James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. The workmanship and craft put into them were made to a level that was on par with the official French couturiers. Galanos was a master cutter and draper. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This dress is a showstopper. When it is off the body and laying flat it looks almost awkward but once on it completely transforms. It is strapless and the bodice is absolutely amazing to see in person. A brilliant blue silk has been covered with a gold metallic netting. Attached onto that is a dense application of gold sequins that are set to follow the pattern in the lace underneath. If that was not enough he then worked blue and iridescent beads in and among the sequins. These create a 3D feel as the pattern is raised off the netting. It is very elaborate and glamorous. Inside there is hidden boning and support built in so that once it is on the bodice hugs you like a glove. I love how the bodice extends down and past the hip and angles down on one side. This gives it a slightly longer line and more interest than it would have had if the waist was just cut straight across. It makes the break between the bodice and skirt softer. The skirt is incredible. It is attached under the bottom edge of the bodice and the fabric of the skirt has been completely cut on the bias. It is made of an incredible light silk that has been covered in a wash of gold thread. Parts of it has a denser application of the gold and the pattern this creates picks up on the pattern made by the sequins on the bodice. It drapes over your curves and moves with you as you move. It is so insanely sexy and so obviously couture that you will literally have your breathe taken away. If you have been looking for the ultimate dramatic statement dress this could just be it. Exquisite in every way. Excellent condition

The bodice is lined in a blue silk satin and has hidden boning and structure inside. The skirt has an inner silk chiffon skirt. It closes with a side set zipper. Ribbon seamed inner seams. Hand finishes throughout 

Bust: 18-19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 11" from top of bodice true waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3738

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This dress is absolutely stunningly beautiful and very special. Versions of it were photoed on actresses Sylvia Kristel and Claudine Auger. It is an incredibly beautiful example and historically important example of the work that the Chanel ateliers were doing during this time period. 

This dress is heaven. The lines of it are beautiful and as good as it looks on the dress form it will be even better once on an actual body. It is one of the most romantic dresses I have ever had in the shop and I feel that this would make an extraordinary wedding piece for a bride looking for something not as traditional. It would work for any event really where you want to feel like a goddess. The bodice of the dress is stunning. It is cut in a modified halter and at the front there are two triangles of silk chiffon that gather and drape over each breast. These softly curve up and around the neck to hook into place at the nape of your neck. At the back there is a panel attached at the top of the neck that drape down your back and wrap part way around the waist on either side. A long slim slit is left open down the centre of the back. I love how the sides wrap over the front of the dress. It is such an unusual way to have set the fabric and so very couture feeling in the way that it has been executed. At the front the middle part of the bodice is detailed in an extremely intricate manner. The silk chiffon has been gathered and stitched by hand to form those little repeating diamond patterns that you see. This is all done by hand and the work to do this and have it all lie flat and perfect like it does is mind boggling. This pin tick finish runs to meet the base of the halter and also curves down the waist seam and wraps all the way around to the back. This beautifully highlights and cinches in the waits but in the softest possible way. I love that this detailing is bordered by a little piping of the silk that has been meticulously placed by hand. This painstaking pin-tucking and gathering technique would have taken hours and hours to accomplish. From under the waist the skirt flares out to the floor and is made up of many yards of that beautiful pale turquoise bias cut silk chiffon. The fabric is feather light so that your slightest movement will cause the silk to flow around you. Under the top layer of the skirt is a second layer of the same turquoise silk and then there is a nude silk chiffon inner skirt that is fully lined underneath. The interior of the dress is made to couture standards and it is an absolutely work of art to see. It is one of the most beautiful dresses I have ever seen. Excellent condition with one note below

The bodice is lined in various layers of silk chiffon as pictured. There is light metal boning but it is meant to be more soft then structured. A wide interior grosgrain ribbon hooks to close and then the dress zippers to close over that. The skirt is made up of three layers as described above. Finished to Haute Couture standards. Proper Haute Couture label present. There is one faint mark on the skirt on one side. It gets lost on the folds once the dress is on but you do see it if the dress is laid out flat and you look for it. Please see the photo after the label shots. 

Bust: approx 17" flat across from side to side but the actual sides are open so you have some leeway
Waist: 12-13.5" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3737

Reference Photos: (1) French Actress Claudine Auger. Photo by Christian Simonpietri.   /  (2-3) Sylvia Kristel in Chanel Couture, 1976. Photos by Jean-Claude Deutsch.

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

This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway. This dress would have been made during the time period my clients aunt lived in Switzerland, from the late 70s to 1993. The dress is completely made by hand to Haute Couture standards and it is gorgeous. It is not perfect but the flaws it has are minor and it is still perfectly wearable.

This is a dress that as good as it looks on the dress form, the second it hits the body it really comes to life. It is made out of a rich and heavy sueded silk that drapes and falls over the body beautifully. The dress is cut to give the illusion that it wraps and closes around you but that is all just clever design. The bodice has a low V and it skims over the bust. The dress form it is on has a little less bust then what the dress really needs and I think on the proper size girl it will fill out and the dress will have even more of a hour glass curve to it. I love the way the drape comes from the low hip and works up to the nipped in bit at the waist. This is the exact opposite of how most dresses lie and is a little mini feat of engineering to accomplish. The skirt below that curves over the hips and is scooped up at the front. It is this crossed over stopping and draping that give it its wrapped illusion. At the back the dress falls into a low V with the silk crossed over itself. You have a mirroring of the drope at the waist and on this side it is more gathered and gives the dress even more shape. All of the gathers close in to the hand set zipper on that side. I think you might even be able to wear this dress backwards. It is so well made that I would not be surprised if it worked either way once on the body. If the cut and drape of it were not enough the skirt was then trimmed with a band of tightly spaced feathers that were hand dyed to match the silk. They almost act like a weight to keep the skirt perfectly in place and definitely add a shot of high glamour. The dress is gorgeous and that pop of bright colour is just spectacular. Inside it is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship. This is a very difficult fabric to work with and it is finished to perfection. It is an incredible piece and beautifully made. The pink is slightly different then how it photoed and even better in person. Presents as excellent condition but does have some flaws as described below 

Unlined with couture finished inner seaming. The dress zips to close at the side with a hand set zipper. Hand finished throughout. It appears to have been worn very little if at all but does have some subtle discolourations from improper storage here and there and a faint mark on the back of one hip. The changes in colour are subtle. Slight foxing at the neckline. Again very subtle. Please see the photos after the label shot. The feathers are in wonderful condition and I see no signs of any shedding. Made to Haute Couture standards with a tremendous amount of detail put into its construction. It is bias cut so the measurements below are the comfortable range. 

Bust: 16-18" flat across from side seam to side seam
Waist: 13.5-16.5" flat across from side seam to side seam
Hips: 16.5-20" flat across from side seam to side seam
Length: approx 38" long but may come up a bit with the bias cut once on

Modern Sizing Equivalent: SML-MED

Item# DD3735

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

Of all of Thea's pieces, her caftans have come to represent Thea's work like no other piece of her clothing that she designed. They are one of the most coveted things that you can find by here. Elizabeth Taylor for example was a huge fan and a collector of her work. By the end of Taylor's life she had amassed a large collection that was auctioned off through Christie's in 2011. Most of the caftans in that auction fetched well over $20,000USD and that was ten years ago. Barbara Bach was photoed in a one of her caftans for the cover of the Sunday Telegraph in 1977 and that photo has become an iconic representation of the era. Each of Thea’s caftans were made by hand and no two are alike. This one appears to have never been worn and looks and feels like it is straight off of her shop rack. It is really an outstanding example of her work

The caftan is very beautiful and it is even better in person. You really get the sense of the work in it and the texture that the gold thread covering the caftan brings to it. The fabric is it made out of is a printed silk chiffon. This was then carefully pieced together so that the different prints on the fabric fall exactly where to she wanted them to in order to highlight the design and cut of the caftan perfectly , Metallic thread was the used to outline all of the print in the chiffon. So the entire caftan has a covering of the gold thread. The tiniest gold sequins are worked into the design throughout. Around the border of the front and back big colored crystals accent the border. On the edge of each sleeve and at the bottom front and back hem there is a strip of a deep merlot colored raw silk. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs. I think that the burgundy strips are some of her found antique fabrics. They just have a slightly older feel to them. The caftan is unlined and it has just the slightest bit of a semi-transparent feel to it. This see-through quality makes is very sexy despite the full coverage it has. The main front and back panel of brocade is backed in a gold feeling raw silk so that they are fully opaque. The backing there also acts as a touch of structure so it sits properly once on. A chiffon tie made of the same silk without the metal thread added loops though slits hidden on either side of the front panel to add some shape. If you decide not to tie it the slits are done along the seam and are not apparent. A very special piece and extraordinarily beautiful piece. Excellent condition.

Unlined and slips on to wear. Has a matching chiffon fabric sash that you can slip through slits at the front to add shape. It appears to have never been worn, or worn very little 

WIdth: 60" side to side
Length: 55" neck to hem

Modern Sizing Equivalent: OSFA

Item# DD3734

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 exquisite Pierre Balmain Haute Couture dress is a stunning and very rare example of what the house was producing during this time period. It is true Haute Couture and has been entirely made by hand to Haute Couture standards. It is from the Spring 1956 collection and a long full length version of the dress was photoed on Renée Breton. I love having the reference photo of it as it gives you a very good idea of how wonderful it will be on. Besides being a very wearable cocktail dress and an extraordinary piece of fashion history, this would make a stunning wedding choice for the bride looking for something not as traditional or as an option for an event over a wedding weekend.

The dress is made from the most exquisite French Alencon lace. Alencon lace is characterized by a delicate mesh work motifs surrounded by a raised rim of fine silk cording. Though it can now be made by machine  the lace used on this dress would be the authentic hand made version and would have been made and brought in specifically for this dress. The silk cord has been meticulously hand applied to the lace to follow and define each delicate motif within the pattern. The lace runs from just under the high set waist to the hem and it is breathtaking to see. At the hem the lace has been hand stitched onto a silk organza edging for a very refined finish. For the bodice he chose a simple silk jersey. It is strapless and cut to hug the body. The silk has been hand draped over the bodice in soft folds. The folds are set on a slight angle and in the center a section has an an opening on either side. Through that winds a wide black silk taffeta sash that follows under the bust and then ties at the back. The use of the contrasting black ribbon adds a stark contrast to the ivory and also visually cinches in the waist area. The skirt billows out to a beautiful fullness beneath the nipped in waist. The shape and fullness that you see is all built in. Under the top layer of lace there are layers of silk netting and tulle. The inner construction of the dress is absolutely exquisite. The bodice has a boned lingerie net corset that is made entirely made by hand and to Haute Couture standards. It has several straps that wrap around you to help hold the dress in place and built in cups. Under the skirt there are a three full layers of silk tulle and netted underskirts. I did not add any additional crinolines for these shots but you could create an even fuller shape by adding another underskirt. It is a beautiful example of the very early work that the House of Balmain was doing and a wonderful example of the golden years of Haute Couture. It is a work of art. Excellent condition with some minor notes to review below.

