered with a flowers and vines design. The design has done with a soft pastel thread that has a metallic silver running through it. This covers the entire outer later and gets denser as it reaches the hem. The thread itself is the same colour combination as the ribbons on the skirt and under the top but with that metallic finish. The final effect is incredibly beautiful and romantic. The edges of the jacket are finished with silver cording and there is a long tie of silver cording at the neck. The sleeves are incredible. They are cut extra long and each has an inner knife pleated inset made out of a pale pink silk chiffon. They pouf out from the shoulder and are caught up just below the elbow. On an actual arm they are meant to sit up on the arm where they are brought in so that they netting above is very full. Below that the lower sleeve is cut to flare out and widen as it reaches the end of the sleeve. Each sleeve has the same hand embroidery detailing as the body of the jacket. Long silver cords hang down from the seam at the elbow.

No matter how much you might love the photos this one is even better in person. The workmanship in it has to be seen in real life to be fully appreciated. 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

Both piece are fully lined in a pale pink silk as described above. The skirt closes with a metal and nylon zipper. The top slips on to wear with snaps and hook and eye at the very top of the neck. The colours in person are softer and bit more pink feeling in person. There is some light fading to one side of the skirt near the closure but its very minor. 

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips at inner lining: to 20" flat across from side seam to side seam
Length: 44" from waist seam to hem

Top/Overlay
Sleeves: approx 31"
Shoulder opening: approx 17"
Bust: to 18.5" flat across from side seam to side seam
Waist- hips: open
Length: 25" from top of shoulder to hem of inner top, 58" from shoulder to the full length hem

Modern Sizing Equivalent: SML-MED

Item# DD3081

Reference Photos: (1-2) Tina Chow in an ensemble by Bill Gibb. Photographed by David Bailey for British Vogue, April 1976.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

This is a very recognizable Alexander McQueen piece. While there are many of his pieces out there that only die-hard collectors would know at first glance, this is one of the dresses that has that wonderful print that you know is McQueen. The spring 2003 collection was the first collection McQueen showed after joining the Gucci Group. It was hailed as being his most commercial to date. The collection was titled 'Irere', which means transformation in Amazonian. The Met Museum notes that it 'appeared to be poetic renderings of a disaster at sea'. It is sometimes referred to as the Shipwreck collection. In it Lee tells the story of a shipwreck at sea resulting in a landfall in the Amazon. The collection ends with a series of chiffon dresses that were tie-dyed in incredible bright color palettes of blue, red, and yellow. This is the twin of the second dress that walked the runway to start that portion of the show and it is gorgeous.

On the runway this dress was shown with a white belt and to give you an idea of that I have used a white grosgrain ribbon that I will include with the dress. The dress is not 100% perfect but it is extra interesting because it has its silk chiffon panels that are on the dress that walked the runway. These wrap around to the back where they tie. In the video I have included here you can see them as the model walks away from the camera. Every version I have seen for sale out there does not have these extra panels. If this dress was perfect this detail alone would have increased the price by a couple of thousand dollars from what I have put it here for. In some of the photos I draped them over the shoulder so you can see them better. The dress absolutely exudes joyful exuberance and the colours are amazing. This dress sold out world wide when it was produced and there are very few out there. The dress is strapless with a built in inner corset piece that is stiffened with a flattened front panel. It comes in at the waist and then curves out over the top of the hips. This leaves the skirt unlined as the inner structure ends there at the hips. The sheer amount of fabric in the skirt keeps it from being completely transparent. Over this inner structure lies the feather printed silk chiffon which is attached and draped around and over the top of the bodice. In the photos I took without the ribbon at the waist you can see how it has been hand stitched into place to give some shape. The skirt is then inset all the way around in a series of very structured points. The hem is left unfinished so no extra weight is added. When you have this on and walk in it each panel moves independently and swoop and float around you like some fantastical fairy costume. The colours in the dress are spectacular and the print is meant to suggest the bird of paradise. The blue is a rich saturated shade and then the other colours mixed in are stunning. To see it in person and how it moves is literally like looking at a moving three dimensional piece of art. Excellent overall condition with a note below.

The inner dress is shaped and light boning as described above. Over this is a nude silk chiffon that falls to the top of the thighs. The dress closes with a back hidden set zipper. It is tagged a McQueen size 42. The white ribbon is not original to the dress but will be included. I see a tiny bit of stress to the seam along one of the chiffon panels that attache to the bodice and there is wear to the silk on each side of the bodice. It seems stable and held up to a dry cleaning. Please see the photos after the label shot. It looks unworn otherwise. Priced with these in mind. When the panels are wrapped around and tied at the back those areas are completely covered.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Seam at top of hips: to 20" flat across from side seam to side seam
Hips under that seam: open
Inner corset length: the inner corset is 16" from the top of the bodice at the side to the end of the corset at the top of the hips.
Length: 41.5" from the top of the bodice to the hem

Modern Sizing Equivalent: SML-MED

Item# DD3946

Reference Photos/Video: (1-5) Spring 2003 Alexander McQueen Collection, Look 40 modelled by Daniela Lopes.  /  (6) From the book "Alexander McQueen" 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.