Fully lined in a ivory silk with extensive boning, inner construction and skirting. It closes with an intricate combination of chest and waist stays that hook to close and there are two zippers. One closes the inner corset and the other closes the exterior dress. The inner layers of the skirt are attached with some having addition half layers at their hems for additional volume. The innermost skirt is interlined with netting and the built in corset is made of lingerie netting, metal boning and padding that has been made by hand. Proper Haute Couture label and tape underneath, though the writing on the couture tape under the label has faded to almost nothing. I see a couple of small areas of darkening to the inner bodice. On the exterior bodice there are very light changes in color at the across the sides near the arms. Some small darkened areas on the lace here and there and some marks to the interior skirting. There is a mark near the top of the zipper and the lace at the bottom of the zipper is a little fuzzy looking. Please see the photos after the label shots.

A small note for brides. The Black sash is just lightly tacked onto place and could easily be removed, set aside to keep, and yo could then switch it out to an ivory (or to any other color) if the black was too stark. You could then have it fall as long as you wish as well.

Bust: 15" flat across the back from side seam to side seam with cups built in that would fit an A or smaller
Waist: 11.5-12" flat across from side seam to side seam
Hips: open
Bodice: 5" from top of bodice to seam under front cups
Skirt: 36" from seam under the cups to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3344

Reference Photos: Renée Breton in Pierre Balmain, 1956. Photographed by Georges Saad

This garment is sent in clean, as found condition and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This dress is one of the piece that were all sourced from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This one is from Spring 1976 and we were able to find a similar dress to it that was photoed for L'Officiel that year. This one has its top buttons hidden set instead of showing and I think that it makes it even more refined feeling this way. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. 

While this one photoed well I think when the person that buys it sees it on person they will be blown away. It is even better in person and the richness and quality of the silk only really can be appreciated when you have it in hand. The dress has been made entirely by hand and the silk is of the highest possible grade. It feels stupendous on. The top is cut ot skim over you and the long sleeves are slightly voluminous above their stunning cuffs. A tie extends out form the neck and as mentioned above the buttons are all hidden set under the seam so the line is not broken down the front. The skirt falls from the waist where the pleats open up so that when you move it lightly moves and floats around you. The dress is a masterclass in pleat work and an example of how finely done a pleat can be. Each pleat is exactly the same size as its neighbor and each lies perfectly as it runs over the dress from shoulder to hem. Every pleat on the dress has been top stitched along its entire edge by hand. The shape of the waist is created by a series of tiny stitched that gently bring the waist in while still holding the vertical line of the pleats. Each cuff is created by doing small pleats at the end of the sleeve and then bringing them in and stitching them down. And the loop for the buttons is on one long strip of silk with opening for the buttons to slide through. Just amazing. It is truly brilliant. Excellent overall condition with minor notes below.

Fully lined through the body in an ivory silk with all interior seams hand finished. It closes with hand made buttons down the front and at each cuff. Finished to Haute Couture standards and entirely done by hand. Haute Couture number 54218. I see a small mark near the seam under the arm, a very faint mark near the hem and a faint mark on the upper back. Please see the photos after the label shot. Note that in person the colour is a rich feeling ivory and better then how it photoed.

Sleeves: 25"
Slightly inset shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 12.75" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3732

Reference Photo: Model in Chanel, L'Officiel Magazine, 1976.

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

Without a doubt this is truly an exceptional piece of vintage Chanel and a rare find. It is a wonderful example of the work that the house of Chanel was creating during this time period. This would have been from right before Karl joined Chanel in an official capacity in 1982, however, in the couple of years proceeding his appointment as Creative Director, Karl was doing freelance work with them so you can still see his influence. The first Chanel Ready-to-Wear collection debuted in 1978 and many of the early pieces like this one were made to order. The main difference being that the pieces were sent pre-sized for the client to the boutique and then the final fitting was done in the boutique rather then at the Chanel atelier. I was pleased to have found a runway shot that dates the set exactly and this suit has the added historical provenance of being the actual suit that was worn on the red carpet by actress Sarah Catharine Paulson.

The suit in person makes such an impact. Far more then it does in the photos. The camera doesn't quite catch the vibrancy of the silk lame fabric or the texture of the chenille that details it. Both the jacket and the skirt are made from a rich red metallic silk lame. Onto that there is a black tufted chenille cord has been hand applied into a squiggle pattern. There is padding between the red lame and the inner lining and this gives it a quilted 'puffed' feel. The texture that this creates is incredible. The actual cut of the set is minimal and this simplicity really allows the fabric to take center stage. The jacket is done with that classic Chanel box cut. The sleeves are long and straight cut. There are three hook & eye at the very top of the neck to hold it closed and then it is open under that to the hem. The edges of the jacket have been finished with a band of the chenille cording to highlight the cut. There are no other embellishments and this simplicity lets it sit perfectly in place once on the body. It is cut to sit just past the waist line of the skirt and you can see how wonderfully it sits in the photos of Sarah. The skirt skims over the hips and then gently widens out as it nears the hem. The top of the waist is detailed with bands of the chenille and there are pockets hidden along the seams of each hip. The fabric is lighter then it looks so the set is very comfortable to wear. It has enough weight to it that both pieces hold their shape perfectly and it has a very sculpted formal feel to it once on. I love that you can wear the two pieces together or break it up and mix them with things from your current closet. It give its a lot of styling options and versatility. The jacket has the Chanel boutique label present and inside the skirt is a hand written / numbered label. It is made to demi-couture standards and almost entirely by hand. The numbered tape suggests that it would have been a custom ordered piece. Excellent condition

Full lined in a fine black tissue silk. Hand finished throughout. The jacket has three hook and eye near the top of the neck and the skirt closes with back hand set zipper. Hook and eye closure at the waist band above the zipper. Light padding in the shoulders of the jacket and pockets along the sides of the skirt.

Jacket
Sleeves: 22.5"
Shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 23.5" flat across from side seam to side seam
Length: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3728

Photo credits: (1) F/W 1981 Chanel Runway Collection.  /  (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon.   /  (4-6) Sarah Catharine Paulson in our Chanel suit attends the Costume Designer Guild Awards 2019, Styling by Karla Welch

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

I had this set in the shop before and brought it back in. Since it left the first time we sourced an entire editorial that showcased some of the best pieces from Ungaro's Spring 1977 collection and I have included that here. It is incredible to have this level of documentation on this set and I am very pleased to have it in the shop again.  Besides its Haute Couture origins, this Emanuel Ungaro set has the added modern provenance of being worn to Madonna's birthday party in Italy by stylist B. Akerlund.

I love the brilliant mix of bright primary colors that have been used for this look. It is made up of two separate pieces. The top is a soft scarf weight silk and then this goes with that silk taffeta skirt with its apron overlay and attached extra long sash. Both pieces are made from high quality silks that have subtly different weights and finishes to them. The top is more of a soft draped silk like you would see in a very high end scarf, while the skirt is made from a light silk taffeta that gives it the shape and volume that you see. The top is fantastic. It has a floral design woven into the silk that runs on diagonal rows across. The color is a deep jewel red and it is cut loose and easy over the body so that once it is tucked into the skirt it poufs out over the nipped in waist. The sleeves are incredible. They are cut to be very full and billow out over each cuff. A long thin open keyhole runs down the front and it is edged with gold cording and bands of silk. This tucks into a bright green silk taffeta skirt that has a cinched and banded waist. Onto the waist of the skirt is an attached wide sash done in a bright yellow silk. This extends out on each side into very long ties that you can wrap and tie around you as you wish. A long front panel of fabric falls from the waist at the front in a bit of a play on an apron and onto that panel there is a beautiful painted scene. The contrast of the jeweled colors and the painted panel on the skirt give it a wonderfully couture level 'folk art' feel. It is stunning and with the extensive documentation it has it is made even more important. Excellent overall condition with notes to review below.

The skirt is backed in a white, fine silk organza and closes at the waist with a zipper and flat hook and eye at the waist. The top is unlined and slips over the head. Both pieces are completely made and finished by hand to Haute Couture standards. There are some small marks on the skirt that get lost in the fabric or are covered by the apron for the most part. There are some small areas of discoloration on the back of the skirt and a water mark that falls mostly under the apron. One small mark on the back of one sleeve. Please see the photos after the label shot

Top
Shoulders: no defined seam
Sleeves: 26"
Bust: to 22" flat across from side seam to side seam
Waist: open
Length: 25" from neck to waist

Skirt:
Waist: 12.5" flat across from side seam to side seam
Hips: open
Length: 45" from waist to hem

Modern Sizing equivalent: XS-SML

Item# DD3729

Reference Photos: (1-3) Spring 1977 Emanuel Ungaro Haute Couture, photographed by Peter Knapp. (4-6) B. Akerlund and Madonna

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This particular set has the added provenance of having its twin photoed on actress Sylvia Kristel. We also found the original presentation photo from the couture collection that year and it shows you just how gorgeous this set will sit on the body once on. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period. 

The set is two pieces. A silk jersey dress that has incredible lines and then a matching silk jersey cardigan that is hand beaded. The dress is made out of two distinct layers. There is a complete inner dress made out of a silk crepe that is cut to skim over you and act as an inner lining. Attached to sit over that is a silk jersey exterior layer. The jersey is all cut on the bias and it is incredibly flattering. The neckline sweeps across the collar bones and sits wide at the front. A thin and open keyhole runs down the center of the bodice from just under the top of the neck to just above the waist. The waist itself is gathered into this elaborate circle that is entirely and meticulously made from hand set pleats. This creates a pretty and soft effect at the front. All around that circle is a series of soft pleats that span outwards. The back is cut onto a deep V for a little bit of skin to show. The skirt falls in a draped column and there is no seam at the waist so the line remains long and beautiful. Over this is a soft cardigan made from the same silk jersey on the exterior. Inside it has been hand lined in a matching red silk chiffon. All of the edges of the cardigan have been covered with beautiful beaded flowers and a border that is made from red and black glass tube beads. These would have been applied and created by hand by Lesage to the exact specifications given by Chanel. The bead work gives the design a slightly raised effect and they have a subtle glimmer in the light. I love this contrast between the bareness of the dress underneath with the coverage of the cardigan. It gives you two completely different looks to work with and wearing it with the jacket completely transforms the look and feel of the dress. It goes from a more bare and sexy dancing dress to something that feels more formal but still with that sense of ease created by the silk jersey. Both pieces are entirely made by hand as Haute Couture dictates and the fabric would have been made specifically for Chanel and this piece. This is a fine and rare example from this time period. It is truly brilliant and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. In excellent overall condition with notes below.