The exact twin of this dress, with an optional belt at the waist, was shown on the Fall runway in 2015 for Look 51. In Vogue's review of the collection journalist Nicole Phelps noted the new guard that the brand was under that season saying; 'Tonight was the night. Peter Copping, Oscar de la Renta's handpicked successor, made his runway debut....De la Renta and Copping were to have worked side by side, but de la Renta's death, just days after Copping was appointed last October, prevented that. Copping left a type-written note on each seat: "I am immensely proud to have been chosen as the creative director of Oscar de la Renta," he began. "Unfortunately things did not go according to our plans and I never had the chance to work with Oscar, which is something I deeply regret." ... Copping had just three months to put together the collection, significantly less time than he's used to. Those challenges aside, he did a fine job honoring de la Renta and the house that he has inherited.' This is one of the final gowns of the show and is utterly beautiful. We of course know that staying at ODLR was not in the cards for Peter but it is still always a good thing to have a piece from a debut collection and a piece of a brand's history and legacy.

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 and has never been worn. It still has its original hang tag attached even. The dress builds on Oscar's legacy and stays true to the houses aesthetic. It combines an open lace bodice that tops a silk chiffon skirt. The bodice is cut to be very fitted to the body from the top of the strapless neckline to where it ends under the hips. The bust is strapless and fitted. It is cut to dip down a touch at the back. The upper back is left bare. It tightly hugs the body, curving in at the waist, and then skims your hips. The seaming to create that beautiful shape is all hidden and this shape gives the the dress a sense of added length. It is made from a black crocheted feeling lace that is done in a floral pattern. This lies over a white silk base so that the pattern of the flowers absolutely pops. The silk under the lace has the texture of a grosgrain ribbon and this adds a touch more depth. It has a full built in boned corset inside the bodice so you don't have to worry about additional underpinnings. There are also full built in underskirts for the low set skirt that sits under the elongated bodice. The skirt flows directly out from the bottom of the bodice and has an insane amount of volume. There is a wide inner band of stiffened netting that circles the hem to help hold the skirt up and keep the shape. It is made out of silk tulle, a silk organza and then bands of a floral ribbon lace are worked in vertically. These are all pieced and sewn together in vertical rows that give it all of that volume that you see. There is a band of black velvet that details where the skirt and bodice meets and this falls in long ties at the back topped with a bow. It 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. The movement of the skirt when you walk is incredible and you can see in the runway video we have added for reference just how amazing it is on. For the runway they styled it with a thin pink belt for a pop of colour. You could easily emulate this at home with any colour you wish or just wear it on its own and keep it simple and easy. It is a beautiful dress. Excellent condition.

There is a full built in cupped corset that closes with its own zipper and then the dress closes over that with a back hidden set zipper. The rest of the bodice is lined in an ivory silk taffeta. Inner net and tulle skirting are finished with a wide band of stiffened netting. There is an inner silk layer with a stiffened hem and then a tulle and silk layer over that and between the outer silk. Tagged an ODLR 8. This has never been worn and still has its original hang tag.

Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 25" from the top of the bodice to the bottom of the black velvet seam
Skirt: 34" bottom of the black velvet seam to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3941

Reference Photos/Video: Fall 2015 Oscar de la Renta Runway, Look 51 worn by Kadri Vahersalu.

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. The dress is from his main label and these were made to couture standards. It is incredible to see in person.

This might be one of my favorite dresses I have had in the shop, The photos do not do it full justice and it is only when you see it in person that you realize just how beautiful it is. It is made out of a black French lace and this is the only fabric used on the exterior. The lace completely covers the dress and I would be astounded to know how many yards of lace went into making this dress. The bodice is strapless and meant to be fitted. It is lined in a fine tissue silk and boned for support. The lace covers the exterior completely and I love that he set it so that the scalloped and curved edge peaks above the top edge of the bodice and also does the same at the waist seam. The skirt is extremely full under that and I did not add an additional crinoline under it for these photos. You definitely could if you wanted to though and if you wanted a true full grand ballgown skirt feel. The volume that you see was all created by the sheer amount of fabric, the cut and the lace tiers that run over the skirt. It is cut to be full over the hips and then widens out even more as it nears the floor. I love the tiers of lace that cover the skirt. Each is set to slightly overlap the next one down and each gets slightly wider and longer as they near the hem. No expense was spared on the lace. Even the area between the tiers are finished with lace despite that fact that you can’t see them. Each tier's lace is set to that the edges are scalloped to follow the pattern and shape of the designs in the lace. I took a photo where I hold the skirt up on one side and this will give you an idea of the amount of yardage the skirt is made from. It is incredible. The inner construction of this dress is as good as the exterior and it is made close to a demi-couture level. The skirt is fully lined with a black silk inner skirt and then there are three more layers of a black silk net tulle under the top lace layer to help hold the shape and volume. This is a truly stunning dress. It appears to have been worn very little if at all. Excellent condition

Fully lined in a fine black silk as described above. The skirt has three additional layers of attached inner black tulle skirting. It closes with a hand set back metal zipper. Boned through the bodice. Hand finishes throughout. The dress looks to have been worn very little if at all. 

Bust: to 17" flat across from side seam to side seam with room for an A-B cup
Waist: 14" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 10" from top of bodice to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3943

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 not 100% perfect but it does have the significance of being from Mr. Valentino' final show before he retired. It was Look 84 and we have added a runway shot and video from the show so that you can see just how fabulously the dress moves when on the body. This one is also a larger size which is always a nice thing to find with so much of vintage being smaller. Vogue said this last collection; 'Crisply puncturing the potential for a predictable end-of-era wallow in sentiment, Valentino played it as an upbeat, fast-paced whirl of breezy, pretty, drop-dead gorgeousness that blew any lingering sense of ladylike stuffiness to the winds. If there's a problem, it's only being spoiled for choice. What to pick from the head-spinning plethora of dresses on offer?' and indeed the collection was full of stunning choices including the twin of this gorgeous piece.

The dress is an unusual but beautiful combination of a pink, purple and a yellow silk crepe. The pink is the primary color and is used for the supermodel length skirt that falls from under the strapless bodice. It falls in a cascade of fabric that widens out gently as it nears the floor. On one side the top pink layer is slit to the top of the thigh and this reveals the other colours underneath. Directly under the pink layer is a soft yellow that follows the cut of the pink fabric above it perfectly including the slit. Then under that is an inner skirt made of a purple. The inner layer is closed all around and the other two float above it so that they have the wonderful movement that you see in the video. Topping all of that is a high cut banded bodice that ends just under the bust for an empire feel. There is a large flat knot on one side above the slit skirt for the illusion that it is all wrapped in place around you. It is stunning and in its original length. It is perfectly sound and otherwise in excellent condition structurally but does have some fading so please read the condition notes below.

The dress is fully lined in a purple silk. It has an inner bandeau waist that closes separately and then it closes over that with a side hidden set zipper. Light boning through the bodice. The dress has some fading on the purple parts. Primarily on the bodice and a strip running down on side. The zipper pull is missing on the inner zipper. Otherwise completely sound. Please see the photos after the label shot. Priced based on these and sold as found and final sale. Tagged a Valentino 10

Bust: 18" flat across from side seam to side seam
Seam under the bust: 16.5" flat across from side seam to side seam
Natural waist: 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 5" from top of bodice to seam under the bust
Skirt: 52" from seam under the bust to front hem, 54" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD3939

Reference Photos/Videos: (1-5) Spring 2008 Valentino Runway Collection, Look 84 modeled by Anna Tokarska.  /  (6) Spring 2008 Valentino 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.

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. The scarf finish of the skirt on this dress gives it so much drama and movement and the fabric are the best that can be found. It is a very easy to wear dress with lots of impact, and of course, wearing Chanel is never a bad idea. 

This dress has so much movement to it once on the body and it is a joy to wear. It is actually very short under that chiffon ribbon overlay. It is cut into a simple tank style that you just slip on over the head to wear. The body of the dress is made of a fine black cashmere and silk mix that is ribbed so that it has some texture and detailing. The dress has a nod to the twenties to it in style. It is cut so that the body of the dress skims over you with no seam at the waist to break the eye. It simply falls to the top of the hips where the seam is set on a jagged angle all the way around. A series of silk chiffon panels fall from that edge in various lengths. This gives the dress tremendous movement as the chiffon will move with the slightest breeze or when you move. It also gives you coverage while still allowing the legs to flash from underneath. A very sexy detail. Under the chiffon the dress flares out to a flippy little underskirt in a solid texture cashmere. A little double C logo sits at one side of the hip. This dress is an amazing and a wonderful example of how Karl took past references and made them feel very Chanel. Excellent condition.