The dress has an inner attached silk dress and there is a wide grosgrain band that hooks to close at the interior of the waist, The inner dress zips to close under that and the outer dress buttons into place with a series of hand covered silk buttons in a matching fabric. The jacket is fully lined in a red silk chiffon and hooks to close down the front. Both pieces have been completely hand made. The label was removed at some point. There is a are some small marks that I have photoed. They may come out with a more aggressive or specialty cleaning. Please see the photos starting after the shot of the way it closes at the back.

The color in person is more a deep raspberry/ soft burgundy with a bit more of a red pink tome then how it photoed. The waist measurement is taken of the inner grosgrain band. You should be able to add to it if you needed more room and get another inch or two to work with. It is all hidden under the exterior dress so would be a very doable tweak.

Dress
Bust: approx 17" flat across from side seam to side seam
Inner grosgrain at waist: 13" flat across from side seam to side seam
Inner lining hips: to 18.5" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Cardigan
Sleeves: 23"
Slightly inset shoulders: 14"
Bust: 17" 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: 25" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3730

Reference Photos: (1-3) Spring 1976 Chanel Haute Couture collection.  /  (4) Janice Dickenson in Chanel Haute Couture, 1976.  /  (5) Sylvia Kristel in Chanel Haute Couture, 1976.  /  (6) Dutch actress and model Sylvia Kristel in Chanel, January 27 1976.

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This particular suit has the added provenance of having its twin photoed for L'Officiel. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period.

The suit is constructed from an absolutely stunning deep blue and white silk that is like a heavier in weight version of one of their silk scarves. It is beautiful and it is easy to see why it is such a well documented piece. The jacket is a simple box cut that has more softness to it then versions of the suit that you would see made from their heavier boucle. It buttons down the front and I love the added embellishment of a golden lions head that sits on the top of each button. These same buttons also adorn each of the two low set front pockets that are both fully functional and beautifully done. The sleeves are slightly cropped and each end in a white silk cuff. The collar is notched and it is also finished in a white silk. What is remarkable about the collar is that you can actually remove the white silk portion and the collar underneath is the same blue and white silk as the rest of the jacket. This simple change gives the suit an entirely different feel and makes it that much more versatile. I love the hand painted feeling of the dots that cover the silk and how the white of them pops so beautifully against the blue. Inside, the jacket it is meticulously hand lined in a white silk. Circling around the hem is the famous signature Chanel gold chain that adds a subtle even weight all the way around and helps to keep the lines of the jacket perfectly in place. The skirt is cut with a slight flare is it nears the hem and has a series of flat knife pleats on both sides. The waist line is finished to lie flat against the body and the pleats don't open up until after the hip. Once they do open you you get a soft flare to the bottom of the skirt. This is classic Chanel right down to the chain that is stitched by hand into the hem of the jacket. It is exceptional. Excellent condition with a very small note below.

Both pieces are fully lined in a hand set, fine white silk. The interior hem of the jacket is finished with their signature gold metal chain. The skirt closes with a series of snaps along with a hook & eye at the waist. The jacket buttons down the front. Both piece are hand finished to couture standards. Proper couture labels present. Sourced from the original couture client. There is one white dot on the jacket that has a touch of darkening to it. Please see the photo after the label shots. Minor grubbiness to cuffs and collar from natural wear and aging.

Jacket
Sleeve: 20.5"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 22.5" from neck to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 26" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3727

Reference Photo: S/S 1977 Chanel Haute Couture, L'Officiel

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 very interesting because it was dated not only from its label and bolduc number found on the couture tapes behind each label, but also from a photo from the atelier. In that photo you only see a pair of hands diligently sewing the seams by hand on a fabric that is a near twin to the fabric that this dress is made out of. The House of Givenchy was founded in 1952 by Hubert de Givenchy and he has always been strongly associated with the work that he did dressing Audrey Hepburn. His range was incredible as a designer and some of my personal favorite pieces have been of his work. His Haute Couture pieces are always amazing to find and this wonderful little set is an extraordinary example of his early couture work. Both pieces of the set are completely made by hand to Haute Couture standards. It is beautiful and even better in person. 

The dress is a simple shift with wide straps that curve up and over each shoulder. All of the seams through the body of the dress are set vertically. As they move over the body they gently create the curve of the dress so that it skims over you and is very flattering. I love that there are little hidden silk lined pockets along the front seams. The fabric is a heavier silk and cotton mix. It has enough weight so that Givenchy was able to sculpt the shape he desired. The floral design with its white and orange coral print is brilliant against the blue background. The jacket is as fantastic as a stand alone piece as it is when worn with the set. I love the neat cropped cut and slight flare of the jacket just its seam at the waist. The collar is notched and the sleeves are long. For the fall collectoon that year Givenchy extended the lengths of his jackets to below the hip so this is a charming representation of the spring look and that shorter jacket. The front closes with two buttons and they are encrusted with rhinestones. The same buttons also sit at the cuff of each sleeve. No shortcut was taken in the construction of either piece. It is just stunning and even better in person and on an actual body. The long stemmed flower print was a favored design from that season and Givenchy used several variations of it in his collection. It is wonderful to have such a beautiful example of it in the shop. Excellent condition.

The dress is fully lined in a hand set blue silk. The jacket closes with two buttons at the front. The dress closes with a hand set painted metal zipper that runs along the side seam at the back. Proper buttons holes. I see a couple of insignificant tiny marks. Please see the photos after the label shot. The occasional missing rhinestones on the buttons. Otherwise looks unworn. Finished to Haute Couture standards and entirely done by hand. Haute Couture labels present on both piecces and the are numbered 51113 and 51112 respectively

Dress
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 39" from shoulder to hem

Jacket
Sleeves: 21.5"
Slightly inset shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Length: 20" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3725

Reference Photos: (1) A seamstress in the Givenchy Atelier, 1973.  /  (2-7) Spring 1973 Givenchy Couture Collection Advance.

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. This is from those early days and is a tremendously beautiful example of his work from this time period. 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 was always cut in a way that was flattering.  Even when the dress was as extravagant as this one is it has a sense of ease to it. This is an exceptional piece of his work and with its glamorous fabric, the sequins and that dramatic feather hem, it is some of his very best work ever. This is the second time I have had this dress and I love it as much this time as I did the first.

The dress is made from a light silk chiffon base that has thousands of glossy black sequins applied to it by hand. The sequins are laid out flat beside each other and cover the entire surface of the dress. The bodice is cut to be more fitted and the neckline is cut into a low V that plunges almost to the waist. The shoulders are soft and I love how the upper bodice near the shoulders and the sleeves are not lined. This gives them a touch of transparency. That same transparency is carried around to the back where the lining is set on a low curve and the upper back is covered by a single layer of silk. The waist nips in and is tied by a wide black sash. Below that the skirt falls to the floor and widens out beautifully as it nears the hem. The skirt is attached to the waist in a series of soft gathers which help to give the skirt the fullness and volume that you see. Underneath the top sequin layer of the skirt there are built in, additional layers of netting under a black silk chiffon lining. These help to create fullness and shape. The hem of the skirt is finished with a thick band of glossy black feathers that are mixed with thin, metallic cellophane strips. It is stunning. Excellent condition.

The main part of bodice and the entire skirt are lined in a black silk chiffon. The sleeves and shoulders are unlined. The skirt has an additional two layers of a netting to help support the shape and give it inner structure. It closes with a back painted metal zipper and each cuff has a zipper at the wrist.

Sleeves: 23"
Shoulders: no true defined seam
Bust: 16.5" flat across the back from side seam to side seam
Waist: 12" flat across the back from side seam to side seam
Hips: open
Bodice: 15.5 from shoulder to waist seam
Skirt: 40" from waist to bottom of feathered hem

Modern Sizing equivalent: XXS-XS

Item# DD3722

Reference Photo: Fall 1974 Bill Blass Runway.

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

This is a lovely wedding gown by Alber Elbaz for Lanvin is from the 2012 collection and it is just gorgeous. I love that is is not a traditional white but rather it uses a combination of a soft blush nude silk at the top and then the skirt is a soft pastel ivory with a slight grey undertone. The bodice is made from a fine silk in that soft pinky nude and it is suspended from the shoulders with straps that have been detailed with pearls and crystals. These are set on a fine silk netting for a romantic and delicate feel. At the back they trail down past the bottom edge of the top for a pretty detailing. The waist is detailed with a wide silk grosgrain ribbon in an ivory. It wraps around you and then at the back each end extends out so that you can tie it into a bow. The extra long ties fall almost to the hem of the back skirt. The skirt itself is amazing and very full. The fabric has a slight texture running over it and is just thick enough to hold the shape and volume that you see. The front falls in more of a sleek column feel that gains more width as it nears the hem. The back is gathered in large pleats and all of the volume you see is from the way the skirt is cut and gathered combined with the fabric that was used. I did not add any additional crinolines under this for the photos, though if you wanted it to be even fuller you easily could add one underneath and get a very full and voluminous look. The back is trained and it has the most beautiful lines as it trails out and back behind you. Excellent condition with one small note to review below

The top is a double layer of the silk and the skirt is unlined. It closes with the signature exposed Lanvin zipper at the back. The attached ribbon at the waist can be tied as you wish. It appears to be unworn but there is some very minor grubbiness to the back hem, most likely from being stored on a rack. The colors are better in person and softer

Bust: to 16.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 50" from waist to front hem, 60" from waist to back hem

Modern Sizing Equivalent: XS-SML

Item# DD3719

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 is from the Fall 1994 collection and I have included the runway reference photo here. In an interview with WWD in 1995, Pipart was asked about the state of couture upon his arrival to Nina Ricci and I love his reply; 'When I arrived everyone was predicting the death of couture, so I was keen to get in for what were meant to be the final few years. And despite what people like Pierre Bergé and many others predicted, couture has lasted a lot longer than anyone ever thought.' Pipart's designs for the Couture collections often combined high fantasy elements and this dress with its ultra long back is an amazing example of his work during this time period. 