Unlined and slips on to wear. It is made from a cashmere silk mix. Tagged a size 42. It does have some stretch and should fit a variety of sizes. I have given the comfortable range of stretch while it is lying flat in the measurements below. You could probably go a little beyond that range listed depending on how fitted you wanted it. It looks to have been worn very little if at all

Bust: 12-18" flat across from side seam to side seam
Waist: 12-17" flat across from side seam to side seam
Hips: 14-20" flat across from side seam to side seam
Length: 31" from top of shoulder to inner dress hem, 48" to longest point of the silk chiffon ribbons

Modern Sizing Equivalent: XS-MED

Item# DD3937

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 very little information of the cruise collections from the early 2000s but I do know that this came from the estate of a woman who shopped a lot at Chanel. Her things were stunning and she took immaculate care of them. The other Chanel suit I have at the moment is also from her estate (find that one here). She was not a size 0 and it is nice to find some Chanel pieces that are a slightly larger size when so many that I see are usually very very tiny.

The suit is constructed from a chic black version of the Chanel signature fabric. This one is done in a fabric that combines a fine wool with a touch of angora that is then woven on the bias in the traditional manner of their boucles. This gives the fabric movement while still holding the shape beautifully. The classic black gives it a very rich and luxurious feel. It is absolutely beautiful. I also love that the skirt is cut longer in this one so that is has a more formal feel. And of course being two pieces in a classic black means that you instantly have endless styling options to mix and match with other pieces from your wardrobe The suit is edged with a looped wool edging that gives it some added texture. This has been set to run down the front edges, curve around the back and then also circle the hem of both the jacket and the skirt. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape. The sleeves are long and I love the pockets that sit on each side at the front with their little tufted edging. The jacket hooks to close at the top of the neck with a little glossy black camellia glower button and then it fall open under that. The skirt is cut with a slight flare as it nears the hem. It has a simple waist with no banding the upper part of the skirt is more fitted around the hips and then it opens up to create the beautiful lines that you see. The entire suit is lined in the highest black silk chiffon. I especially love the cuffs on the jacket. Each has three of the same camellia buttons as the one at the neck and the fringe edging goes up and lies beside the row of buttons. The cuffs are slightly flared and they amazing. This is classic Chanel and it is exceptional. Excellent condition.

Both pieces are fully lined in a black silk chiffon. The skirt closes with a button at the top of the neck as described above. The jacket hooks to close down the front. The pockets on the jacket have their original tacking in place. Each cuff closes with a series of hidden set snaps. Light padding in each shoulder. The skirt closes with a hidden set zipper. The texture are even better in person. Both pieces are tagged a Chanel 42. The skirt seems to have a generous cut. It is very light in weight and the fabric and silk chiffon lining give it a slightly transparent feel in string light

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

Jacket
Sleeve: 23"
Shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 19.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt
Waist: 15.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 32" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3938

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 was woman as dandy." declared Tom Ford. That was his comment to Vogue's Sarah Mower. Her review talked about 'the sinuous twenties and thirties feel he (Ford) melded into satins and chiffons for YSL's Spring collection....Together with the major frizzed hairdos and sexy high-heeled spectator shoes in leather and canvas, it added up to a new silhouette for the tall, sexually-in-control woman Ford envisions as the spirit of modern YSL.' She went on to talk about the dresses that season saying; 'There followed a line of equally individual gowns in satin and chiffon, worked with curving scalloped layers and plissé skirts and held up by the finest shoulder straps....The visions of pared-down, re-imagined Deco glamour kept coming. There were more sober options in black, with strands of jet beading moving over dark georgette' This was a a dress that was made for retail production and not shown on the runway but has that same wonderful twenties inspired feel and sense of sensuality.

This is the kind of dress that you see in real life and it makes you swoon. As good as it looks in the photos it only really comes to life on the body. When you move in it the air around you picks up the silk chiffon that it is made out of and it has the most beautiful movement. The dress is cut with a very soft and easy feel much like the dresses of the twenties and thirties. The bodice is suspended from two tiny straps that curve over your shoulders. The center dips softly down and a panel of chiffon sits over a single layer of the chiffon underneath to keep you covered and respectable. The dress is entirely cut on the bias so that it drapes down and over the bust and waist yet still shows off your curves. There is a seam just under the hips that has a curve to it and this is then edged in a tiny ruffle of chiffon. Two unlined tiers of chiffon fall under that. At the front they curve up a bit so you get a flash of leg when you move. At the back the dress is cut to plunge very low with panels of chiffon set along the edges of the plunge. These move with your slightest movement and the contrast between the panels and your bare back is very sexy. The dress skims over you to meet those two bottom tiers of chiffon. He then extended those out and past the hem to create a slight trained effect behind you. If all of that wasn't enough the seam work that extends down the length of the body of the dress is all set in curves and points to give a nod to the fantastic seaming of the twenties and thirties. The entire dress weighs ounces and it is almost like having nothing on at all. It is so sexy and yet so refined. It is just amazing and even better in person. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in fine silk through the body and closes with a low set side zipper. Tagged FR38 but generous in cut. The bias cut should allow it to fit a variety of sizes. It appears to have been worn very little if at all.