The twin of this dress walked the runway of the Fall 1994 collection and prior to coming from me it was worn by a bride who shared some of her photos with me that you can see on my Instagram by clicking here.

The dress is absolutely beautiful and every detail has been done by hand. It has been cut so that every seam is finished with a beautiful curved line. The construction lends itself to a very structured shape and this gives the dress an almost sculpted feel that is softened by the pale pink silk color of it. It is made out of a fine silk faille that is then covered with a layer of lace The lace is handmade and follows the exact cut of the dress. Within the lace is a floral design and each cluster of flowers have been outlined with a fine silver metallic cording. Then to detail the inside of each flower he used a pale pink metallic cord. The workmanship is extremely fine and the details are exquisite. The hours to do this would have been staggering. Every stitch is done by hand and the work is meticulous. The dress under this exceptional detailing is as exquisite. The neckline is scooped and the bodice is cut to skim over you. It gently curves in at the waist and then there is a seam that sits at the top of the hips where the skirt meets the bodice. At the front the skirt is set into two curving panels that have a very structured shape so that they curve out and away from the body. They cross over each other at the top near the seam and then curve away from each other as they near the hem, leaving an opening so that when you walk you see a glimpse of leg. Soft pleats sit just below either hip towards the side and these add volume and lift to the skirt. At the back the skirt curves around you and you see a repeat of the two pleats at the outer side for volume. The two sides of the skirt open where they meet at the seam  and there sits a panel of pale pink silk that is pleated so that it expands and opens into an extensive train. A decorative row of hand made silk buttons run up each sleeve and then a series of them run down the back. This would be an amazing choice for a bride who does not want a traditional wedding dress or as part of a wedding event. Excellent overall condition with a note to review below.

The dress is fully lined in hand set pink silk and closes with a back hand set zipper that is hidden set behind the row of buttons that run down the back. There is a hooked inner waist stay. Hand set snaps close the train over the inner zipper.  Each cuff zips to close behind the row of buttons that runs down the cuffs. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. The pleats have softened a little on the train and the dress shows some grubbiness under and along the back hem and train. There is some interior discolouration around the arms of the inner lining and one teeny spot where this shows through along the edge of the seam on the exterior. Perhaps the occasional break in the lace but minor and stable. Please see the photos after the label shot. My client had the side seams let out slightly by Madame Paulette's in NYC and the train re-pleated before she wore it. All other small flaws were present already when she purchased it

Sleeves: 24"
Shoulders: 15.25"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 19.5" from top of bodice to dropped waist
Skirt: approx 26" from waist to shortest part where the front curves meet. It curves to 42" at the sides and drops to 49" at the longest part of the lace covered skirt at the back. The silk pleated train extends to 61" from the dropped waist

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute Couture

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 with his use of ornate beading, sequins, unusual detailing, 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. This is an extraordinary dress that is stunning in its own right and could be a fantastic option for a bride or as part of a more extensive wedding event. It is even more special by the fact that Sophia Loren wore the black version. I have included that photo here so you can see how fantastic the dress is on. 

The dress is like a magical fairy tale version of all that was amazing about this time period. It is made out of an off-white silky rayon base with three layers of white silk netting over that and another built in skirt under it. He used a white chenille fused onto the netting to detail and highlight the different aspects of the design and cut. On the strapless bodice it is set in rows that are stacked on top of each other to cover the entire bodice. On the sleeves and over the top layer of the skirt the chenille makes little circles and these are scattered over the netting. The very top layer of netting the skirt is finished with is cut to sit shorter then the other two underneath and this top layer has a scalloped finish along its edge. It is then finished with more chenille that follows the pretty curving line the scalloping creates. The cut of the dress is beautiful. The bodice is strapless and curves into a sweetheart neckline that dips low at the front. There is one of his signature inner built in and attached bras inside for support and additional boning along the sides. It is fitted and nips in at the waist. The skirt sweeps to the floor in a cascade of feather light silk netting under the bodice. I photoed the dress with a full length crinoline under it so that you can see the tremendous shape and volume it has. Without the addition of an underskirt the skirt would lie in a softer line. The skirt has enough volume that you can add an even fuller skirt to get a real bell shape if you wanted it to have an even more formal gown feel. The sleeves are magnificent. Each one is cut to sit far off and down your shoulder and is trimmed with a silk satin ribbon finish around the upper opening. They have tremendous volume through the sleeve with a huge and elaborate pouf to them. Each of them ends in an elaborate cuff with the same detailing using the chenille rows that the bodice has. They are the perfect finish to this high fantasy gown. The workmanship is incredible and it is absolutely beautiful. This would make an extraordinary wedding gown for the bride looking for something unique. Excellent condition

Fully lined in an ivory silky rayon and closes with a back zipper. Each sleeve has a zipper at the cuff. A built in bra though the bodice that hooks to close separately. The interior bodice is boned. An inner skirt has bands of stiffened netting set in rows to help hold the shape. The slightest bit of yellowing to the edge of the inner lining hem. 

Bust: 17" flat across from side seam to side seam with about a B to C cup on the inner attached bra
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 8.5" from top of bodice to waist
Skirt: 38" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3720

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 recently had a version of this dress in the shop that had a darker backdrop to the flowers. I am so pleased to have another one so soon. This one is even a little more special because it is an exact match to the one we have so much documentation on. The twin of this dress was used for the 1992 ad campaign that was shot by Helmut Newton. That campaign featured the beautiful Karen Mulder. It was also featured in Vogue that season on the equally stunning Beverly Peele. And if that was not enough we also have the original runway footage so you can see just how gorgeous it is on and moving. In the Vogue editorial it also included some interesting information that tells us that the original retail price of the dress was $1695USD, which would be the equivalent of $3009USD in today's dollars. Yves pieces are only increasing in value each year and this one is still a bargain even at its higher price. It is pristine and a very collectable vintage piece due to its strong provenance. This was one of the iconic pieces of that season and I am very pleased to have found this one.

The dress is made from a soft silk that has a slight texture to it. It has just enough weight and drape to it to perfectly fall once on the body, skimming over your curves in a chic and simple line. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s while still retaining the emphasis on the shoulders that the eighties had. That touch of excess from the 1980s is still there, but the shape is softening. The neckline is scooped and set wide so that you get a glimpse of collar bone. Vertical seaming runs down the front on either side so that is has some shape but there is no break in the line that a waist seam would have made. The skirt is slim and straight. The sleeves are the star of the show and each has an elastic at it end and lots of gathered fabric above that that gives it the volume you see on the dress form and the two reference photos provided.  It is amazing on the body and a rare find. Excellent condition

Fully lined in a white silk through the body and a silk chiffon through the sleeves. It closes with a side set zipper. Elastic at the end of each sleeve. 

Shoulders: 14"
Bust: 17" 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
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3716

Reference Photos: (1) Karen Mulder for Yves Saint Laurent, Spring 1992. Photo by Helmut Newton.  /  (2) Vogue US, March 1992.

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

This is a dress that when you see it on the hanger is really doesn't look like much but the second it hit the dress form it came to life. I can only imagine how amazing it will be once on an actual body. It is made out of a rich liquid silk satin that drapes and falls over the body beautifully. The bodice is cut to drape into place in a loose and easy way and then it nips in at the waist. The skirt below that hugs the hips and is scooped upon at the front. A long attached tie drapes over the scoop at the front and makes it wearable (barely) as a micro mini if you dare to wear something this short. If you are not as brave you could wear it with opaque tights or as a top over pants or a skirt. The panel that is attached around the waist hooks into place and then the hooks extends up and below with more hooks. This is how it closes and when you unhook it the entire dress opens. There is a long open slit between where the hooks and above the waist and the hook that sits at the neck below the bow. What is fascinating about this one is that you could easily wear it either way on the body. I have photoed it both ways for you to see. It definitely gives the piece more versatility and you can style this one a million ways. It is gorgeous and that pop of bright colour is just spectacular. Inside it is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship. This is a very difficult fabric to work with and it is finished to perfection. It is an incredible piece and beautifully made. It appears to have been worn very little if at all. Excellent condition 

Unlined with couture finished inner seaming. The dress/tunic wraps around you and hooks into place at the waist and then has more hooks above and below that. Hand finished throughout. Softly padded shoulders and padding is also hand made. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: approx 26"
Shoulders: no defined seam
Bust: is loose and open to 23" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
The length is very hard to measure because it is all bias cut... it is approx 36" long once on - you can adjust it uo or down a bit by pulling the bottom panel higher or lower

Modern Sizing Equivalent: SML-MED

Item# DD3717

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

This gorgeous little Oscar de la Renta is a part of the 1968 collection and its twin a longer yellow silk version is a part of The Museum at Fit's permanent collection. Versions of this dress were made in both lengths and in a couple of different colour ways. The label in the dress identifies it as being a part of his earliest main line. When Oscar De la Renta first started his career he began a partnership with the fashion house of Jane Derby in 1965. Jane Derby died shortly after and in 1966 the first labels that bore only the Oscar de la Renta name appeared. That makes this a very early example of his higher end work. The dress is gorgeous and one of my favourites from all the pieces of his that I have had over the years. 

The dress is very beautiful and is an absolute knock out once on. It is also very representative of his work during this time period. The fabric is quite exceptional and the silk metallic brocade forms a stunning design that runs from shoulder to hem. The fabric is lighter in weight then you would think at first glance. It is heavy enough to hold and retain the shape that he desired it to have but is still light enough so that it feels easy and comfortable to wear. It has a very refined feel to it but it feels youthful and fresh at the same time. It perfectly sums up Oscar's love of opulence mixed with the exuberance of the decade. The cut is kept simple to allow that stunning fabric to take centre stage. The skirt falls from the waist and widens out slightly as it nears the hem. I love the hidden pockets that are along the side seams of the skirt. The waist is seamed but left more on the open and easy feeling side rather than being severely cinched in. The bodice has simple sleeves and is cut to skim over the body. The fabric is a silk brocade that is a gorgeous mix of soft pastels that are primarily in pinks and a soft yellow in colour. Woven through that is a silver thread that adds a soft metallic shimmer over the entire dress. The front of the bodice is spectacular. It is cut to the waist but caught up with these high elaborate knots made out of silver braiding. Large crystal rhinestones are set into the coils. More silver cording and rhinestones follows the scalloped edges at the front and then more of the same runs around the waist and around the ends of both cuffs. It is gorgeous. Excellent condition with a minor note below

Fully lined in a bright yellow silk with ribbon finished interior seams. It closes at the back with a painted metal zipper. The dress is sewn together where the edges meet down the front centre and the knots closures are decorative only so that you just get a cut out effect there. The dress shows minor patina to some of the cord work and on a tiny part of the fabric near the arm. Please see the two photos after the label shot. The fabric has the slight feel of softness to it from normal patina and aging. 

Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3718

Reference Photo: 1968 Yellow Lurex Brocade with Silver Oscar De La Renta Evening Dress from The Museum at FIT Collection.

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

The 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 is so well documented is a bit of a miracle. The version of this dress that has a higher neck line and tie bow was photoed by Richard Avedon that year. It was also shot for the September issue of Vogue and one is held in the V&A collection. When I found these photos I also found the caption that went with the Vogie shot and I lovedhow it described the dress: "Pretty. That's really the word for it - the softness of everything at Dior. So feminine at night especially...The flirt of the sleeves on a short dress for evening...black mousseline, covered at the neck and yet...revealing lots of skin beneath and lots of leg below". During this time period Bohan often made a series of couture dresses that had different necklines so that his client could choose their level of modesty that they were comfortable with. I love both versions but I think I prefer this lower V neckline when it comes to actually wearing it. It allows those spectacular sleeves to take full centre stage and that little extra skin gives it a more modern twist. You can also wear a wide variety of jewels with this neckline and I think that gives you more styling opportunities. The dress is exceptional.

This is an exceptional example of his work during this time period. The dress is entirely made from a feather light silk chiffon. 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. There is a slight texture to the fabric and this helps to lift and add volume while still keeping the weight to the absolute minimum. The sleeves are incredible. Each sleeve is a single layer of that fine silk chiffon and they are cut to be extremely full. As they near the cuffs the shape is further exaggerated and they poufed over their cuffs. Just above the elbow is a panel of the same silk that has been wrapped and attached around the arm. This lays over the lower portion of the sleeve and is set so that it flares out. It is a very unusual treatment to the sleeves and instantly catches the eye. When you move it has a beautiful floating movement to it that you can see in the reference photos. The bodice skims over you and a simple collarless V runs down the front. It plunges almost to the waist and is stopped by a tiny stitch at the base of the V. The skirt is made of layers of silk chiffon that are set on the bias. There are two of the black and then a nude silk under that. The shape this creates mimics the detailing on the sleeve and when you move the skirt also will move. At the back is the final perfect detail. It has been finished with just a single layer of chiffon so that you see the entire bare back though the silk for an unexpected touch of sensuality. This is a rare piece of fashion history. The proper Haute Couture label is present and is dated and numbered. Excellent condition with a small note below

Fully lined in a nude silk chiffon except for the sleeves and upper back above the waist. The back closes with a low set, fine metal zipper and then the dress snaps to close with a series of tiny snaps up the back of the dress that run over the zipper, past the waist to the neck. Each cuff buttons to close. There is a tiny area of thinning on the top of one shoulder. Please see the photo after the label shot. Minor repair along the hem. Entirely made by hand. The Haute Couture label is present and the dress is numbered #01340

Sleeves: 27"
Shoulders: 14.5"
Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3031

Reference Photos: (1) Karen Graham in a chiffon dress by Marc Bohan for Dior, Autumn/Winter Collection 1972, photo by Richard Avedon, July 1972.  /  (2) Dior dress in Vogue, September 1972.  /  (3) 1972 Christian Dior Dress part of the V&A Collection.

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

This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway. I feel that this particular dress has a very Christian Lacroix feel to it and it would have been made during the time period my clients aunt lived in Switzerland, from the late 70s to 1993. The dress is completely made by hand to Haute Couture standards and it is gorgeous

The dress is made out of an inky black velvet that reflects back the light around it remarkably. It has a slight bit of a texture to it that adds to that feel and it really adds a dimension to the fabric. The design is very Lacroix and has the feeling of his earlier work especially in the back with its open cut outs, bows and that flounce at the hem. At the front the dress has a very simple cut. The sleeves are long and slim down as they near the wrists. The shoulders are soft and rounded and the neckline is squared off and cut wide across. The dress skims over the body with just a suggestion of shape through the waist but there is no seam there to break the eye. The skirt flares out softly. simple and perfect. Then, when you turn around, the dress becomes pure drama. It starts with an angled diamond shaped cut out at the top that exposed the bare skin of the back. two panels of fabric that are finished with a black silk taffeta fold out on either side of the diamond and then a large black silk bow is placed at the centre. The seam under that hides the zipper and then there is a second bow just above the bottom of the skirt and over a flounce of fabric that extends longer then the rest of the hem. There is silk gathered underneath that bottom flounce for a bit of volume and if you really anted to exaggerate the line there, I feel that you could put a crinoline under the skirt that has all of its volume at the back. This would really create an interesting shape. It is gorgeous worn as is of course but I always love to have an option to create even more drama should the occasion call for it. The workmanship is of the highest quality and I had added an interior shot so that you can see how beautiful it is finished. It is completely finished by hand to Haute Couture levels. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk satin and closes with a hidden set back metal zipper. Each cuff zips to close. Light padding in each shoulder. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 24"
Shoulders: 15"
Bust: 17-18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 31" from neck to front hem, 36" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3815

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 dotted confetti printed fabric was used in several of the pieces for the resort collection in 2014 and then the team produced this dress as an option to the shops that season. It ended up being one of the more visible of the pieces from Riccardo Tisci's time as Creative Director for the house and sold out instantly in the few places that it was carried. I have the twin of this one in my own personal archives and this one is as pristine as mine is. It is one of the most beautiful pieces to have come out of his time at Givenchy and it is a piece that will only gain in importance as time goes by. In Vogue's review of the show it was noted that just the week before the Resort collection was debuted Tisci had won the CFDA's International Award and he was quoted as saying at the time that "This year has been beautiful and amazing for me". The confetti print was noted in particular in the review and as good as the pieces were that were shown, I think this piece is as strong or stronger then any of them. I love it. 

The dress is magnificent. It is made out of a silk chiffon that is a very fine scarf weight silk that is very difficult to work with especially given the elaborate draping that has been done on this dress. The fabric has a slight texture worked into it. This helps to give the dress a little bit of lift and volume so that it seems to float around you when you move. It would have taken many hours and a high degree of technical skill to drape that silk so perfectly into place. The dress is cut to flow beautifully around the body. The neckline is set high with a band that curves around your neck. The bodice is gathered into that and then drapes down over your front in a series of soft gathers. These are then set into the the waist in a way that brings in the gathers but shows the most minimum of a seam on the exterior. This way there is no harsh line to break the eye. Instead your eye just follows down to the skirt that flows to the floor in yards and yards of silk chiffon. The halter front leaves your entire back completely bare. The waist line at the back is curved downwards slightly and above that is nothing but a bare expanse of skin. Two long panels of silk are attached at each shoulder so that they drape dramatically over and down towards the floor. You can wear them over the shoulder more so that you get a more caped effect or wear them more towards the back so that they act like long panelled trains that billow out behind you. All of the silk and layers are cut on the bias so the dress really has the most spectacular movement when you move. It is simple and classic but has a high impact feel at the same time. It appears to have never been worm or worn very little. Excellent condition

The bodice and skirt are lined in black silk chiffon and the dress closes with a low set back zipper and hooks to close at the back of the neck. Tagged a 38 and appears to have never been worn. 

Bust: should fit a variety of sizes because of the open back 
Waist: 12.25" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3813

Reference Photos: (1-2) Resort 2014 Givenchy Collection. Look 12 & 13.  /  (3) Credit Unknown.

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

This is an exceptionally pretty two piece set from the Marc Bohan for Christian Dior years. It is a gorgeous example of his work during this time period. The cut is very simple for both pieces but together they really create an impact. The set is made from a very fine and high end silk chiffon that is a heavier weight then most chiffons that you see. This makes it almost completely opaque yet it is still feather light and drapes beautifully. No matter how much you like it on the dress form you have to trust me when I tell you that it is even better in real life and on an actual body.  The base colour is a jet black and then onto that are the bright and happy colours that you see from the floral design that runs over the dress. I love how the flowers have been set to highlight and compliment the cut. The top is densely covered with an even spacing of the floral design running over its entirety and then the skirt has a more scattering placement of the print. This gives a beautiful contrast between the two pieces. The neckline of the top is finished with a soft ruffled flounce and then the cut through the bodice is loose and easy under that. The waist is brought in with an elastic that runs through and circles all the way around. Under that is another flounce of fabric that you can leave out and over the top of the skirt or you can tuck it into the skirt for a sleeker look. The sleeves have an elastic at each wrist and the same flounce treatment for the cuffs. The cut of the skirt is kept to very simple lines and is falls in a simple column of silk to the floor that gradually widens out just a touch as it nears the hem. The label on the set is numbered and when you see that in a Dior Boutique label it most often meant that the piece was a special order or was a custom made order for a client in the atelier but fitted at the boutique store rather then in Paris. You can see the hand work throughout and it is beautifully made. Excellent condition.

The skirt is fully lined in a black silk chiffon and the top is unlined. The top closes with a fine back painted metal zipper. The waist of the top and each sleeve has an elastic finish for comfort. The skirt closes with a combination of a flat hook at the waist band and a fine painted metal zipper. Hand finishes throughout. The tag is numbered 1361/001 on both tags.

Top
Sleeves: 23"
Slight drop shoulders: 16"
Bust: to 19.5" flat across from side seam to side seam
Elastic waist: 12" -15" flat across from side seam to side seam
Length: 15" from neck to waist seam, + 6" from waist to bottom hem

Skirt:
Waist: 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 40" from top of bodice to waist

Modern Sizing Equivalent: SML-MED

Item# DD2901

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 stunning suit is a proper, numbered Haute Couture piece designed by Pierre Balmain. It would have been made by hand in the Paris atelier for the Spring 1960 collection. When researching this piece we found similar suits from that collection and I have included the reference photos here. It is cut with the volume and curves that defined the era. It is a wonderful example of the work Balmain was doing in this time period and why they had such an influence in establishing the direction of design during this era.

The lines of the suit are very simple. There is the very minimal amount of seaming done to achieve the shape that you see. The suit is made from a deep blue fabric that in person has a slightly brighter feel then how it photoed and is even prettier. The fabric itself is incredible. It is a mix of a fine wool and silk and this combination gives it enough weight to hold the line and cut but without it feeling bulky or too heavy for a modern wear. It has a cross thatch texture running through it that gives the suit a little extra depth. The suit has a beautiful sculptural feel with an exaggerated and dramatic swing to the back of the jacket. When you see it from the front it falls in a more box cut shape with just the suggestion of shape through the waist. From the sides and back it shows this beautiful volume that is created through a modified swing cut that is gorgeous. The back swings out from the shoulders in a sweep of fabric. At the same time, when I say volume it is not overwhelming or forced. It has a refined feel to it that is charming to see. The seam that runs up the centre splits open about midway down and is kept in place with two large buttons. I love that this seam remains open from under the buttons to created a vent. This would have felt very risqué for this time period. Then to go with this lovely little jacket is a neat and simple cut skirt that perfectly balances out the jacket. Both pieces are beautifully made to couture standards. Excellent condition with a small note below

Both pieces are fully lined in a navy silk. The lining in the skirt is a soft, heavy weight silk satin and the lining in the jacket a more structured silk taffeta. The jacket closes with buttons down the front and has two decorative buttons at the back. The skirt closes with a fine, back metal zipper and flat hook & eye on the waist band. Completely hand finished. Has the proper numbered couture tape behind the main label. The buttons show chips along their edges.  Please see the last photos for examples. This would be easy to touch up with a matching paint. 

Jacket
Sleeves: 17.5"
Shoulders: 16.5" across
Bust: to 21" flat across the back from seam to seam
Waist: to 20" flat across the back from seam to seam
Length: 22" from neck to hem

Skirt
Waist: 15.5" flat across the back from seam to seam
Hips: 21" flat across the back from seam to seam
Length: 24" from waist to hem

Modern Sizing equivalent: MED-LRG

Item# DD1089

Reference Photos: (1) Pierre Balmain in L'Officiel, 1960.  /  (2) Pierre Balmain in Vogue, March 1960.

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

This exceptional silk halter dress with its matching jacket / top is by Marc Bohan for Christian Dior. It is from the Spring 1976 collection. In the 'Dior Catwalk' book, the write up for this season notes that the drawstring was one of the key details of that season saying; 'The watchword these days is "easy" and Bohan pursues ease with (the) drawstring. It is a recurrent theme, from the tailored suits through the chiffon dresses, and it captures the feeling of softness that everyone is striving for'. The dress is a wonderful example of that feeling of ease he was after. It is also a stunning example of his work during this time period. The dress is made even more special since I found a L'Officiel editorial shot with a version of this set. I have also included a shot of a 1968 Dior Couture labeled piece, taken from the book 'Christian Dior' by Assouline, that illustrates that this particular black label, along with versions with slight variations, was being used as an alternative label to identify special order and customized couture pieces from the late 1960s to the mid-late seventies. It is an exceptional dress. 

If you think about the standard feel of an evening piece by Dior you see how this one does indeed work in a sense of ease. To have combined a more formal halter style piece and then pop a drawstring jacket over it, that could easily play double duty as a top, would have been very avant grade for this time period. The silk chiffon that has been used to construct this dress is especially fine. It is a very pale light yellow that has fine metallic gold stripes running vertically down the fabric. The gold has been woven directly into the silk. This little pop of a metallic gives the dress a subtle finish that catches the light whenever you move. The addition of the vertical lines also highlight the cut and length of the dress. The dress is simple but perfect. The front neckline is a cut in a halter style that extends up into wide straps that curve up and around the back of the neck where it buttons into place. The triangle shape leaves the front in a low V shaped plunge that I think you could open up even more if you wished it to be even lower. The waist is fitted and the back is left bare and open. Under the waist the skirt skims over the hips then opens out. The volume through the skirt is achieved by flat wide set pleats that circle all the way around you. It is on these pleats that you see the attention to detail that you only see in couture. Every single one of those gold stripes are placed so that they each perfectly line up across the top of the pleat and the pattern is not broken. It's genius. The volume below only becomes apparent when you move and it gives the dress a light and airy feel. Over this goes the matching top that completely transform the look and feel of the dress. It goes from a more bare and sexy dancing dress to something that feels more formal but still with that sense of ease that Bohan was trying to achieve. It buttons to close down the front with a series of silk covered buttons. Each sleeve billows out softly above the wrist and there is a soft silk tie at the neck. The drawstring that was so central to this collection shows itself at the end of each sleeve where a tie runs through the wrist and then it is used again at the waist. This allows you to cinch them in and have the top blouse and pouf or you can choose to wear them loose and easy for a more relaxed feel. I love how the slight transparency of the silk lets you get just a glimpse of the bare back under the top. It is gorgeous and even better in person. This is a piece that will really come to life once on an actual body. Excellent condition with one minor note below.

The dress is fully lined in a pale yellow silk taffeta and the top is unlined. The dress closes with a back painted metal zipper and buttons at the neck. An inner waist stay hooks to close and there is light boning through the bodice. The top / jacket buttons to close and the sleeves and waist have drawstring ties. Hand finished throughout and hand finished inner seams as photoed. Hand covered silk buttons. The label is numbered on the back. There is a tiny spot of thinning/discolouration near the seam of one shoulder and the fabric there has a slightly stiff feel to it. Please see the photo after the label shot. 

Dress
Bust: approx 16" flat across from side seam to side seam with an open back
Waist: 13" flat across from side seam to side seam
Inner lining hips: to 19" flat across from side seam to side seam
Bodice: approx 15" from top of neck straps to waist
Skirt: 42" from waist to hem

Top
Sleeves: 25"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam with ties to adjust in
Length: 18" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2986

Reference Photos: (1) Christian Dior ensemble, photo by Michel Picard, L'Officiel, 1976.  /  (2) Black Label photo from the book "Christian Dior" by Assouline.

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 remarkable example of Courreges and the work that Andre was doing during that time period. I know we often associate his work with very mod and short pieces but he also did many dramatic pieces in fabrics like this. It is a highly glossed, thicker weight, smooth finish cotton. At the time this would have been extremely experimental. I love that this one takes the shape that we so closely associate with him and extends and exaggerates it to full length. This dress would not have half the impact it has if it was shorter. I am sometimes more excited to find these bolder and more unusual pieces from him then the more common mod feeling ones. A version of this one was also photoed for Vogue that spring making it even more special.

This beautiful dress is made out of a coated cotton that has been dyed to a brilliant orange. This was a signature colour for Courreges and it is just absolutely stunning. Many of his pieces are a play on volume and proportion and this dress is an amazing example of that. It is a dramatic piece that has a more bare and fitted feel through the upper bodice and then flares and widens out very dramatically to the hem. The fabric is light in weight but has enough weight to it to hold the shape. The exterior has a coating that gives it a slight sheen and then inside it is self backed with a white finish. It has enough structure to it that it holds the intended shape and volume while feeling like you are barely wearing anything. The slight sheen and texture of it combined with the absolutely superb seaming details give the dress a rich, luxurious feel. All of the seams are set vertically to help add to the feeling of length and the bust is cleverly shaped by a horizontal seam running under it. It then has two darts worked in for shape. The neckline is scooped high on the chest and the sides curve for the arms. Straps extend out from the side and the top of the halter neck and then each strap buttons into place along the sides of the back. All of the buttons are functional and original. The two top ones cross over each other and the one below crossed the back in a horizontal line. Extremely collectible and rare. It looks to have never been worn or worn very little. Excellent condition.

Unlined with a self backing in white as described above. It zips to close at the back and each end of the straps button into place. Tagged a Courreges 0. In its original length and appears to have been worn very little if at all. 

Bust: will fit to 17" flat across the back from seam to seam with approx an A-B cup
Seam under the bust with straps taken into account: will fit to 15.5" flat across from seam to seam 
Waist where the back strap is: to 14" flat across from seam to seam
Hips: open 
Bodice: approx 13" from shoulder to seam under the bust
Skirt: 45.5" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML (it should fit a MED if you are narrow and small through the bust)

Item# DD3710

Reference Photo: US Vogue, March 1970.

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

This gorgeous dress would have been designed by 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 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 his work with colour and cuts. This dress is from the early part of the 1970s and it is incredible. The Lanvin label is numbered and it is one of the best prints I have seen. 

This Lanvin dress is absolutely beautiful. It looks like it could have been pulled from a collection this very season it is in such remarkable condition. I am in absolute love with it. The colour, the design, the workmanship; everything about it is perfection. The fabric that has been used to create it is a very fine and light silk crepe chiffon on par in quality to the silk crepe that you would see used to make very high end scarves. It has been hand screened with a gorgeous and vibrant print that was applied and pre-planned for before piecing the fabric together. Anywhere that a seam is necessary, the pattern has been lined up so the seams are barely seen at first glance. The beauty and brilliance of the colour is equaled by the fine workmanship that has gone into constructing it. The bodice is cut across the bust and is fitted. Little ties extend out from it to tie at the top of each shoulder for a sweet touch. The neckline is cut straight across for a bandeau effect. The pattern is more intricate across the front of the bodice and I love that this is picked up with a band of the same design at the lower hem. The skirt is constructed from two layers of the same fabric and has quite a bit of fabric in it. This gives it beautiful movement around you when you move. I also love that they used the same printed crepe chiffon to line the skirt. It is like a little secret that only you know and shows the quality of the piece. They could have easily just used a solid colour that would be cost less to do. Having the two printed layers lets the two patterns float over each other and subtly creates a stunning depth to the print. The choice of fabric has allowed it to retained the crispness of the colour even after all of these years making it feel new. At the same time it is feather light so once on the body it is easy to wear and it moves beautifully with you. It is even better in person then how it photoed and like the best of all high quality vintage and couture pieces, it will only really come to life once on an actual body. It appears to have never been worn or worn very little. Excellent condition

Fully lined in a second layer of the same fabric and close with a back zipper. Each shoulder ties with the attached ties. Hand finished throughout. It appears to have never been worn or worn very little. Numbered tag. 