Bust: 16-19 " flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 52" from top of shoulders shortest part of the front hem, 68" to longest point of the back hem

Modern Sizing Equivalent: XS-SML maybe a small hipped MED

Item# DD3934

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 Karl Lagerfeld's own label. He launched his self-named label in 1984 and I believe this dress is from the early 1990s. Pieces from his personal label were far edgier then the work he did for Chanel. It was a label where he explored a more avant garde feel with his designs and pushed the envelope more. This is a fantastic example of that yet is still cut with the sharp tailoring and flattering lines he was known for.

The dress is made from a black crepe that is light in weight and falls beautifully once on the body. The body of the dress is cut in a simple silhouette with a full length skirt, a simple bodice and straps that curve up and around each shoulder. The waist is seamed and detailed with a panel of the same fabric that has been gathered in a band that runs around the waist to the back where the back buttons in place over a zipper. The sleeves are spectacular. Each is suspended from a flat strap that is attached to the top of each shoulder strap. These swing over the front of your shoulder and then you slip your arm through the attached sleeve. Another strap is set at the back of the neck extending out from each side. Once this strap is hooked together it cleverly holds everything perfectly in place so the sleeves don't fall down your arms. I love how this leaves your entire upper shoulders bare and how the edge of the top of the sleeves perfectly lines up with the top of the bodice. The sleeves have a wide panel of flat rectangular silver sequins around the elbows and again at the wrist for a pop of metallic flash. The cuff under that flares out slightly and there is an extra high slit that runs up one leg. This is a dress that really needs to be on to fully come to life. It is spectacular. Excellent condition with a note below

Unlined except for the front bodice panel which is lined in a black silk. It closes at the back with a hidden set zipper and buttons. The neck strap hooks to close behind the neck. Hidden set zippers on each cuff. Light boning through the bodice. I see one of the silver sequins missing and two that are cracked or broken. There is minor pilling to the fabric on the sides of the bodice. Please see the three photos after the label shot. Priced in mind of these small flaws. Tagged a vintage 38

Sleeves: approx 25"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 15" from shoulder to dropped seam above hip
Skirt: 44" from waist to hem
Slit: 28" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3407

Reference Photo: Fall 1991 Karl Lagerfeld Runway. Model: Yasmeen Ghauri.

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

When this Balmain debuted it was sold exclusively through Farfetch. That means that very few were produced and it was a very hard dress to get. It immediately sold out and there as only one production run released which has made it a very rare dress to find.  'Welcome to my jungle' said Olivier Rousteing to Vogue that season and went on to say that this was his most personal collection ever. It's twin was worn by supermodel Karlie Kloss to the Balmain after party that season which give you an amazing glimpse of how it looks like once on. It is a very special piece and I love it.

The dress is made from a leopard print silk jersey that is cut supermodel long. The fabric has some weight to it because of the sheer amount of it that there is and this helps to keep the drape and flow of the skirt perfectly in place once on the body. It is cut in a high set halterneck at the front and the fabric there is gathered in vertical folds so that it skims over you. A wide band of black curves around the neck and then down the sides. At the waist it forms a criss cross pattern around the waist that curves around to the sides. At the side of the waist between the black the fabric is again gathered in for detailing. The black bands gives the illusion of a waist cinching corset belt and draws the eye while highlighting the curves between the bodice and that amazing skirt. At the back the dress closes at the nape of the neck with two snaps and both are topped on the exterior of the strap with a gold raised lion head. It scoops into a low curve under that to leave your entire upper back bare. The signature chunky, exposed Balmain zipper sits low at the back. The skirt falls to the floor from there and there are yards and yards of fabric in it. The hem is cut longer at the back so that you have a bit of a train and at the center of the front it is split to the thigh. So when you walk you have this flash of leg showing and when you walk away it is equally as dramatic. It is amazing. It was never worn and is like new. Excellent condition

The dress has a full black stretch jersey inner lining. It closes at the back of the neck with snaps and at the low back waist with a zipper. Tagged a modern Balmain 42.

Bust: to 18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: approx 16 " from top of bodice to waist
Skirt: 48" from waist to shortest part of the front hem, 65" to the longest part of the back hem
Front slit: 33" from hem to top of slit

Modern Sizing Equivalent: SML-MED

Item# DD2970

Reference Photos: Karlie Kloss at the Balmain After Party on September 25, 2014 in Paris, France.