Bust: to 17" flat across from side seam to side seam
Seam under the bust: to 15" flat across from side seam to side seam
Hips: open
Bodice: approx 13" from top of shoulder to seam under the bust and can be adjusted slightly with the ties
Skirt: 44" from seam under the bust  to hem

Modern Sizing Equivalent: SML-MED

Item# DD3709

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 Yves Saint Laurent dress is insanely good and it is very sexy. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is the twin of the dress that was shot by Helmut Newton for the ad campaign that year. I love that it is done in black which gives it a very modern feel. It feels like it could have stepped off a current runway but has the added provenance of being such a well documented piece of vintage from one of the greatest of the modern designers. It is a very special dress.  

This is a stunning dress that is very clever in its construction. It has an extremely deep plunge but the way it is cut holds it perfectly in place. The dress is made from a black silk crepe that has enough weight and drape to it to perfectly fall into the beautiful lines that Yves wanted it to be shaped in. It perfectly represents this time period with its precisely shaped shoulders and the shape of the skirt that narrows down as it reaches the hem. The sleeves are cut a little extra long and narrow down in at the cuffs so that it bunches slightly on the arm. They are cut to mimic the shape of the body of the dress. They are cut wider where they meet the shoulders and then narrow down to the wrist. The bodice is cut to skim over the body and hooks and snaps to close at the base of that very low front plunge. The extremely low cut V of the front is if course what makes it so edgy feeling. It plunges right to the waist and goes as deep as the one in the campaign shot. There are folds worked into the fabric that angle in towards the centre and these highlight the plunge even more. They gather at its base and the masterful cut keep it firmly and remarkably in place. There is an attached sash that is on the front of the dress that goes over the waist and hooks into place at the centre. Under the waist seam there are more soft gathers and the skirt is cut straight and narrow. A long double tie is attached at the waist and falls from the centre. All of this gives the illusion that the dress is just wrapped and tied around you but there is really an entire complicated structured of hooks, snaps and a zipper that  keeps it all in place. It is amazing on the body and a rare find. It appears to have been worn very little if at all. Excellent condition

Unlined and closes at the base of the plunge with hook & eye and snaps and a zipper under that. Each sleeve zips to close. Padding in each shoulder. Tagged a vintage YSL 36 but it feels generously cut for that size. . 

Sleeves: 26"
Shoulders: to 16" but meant to be slightly exaggerated
Bust: to 19" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 36" from neck to hem
Plunge: 16" from top to base

Modern Sizing Equivalent: SML-MED

Item# DD3706

Reference Photos: (1) Fall 1983 Saint Laurent Rive Gauche by Helmut Newton.  /  (2) Julia Roberts in Yves Saint Laurent at the 2010 Golden Globes.

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 Spring 2003 show was extremely complimentary. This was at the height of Ford's vision for Gucci and he could do no wrong. The review said 'The Gucci girl’s got legs—long, tan, flawless ones striding along on silver peep-toe sling-back pumps. Follow them all the way up, and around two weeks later, they eventually meet the hem of the minutest piece of clothing that was ever called a skirt or dress. For spring, in a word, Tom Ford says short. Using lustrous fabrics in subtle makeup colors from blush to tawny brown, pearly gray and silver, Ford draped and wrapped his gorgeous girls in clothes that navigated that dangerous Gucci line between innovation and vulgarity. The tousled hair, the jackets and tops poised to fall off shoulders—the whole presentation stirred sensations that fashion hasn’t felt since the last days of the great supermodels. Still, don’t think tacky. Ford’s obsession now is integrating fine workmanship into abbreviated silhouettes. He took the idea of a kimono and portrayed it first as a simple silk beach cover-up, then as an elegant formfitting dress, painstakingly made from hand-painted strips of silk. He brought couture finesse to racer-back feathered dresses with the merest flip of a skirt. And with lightest touch, he wove white and rose gold into fragile ribbons to tie around wrists—the most modern-looking jewelry in Milan. When Carmen Kass closed the show in a dress made entirely of the same precious ribbon, it was a confident statement in the power of glamour. And fashion needs that.' To this day this is one of the most recognizable and desirable shows to find pieces from. 

One of the things that makes this dress exceptional is that it is true to the runway and is entirely original. I have seen this dress come to market before and most are the more conservative versions that don't drop as low at the back as the show version did. (There is a photo of Sarah Jessica Parker in that version that I have not included here but it is out there to google). Many of the ones that you see were also altered and if you looks closely they don't have the same original stitching at the hem and at the ends of the sleeves like this one does. It also still has its original elastic across that back which was meant to keep it in place on a hangar and in the body. Most women removed this before wearing so is very rare to see one still with this in place. You can see it in the runway shots too. The dress is meant to be worn short and the jersey stretches so accommodate the hips so that it stays in place. The rest of the dress just blouses over loose and easy. I have shown it on the dress form the way it is meant to be worn and like you see on Frankie in the runway shots and also extended it to its full length so that you can see the full pattern on the dress. The top is loose and easy and is meant to be worn low down the back. It almost creates a ruffled effect. The front sits as low as you wish it to and you can also wear the dress slouched off of one or both shoulders. The sleeves have wide openings on either side and again the more conservative version was more covered with a more narrow opening. This is an incredible piece of the Tom Ford history with the brand and is one of the most recognizable pieces from his tenure with the label. It's an incredible piece of fashion history given that it is true to the runway version. It appears to have been worn very little if at all. Excellent condition. 

Unlined and slips on the wear. Tagged a size Large but the jersey has stretch and should accommodate a variety of sizes. It is very hard to measure with the stretch factor so I have given the comfortable range laying flat. 

Bust: approx 19-23" flat across from side seam to side seam
Waist: approx 17-21" flat across from side seam to side seam
Hips: approx 16-20" flat across from side seam to side seam
Length: approx 37" from top of shoulder to hem but can be pulled up as short as you want

Modern Sizing Equivalent: SML-LRG

Item# DD3707

Reference Photos: Spring 2003 Gucci Runway Collection, Look 3. Model: Frankie Rayder.

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 Fall 2005 collection was titled 'The Man Who Knew Too Much' and the Alexander McQueen site said of this collection: 'For the second time in his career, Alexander McQueen references The Birds for this collection a film that he remembers loving as a child principally because of the precise way in which the women featured choose to dress. Against a film-set backdrop flooded with red light models stride out in swing coats, pencil skirts, neat, cropped trousers and fitted chunky mohair all of which suit a modern-day Hitchcock heroine down to the ground. Given the source of inspiration this may be read as McQueen's interpretation of coordinated dressing almost vintage Hermes style crocodile sling-backs are teamed with matching handbags, for example. Hair is big, bouffant and blow dried and lips are painted true red.' and Vogue's review stated 'Tippi Hedren and Marilyn Monroe. Biker molls and sweater girls. You got it: Alexander McQueen went to the sixties, all the way, for fall. With its filched movie and rock 'n' roll themes, the collection read as a knowing vehicle, a McQueen director's cut. Glacially restrained tailoring, early rocker chic, the classic Hollywood ball gown moment: He had 'em all. Plus great hair, great music, and a roar of old-school glamour. But there's no such thing as a McQueen routine without a sinister psychological subtext or two. Was there a hint in the invitation—a pastiche of the film poster for Vertigo, superimposed with the title of another Hitchcock movie, The Man Who Knew Too Much? What McQueen knows shows aplenty. His combined knowledge of Savile Row tailoring and Parisian couture means he can scissor an impeccably narrow grey tweed coat or a nipped-waist pencil skirt suit, and put sizzle into period sobriety.' On the runway this was Look 8 and was an incredible moment as people caught a look at that insane back detail. This dress is also extremely interesting as it is a definitive nod to the YSL Couture dress of 1970 that was famously photoed by Jeanloup Sieff. McQueen took a very iconic vintage dress and reworked the fabrication and the cut to make it fit into his Hitchock theme. This would have been produced in limited quantities that season and it is absolutely gorgeous 

The dress is made out of a soft silk jersey fabric that has an almost T-shirt feel to it. It’s done in two layers of the fabric so that it has some structure and shape but falls over the body in a soft and easy way. The double layer also means that the inner layer works fantastically to hide any flaws on the body and then the top layer just skims over that. Once on the dress falls and drapes wonderfully  over the body. The fabric is cut on the bias so that the way it sits on the body is perfectly executed, but it is still light enough to feel extremely comfortable once on. The simple yet dramatic cut is what you want to see in a McQueen. It is that balance between femininity and darkness that his best pieces have. The neckline is slightly scooped and the sleeve are long with a cuff at each end. The fabric poufs out just a bit above each cuff. The ease of the fabric is such that when you move it moves with you and it is incredibly flattering as it glides and drapes over the body. There are minimal seams through the body and none that break the eye at the waist. From the front it just falls over you and skims its way all the way to the hem. The back is a completely different story. There the inset of black lace covers the entire back and dips low to the top of the buttocks. The black lace is backed in a nude silk chiffon and it has a slightly transparent feel. From a distance you look like you are only wearing a thin layer of lace. It is so dramatic and almost startling when you turn around to see that expanse of lace and how low it dips. It is simple, sexy and perfect. It is pure McQueen genius. It appears to have been worn very little. Excellent condition

The dress is made of two attached bias cut layers and slips over the head to wear. There is a zipper at one side and anther zipper runs across the top of one shoulder. The button at the back of the neck is more decorative then anything. Each cuff buttons to close. Tagged a 42. The fabric is cut on the bias through the body. The easy cut should work on a variety of body frames. The length will come up a bit once on the body with the bias cut. 

Sleeves: 25.5"
Inset shoulders: 13"
Bust: will stretch 16-19" flat across from side seam to side seam
Waist: 12-15.5" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: 47" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3708

Reference Photos: (1-5) Fall 2005 Alexander McQueen Runway Collection, Look 8. Model: Raquel Zimmermann.  /  (6) Yves Saint Laurent by Jeanloup Sieff, 1970.

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 and highly documented Halston that is very rare and very special. Its spot in fashion history was forever solidified when it was captured on Cheryl Tiegs for Harper's Bazaar in 1976. I have included that photo of her for reference. That same photo also makes an appearance in the book on his work titled 'Halston' by Phiadon. The jumpsuit also has the distinct provenance of having its twin held in The Met Museum's collection (though they have their dated as being earlier which based on the Harper's photo appears to be inaccurate). It is fabulous to have found one of these. At this point in his career pieces would have been made in very limited quantities. That alone makes these early pieces that much more special never mind to have documentation as great as this one has. It is an incredible example of his work from this time period.  