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.

Hubert de Givenchy moved to Paris in 1942 where he worked for Jacques Fath, then Elsa Schiaparelli, and eventually Cristobal Balenciaga. Givenchy often attributed much of his later success to the years with to Mr Balenciaga and what he learned while there. In 1952, Givenchy founded his namesake house in Paris and quickly rose to fame as one of the great couturiers of our time. I am always pleased to find any of his Couture work as it is rare and this particular dress is exceptional with every detail on it finished to Haute Couture standards.

The dress is made from a fine silk chiffon in a dark brown colour. Worked through the chiffon are metallic dots that are made from several hues of metallic threads ranging from gold, silver and copper. These catch the light as you move and give the silk a real sense of movement as the light plays over the metallic bits and they move in and out of the pleats that dress is done in. It is really an amazing effect. The dress is immaculately made. Down the center of the front and the back is a panel of the fabric that has been hand pleated in a series of sharp little knife pleats softened by the lightness of the fabric. This creates a series of vertical pleats that add detailing and also give the dress more movement. The sides have no pleat work and this is a clever way for the dress not to swing out so much that you lose all shape. When worn without a belt the shape is loose and easy. I have added a grosgrain ribbon to give it some shape and you can see how much that simple addition changes the look of the dress. The sleeves billow out above their buttoned cuffs. The neckline is cut wide across the shoulder and it is accented with a mink fur collar. The dress is made to couture standards with all the inner seams finished by hand. I have included a shot of one 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 with one note below

The dress is lined in a hand set fine brown silk. The sleeves are unlined so have a touch of transparency to them. It closes on the interior silk lining with a hidden hand set, painted metal zipper that is hidden under the edge of the pleats at the back. The exterior layer snaps into place over that. Each cuff of the sleeves button to close. The ribbon is not original to the dress bit will be included. Finished to Haute Couture standards and entirely done by hand. Haute Couture tape label is present and numbered #59349. The easy cut should work on a range of sizes

Note that you could switch out the fur for a faux or even have it removed and the edge finished underneath of the fur bothered you and then just keep the fur stored for archiving purposes.

Sleeves: 26" but there is no set shoulder seam
Shoulders: no true seam
Inner bust: to 17" flat across from side seam to side seam
Inner lining waist: to 18" flat across from side seam to side seam
Inner lining hips: to 22" flat across from side seam to side seam
Length: 51" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED if the bust works

Item# DD2936

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

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

This is a gorgeous Valentino dress whose twin walked the Fall 2002 runway on the amazing Bridget Hall. It is beautifully made and a wonderful example of Valentino's work for his main line during this time period. It also has the added provenance of having been worn by Actress Katja Herbers to the 2022 Critic's Choice Awards where she was nominated for Best Actress in a Drama Series for her work in the show Evil. The dress is exceptional and you only have to take one look at Katya in the dress to see just how fabulous this is on an actual body

This is an incredible dress. I love its bareness at the top with the full open back and the low front plunge. It is a little sexier then some of his work tends so be but it still manages to feel elegant and refined. It is a dress that really comes alive on the body. It is very light and easy to wear despite its thousands of sequins. It is cut to perfectly fit and skim over the body. It is made from a lightweight bias cut silk net that is covered in thousand of little copper sequins in two sizes. Mixed in with the sequins are tiny little metallic flower shaped sequins in a slightly different copper colour. The bodice is cut into a halter with tiny little straps that curve up and over the shoulders. At the back the straps cross over your bare back which then dips into a low curve across the small of your back. This leaves the back almost completely bare. The front is equally as bare. The halter covers the breasts and then plunges low. There is no seam at the waist  to break the line of the eye. The bias cut of the fabric simply curves it in and creates shape. Under that the skirt flows to the floor and gradually widens out as it nears the hem. It is wider then it feels standing still and I love the way that the skirt cut a little longer at the back to give the feel of a slight train there. The  dress is lined with a nude silk that is set by hand around the bodice and back and then falls to the floor to meet the hem of the outer layer. The combination of the silk net and the fine silk lining keeps the dress wonderfully light. At the hem the solid covering of the sequin changes to this round medallion feeling pattern and there the sequins are set more on their sides at the middle of each medallion and then burst out from there to form the circle that you see. It is a beautiful example of Mr Valentino's work with the added bonus of its recent red carpet provenance. Excellent condition with a minor note below

Fully interlined in a nude silk and closes with a low set hidden zipper at the base of the scoop at the back. Hand finishes throughout. There are some missing sequins near a side seam, some near one medallion at the hem and along the back straps. There is a small part of the hem that is missing its edge. I see a tiny mark in the inner lining and very evidence of lipstick on the inner lining. Please see the photos after the label shot. It was worn on the red carpet exactly as it is so these small flaws obviously have no impact when worn

Bust: each halter is 6" across at its widest point
Waist: 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 63" from top of shoulder to front hem, 68" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3933

Reference Photos/Videos: (1-3) Fall 2002 Valentino Runway. Look 53 worn by Bridget Hall.  /  (4-6) Katja Herbers in Valentino at the Critics Choice Awards, 2022.

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

This exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period.  This dates to the early - mid 1970s when he was doing these wonderful metallic detailed dresses. It is a very easy and comfortable dress to wear and I chose it as one of the pieces when I did an editorial for 10 Magazine as I felt it perfectly represents this time period. His work was integral to the label's development over the decades he headed the atelier and this is a stunning example of his vision. Beyond that, it is just an extraordinarily beautiful dress.

This dress is incredible. It is super light and very easy to wear. The outer layer of it is a fine silk chiffon that is shot through with a gold thread pattern that covers the entire dress. The gold is woven through the silk to give the dress its metallic finish and catch the light from every angle as you move. The neckline is a scooped and there is a yoked detail that runs around the neck and top of the shoulders. The dress billows out from there with an almost caftan feel to it. If you wish you can wear it in this very loose and easy way or you can use its matching rope belt to cinch it in and add shape through the waist. The softness of the body is balanced out by fabulously full sleeves. They each billow out above their buttoned cuffs. The sleeves are not lined so you get this wonderful sense of transparency. The dress comes with a matching elastic waist inner skirt in a deep green and also has its original belt to cinch in the waist. The belt is a treasure in its own right. It is made from gold and green twisted rope cording. Five full cords have been used to make it and they are attached to each other for the part that circles you waist and then fall separately to cascade down you when it ties into place. It is very easy to wear but packs a tremendous amount of style with the gold thread an spectacular fabric and cut. It is made to demi-couture standards. Excellent condition.

The dress has an attached inner green silk lining with the sleeves left unlined. It comes with a separate elastic waist inner skirt that slips on and is made of a green silk taffeta that you can choose to wear with it or not. It slips on to wear with buttons at the back neck. Each sleeve has a three buttons at the cuff. The belt is as described above. Hand finishes.  The loose and easy cut should allow it to fit a range of sizes and you could easily change the separate half slip underneath if it did not fit perfectly

Dress
Sleeves: 25"
Shoulders: no true seams
Bust: to 24" flat across from side seam to side seam
Waist-hips: open
Length: 56" from top of shoulder to hem

Inner half slip
Elastic waist: 12.5-21" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 36"

Belt: 70" long from end to end and 1" wide

Modern Sizing Equivalent: XS-LRG

Item# DD3935

Reference Photos: Cherie, Owner of Shrimpton Couture, from her feature in 10 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.

Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled. She was known for designing and creating garments directly on her models and this became a signature of her work. She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find. This one is exceptional

I have dated this dress based on information from my client and on a variation of this dress held in the collection of the Fine Arts Museum of San Francisco. I have included a reference photo of that dress and you can see the similarity in cut and fabric. The collection notes on the museum held dress even mention a matching cape. This 1970s period is about the time period where she turned her attention from using primarily jerseys to incorporating more taffeta and silks into her work. That and the fact that the Museum dress also has a matching cape feels too coincidental for it not to be from that same collection. It is also interesting to note that the Museum held dress has been exhibited twice. Once for the "New Look to Now", at de Young Museum, 1989-91; and it was lent to the Metropolitan Museum of Art, for "Mme. Gres" in 1994. 

Both pieces are made from a fine silk taffeta dyed to a deep green colour. This fabric choice keeps the weight of the dress down despite its volume and the fabric also holds the intended shape beautifully. The bodice has no sleeves and is cut so that the shoulders slightly extend off the shoulder with this subtle little curved line. The bodice skims over the body in a long column to the dropped seam at the top of the hip. There is actually an inner skirt under the full top skirt that falls right to the floor with a high side slit up one side that allows you to be able to walk in it. This also gives a very unexpected flash of leg when you move or sit in the dress. The top skirt is pure drama. It is cut on a curve that comes up at the front and then swoops down to the floor and falls behind you at the back for a slight trained feel. That curving line is almost sculptural and gives the dress a different feel from every angle that you see it from. The outer skirt is set to fall away from the body with lots of volume and shape but the fabric is so light that you also get movement and a floating feel when you move. This was achieved by gathering the taffeta into soft pleats all along the curved seam there. Underneath the skirt there is a second shorter ruffled peplum layer that supports the fabric and holds the shape. Over this is a matching silk taffeta cape that is almost monastic in its simple lines. It simply hooks into place at the neck with one tiny hook and then falls beautifully over the shoulders. The cape flows and extends down the back mimicking the curved line of the skirt. At the front it hits right where the skirt begins and this is a clever way to extend the eye downwards. It is cut so that it falls in soft rounded folds that pick up the soft pleats of the skirt below it and ties everything together beautifully.  It is magnificent. Both pieces are completely made by hand. The proper Madame Gres Haute Couture label is present. This is an exceptional gown. I love it. This is a rare opportunity to own an original Haute Couture Madame Gres. It is an extraordinary thing to see in real life. Excellent condition with a minor note below.

Both pieces are unlined with hand done couture seams throughout. The dress closes with a off-set back zipper that is camouflaged along a vertical seam. It then closes along the top of one shoulder with a series of hooks and snaps. The cape has one single hook & eye to close. Inner peplum that supports the skirt as described above. I see some very tiny marks on the bodice. Please see the photos after the label shot. There is a very faint perfume smell on the dress from a fitting for a potential award show. I did not want to clean it again as its extremely faint and not an issue. The dress should fit a range of sizes since it is not meant to be very fitted.

Dress
Bust: to 18.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips at dropped seam: 20" flat across from side seam to side seam
Natural Hips: to 22" flat across from side seam to side seam
Bodice: 23" from neck to dropped seam where over skirt begins
Inner skirt: 37" from dropped seam where over skirt begins to hem
Total Length: 60" from neck to hem of inner dress, 67" to longest point of the back of the trained top skirt 
Slit: 20" from the hem up

Cape: will fit any size and falls to 30" a its longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3227

Reference Photos: 1977 Madame Gres Dress from the Fine Arts Museum of San Francisco.  /  Cherie, Owner of Shrimpton Couture.

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

The notes for the 1972 collection in the book 'Dior, The Catwalk' tell us that The New York Times declared Marc Bohan's collection for Dior as 'the best of the season in Paris'  that year. There was also the information that of all the Dior collections, the full records for this particular one did not survive the passages of time so finding a piece that still has a fair amount of documentation is a bit of a miracle. While we did not find a photo of this exact version we did find several photos that show similar sets to this one in a variety of colours and prints. I have included them so that you can get an idea of how chic this set is once on and how central to the theme of that season these were.

This is a wonderful example of his work during this time period. Both the top and the pants are made from a feather light black silk with a satin finish. This fabric is notoriously difficult to work with and when you add in that it was all entirely made by hand the level of workmanship takes on a whole new meaning. It is a set made up of a low plunging top and chic simple pants with a wide cut leg. The top is cut to skim over you and snaps to close from the hem to the bottom of the plunge that you see at the front. The waist is gathered for shape and under that the top extends in the traditional couture manner with a panel of fabric so that when you tuck it into the pants it stays neatly in place. It is all made out of the same fabric though so you can also choose to wear it un-tucked as well and get an entirely different feel. The collar is rounded and has a bit of a seventies flare to its shape. The front plunges almost to the waist where it meets the first hidden set, silk covered snap just above the waistline. The pants are made of the same high end black silk. They have a wide cut and are a full 26" around the bottom hem. The waist is banded and there is a panel of fabric that wraps around you to snap and hook into place so you get this fantastic gathered cummerbund effect. If there ever was a piece that needed a real body in it this is it and I can guarantee you that once on this is as chic and sexy as they come. I also love that being two pieces, the set gives you the versatility to break it up and wear it with other pieces you already own so that it extends the wearability of the set. This is a rare piece of fashion history. The proper Haute Couture label is present and is dated and numbered. It appears to have been worn very little if at all. Excellent condition

The top is fully lined in a black silk chiffon. The pants close with a fine metal zipper and the sash at the waist hooks and snaps into place. The top snaps to close with a series of hand covered hidden set silk snaps at the bottom as per the description above. Each cuff buttons to close with a hand covered black silk button. Entirely made by hand. The Haute Couture label is present and numbered #01484

Top
Sleeves: 21"
Shoulders: 14"
Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 22.5" from neck hem

Pants
Waist: 12" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 39" from top of bodice to waist
Inseam: 26.5" from waist to hem
Rise: 11.5 from Bottom seam of waist band to inner seam
Pant leg width: 26" around

Modern Sizing Equivalent: XS-SML

Item# DD3931

Reference Photos: (1-2) Dior, 1972.  /  (3-4) Models in Dior, Jours de France Special Pret-a-Porter, Fall 1972.

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 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.

Bust: adjusts with the tie at the back. When laying flat is can go to 21" across from side seam to side seam but once on it will drape down the back which takes up some of that.

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.