This is a wonderful example of how soft and romantic his work could be. The jumpsuit has a soft and flowing feel to it and yet when you wrap the sash around you at the waist it still gives you shape. It is made of an ivory silk chiffon with a ribbon effect that is fused directly into the silk. This gives the fabric the double texture that you see and it really plays on it transparent feel. Where the jumpsuit is unlined through the upper bodice and sleeves you really see how you get a glimpse of the skin under the silk and where it is lined it gibes just a suggestion of the body and from a distance you are not sure there is something under it or not. The main part of the bodice and the pants are hand lined in a nude silk chiffon so that the jumpsuit is not completely transparent and then over that the outer layer is set. The bodice is cut to blouse softly over the waist and it closes with a series of hook & eye down the front. In the iconic Harper's shot it was left fully open and that is how I photoed it here as well (though I did add a shot with it hooked closed so that you can see how that would look too). The waist has an elastic through it and it is cut to  sit loose and easy in the body. You can nip it in with the sash and cinch in the waist as much as you wish. You could also choose to wear the jumpsuit without the sash and leave it more loose and open and use the sash as a headpiece or around your neck. From the waist the pants flow to the floor. They skim over the hips and then fall in a very full and open wide cut pant. Depending on how tall you are they will sit to be slightly cropped, though there is a good 3" turned up underneath to use if needed. It is very well made and finished by hand and even better in person and on an actual body where the fabric can really move and flow as it was meant to. This would be a crowning pinnacle to someone's Halston collection. It would also make an amazing piece for a bride who wanted to do an alternative to a traditional wedding dress or to wear as part of a wedding event. It is so pretty and even better in person. Excellent condition with a note below 

The body and pants are lined in a nude silk chiffon. Hand finished throughout. It close with a series of hooks and snaps down the front. It has its original long matching sash. I see a small repair on the scarf and a tiny mark on one ribbon near the base of the sleeve. There is a little bit of yellowing to the bottom part of the sleeve on the other side. It looks like a a shadow when you see it on and not a mark. Please see the two photos after the label shot. It otherwise looks to have been worn very little if at all. The softness of it should allow it to work and drape on a range of sizes. 

Sleeves: 15" to the shortest point and 23" to the longest 
Shoulders: no true defined seam 
Bust: Approx to 17" flat across but there are no true side seams because of the way the sleeves are set in 
Waist: to 14 " flat across from side seam to side seam and you cinch with the sash
Hips: to 19"" flat across from side seam to side seam
Bodice: 15" from neck to waist
Pants: 39" from waist to hem with approx 3" turned under
Inseam: 29"
Body from neck to inner seam: 30.5" 

Modern Sizing Equivalent:  XS-MED

Item# DD3705

Reference Photos: (1) Halston Resort 1976. Model: Pat Cleveland.  /  (2) Cheryl Tiegs, original photo from Harper's Bazaar, January 1976. Photo by Bill King. From the book 'Halston' by Phiadon.  /  (3) Halston ensemble from The MET Online Collection.  /  (4) International Premiere of fashion designer Halston's Olympic Collection for the U.S. Olympic team on October 27, 1975 in Washington, D.C.

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

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 black sleeved jumpsuit in their collection. This one is actually better and has more impact even!

This is an amazing and rare jumpsuit that is made out of a black stretch jersey. The fabric choice makes it extremely comfortable to wear and it drapes and falls incredibly on the body. When you put it on it stretches and conforms to your body in the most comfortable of ways. It is all one easy piece and you just slip it on to wear. I love how the back straps are knotted at their ends and have been slipped through loops at the side. This is all that holds the halter in place and yet it is perfectly stable and stays on. The front has two panels of fabric that come out from the waist and this creates a deep and wide plunge. The fabric curves up and around then neck and then crosses over itself to run through the loops at the side. The entire back and sides are left bare. Once past the bareness of the top, the jumpsuit skims over the waist and hips to long pant legs. The pants are extraordinary. As they reach the bottom hem they widen out and then are cinched back in with a tie that runs through the seam at the bottom. This lets you cinch them in to create a balloon / harem effect that is just fantastic. It is extraordinarily well done and very sexy yet so easy and comfortable to wear. Just a once in a life time find. Excellent condition. 

The bodice is lined in a second layer of the same fabric and the pants are unlined. It slips on to wear. The back straps are knotted through side loops. Ties through the bottom hem of each pant. The fabric has some stretch and the measurements are the comfortable range laying flat. 

Bust: approx 15.5-17.5" flat across from side seam to side seam 
Waist: 11-15" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam
Length: approx 58" from neck to bottom of pants
Inseam: 30.5"

Modern Sizing Equivalent: XS-MED

Item# DD3703

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 has the distinct provenance of being a version of the dress that Lauren Hutton wore for Vogue in 1975. I have included that photo of her for reference. That same photo also makes an appearance in the 'Halston' Book by Phaidon. Photos of two of the versions of the dress walking the runway show that season also appear in two of my Halston books. It is fabulous to have found this very versatile deep burgundy dress. This is classic Halston from his main label couture line. It is one of the most instantly recognizable looks that he ever created because of the Lauren Hutton connection. It is an incredible example of his work from this time period. 

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. The fabric is a beautiful deep red burgundy silk jersey that moves and drapes beautifully. This one is especially interesting because unlike its later counterparts it is actually more like two dresses that have been layered over each other and sewn along the top edge. This gives the dress an inner lining and helps to soften out any bumps underneath the top layer which makes it very flattering to wear. The dress is made to be one long tube with two long ties that extend out from the base of the front plunge. The ties are on the top portion of the two layers. These extend out from the base of the neckline and you can simply loop them over each other as I have done. You could also wrap and tie it at the back and I have shown that option as well. I can bet that you could come up with more ways too. On either side of the plunging neckline the fabric extends into a triangle halter shape and curves around the neck where it hooks into place. This leave the entire back completely bare and exposed. The front ties make it incredible versatile and really it is like buying several dresses in one. You have the versatility to wear it with the ties wrapped around you for more shape through the waist or you can let the ties fall down the back so the the dress simply skims over the body instead of hugging your curves. The skirt flares out at it reaches the floor and it has a ton of movement when you move. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. I would not be surprised to see someone wearing Halston for the upcoming Met Gala themed exhibit on American fashion. Excellent condition with a minor note below

Constructed from two bias cut layers of silk jersey with the ties extending out from the bottom of the plunging neckline of the top layer. The dress slips on to wear with no closures. It can be wrapped and tied several ways as shown. Hand finished. It is all bias cut which should allow for a bit of range of sizing. I see a small mark on the inside lining of the bodice. At some point it looks like there has been a repair down to the seam that is under the tie. I took a photo of that for you and you can see that after the label shot. It is staple and well done so its been left as found. The fabric has some stretch and I have put the comfortable range of measurements laying flat. You could probably get a little more if needed

Bust: The front halter should accomadate a variety of cup sizes. The room under and around the back is 17" flat across maximum with no further stretch. Since there is no opening you have to be able to get your hips or shoulders through that as well 
Waist: 12-14"
Hips: to 18" flat across from side seam to side seam
Length: approx 60" from shoulder to hem 

Modern Sizing Equivalent: XXS-SML

Item#  DD3700

Reference Photos: (1-2) Lauren Hutton in Silk Jersey Halston Dress, Vogue, September 1975. Photo by Francesco Scavullo. (As shown in the book 'Halston' by Phaidon).  /  (3) Carla Araque, Fall 1975 Halston Collection. Photo Peter Simins. From the book 'Halston' by Phaidon.  /  (4) Halston matte jersey draped and tied empire halter dress, May 1975, from the book 'Halston: An American Legend' by Elaine Gross and Fred Rottman.

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

Zandra Rhodes is one of my favourite designers and I love the pieces that she did in the 1980s. This dress is from her Spring 1983 'Mount Olympus' collection that was based on Greek design. Versions of the collection appear in both of the books on Zandra Rhodes that are referenced below and a version is held in the digital study collection of her work. We have also included a reference photo of the original sketch for this collection and you can see this dress with a hip sash on that sketch numbered 83/115. It is an extraordinary find for the collector and a rare piece of her work from this time period. 

This is a stunning dress that is done in a dramatic deep burgundy red wool crepe. The dress is cut loose and easy through the body. It is really like a generous cut smock dress which will allow it to fit a large range of sizes. You can see in the reference photos how it falls over the body in the most comfortable of ways. You could also take a cue from the original sketch and add a hip sash or belt it for more shape. The sleeves are cut wide and loose above the cuffs. The collar is the star of the dress. It is made from a soft chamois suede in a natural colour. It wraps around the neck and down the front and across the shoulders. This was then screen printed by hand which makes each one that was made unique. It is completely covered with one of Zandra's signature designs in a red that matches the colour of the crepe and a blue grey colour for contrast. There is a small collar that has punch work all the way around it and more punch work is done around the edges and into the bibbed part. The bottom edge of the collar is hand beaded and there are little medallions of suede fringe set all around. It is one of the more elaborate versions of these that she made and it is wonderful. Even the suede on the cuffs has punch work. It is a very special piece. It has been worn and loved so has a beautiful vintage patina to it. Great overall condition.

Unlined and closes at the back with buttons and loops. I see two repairs on the body of the dress. The suede shows some variation in colour from aging and gentle use. Part of the suede has softened so the edges curl a bit. There is a small mark here and there on the crepe. Please see the photos after the label shot. Still completely wearable and all of the flaws are patina and aging from being loved and gently worn. The generous cut and sloped shoulder should allow it to work on a range of sizes. 

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 24" flat across from side seam to side seam
Waist-hips: open
Length: 43" from top of shoulder to hem

Modern Sizing Equivalent: SML-XL

Item# DD3699

Reference Photos: (1) S/S 1983 'Mount Olympus' collection. Close-up of suede bodice with pinked edges, punched and printed with 'Indian Circle' design, style 83/59.  From the book "Zandra Rhodes: 50 Fabulous Years in Fashion."  /  (2) Models wearing raw silk dresses with suede bodices from the 'Mount Olympus' Collection, backstage at the S/S 1983 fashion show. Hats: Stephen Jones. Photo: Robyn Beeche. From the book "Zandra Rhodes: 50 Fabulous Years in Fashion."  /  (3) Models in the S/S 1983 'Mount Olympus' collection. Hats: Stephen Jones. Jewellery: Andrew Logan. Photographs: Robyn Beeche. From the book "Zandra Rhodes: A Lifelong Love Affair With Textiles."  /  (4-5) S/S 1983 Zandra Rhodes Mount Olympus dress & original sketches from vads collection.

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

This dress is the twin of the one worn by Brooke Shields for the December 1983 cover of Cosmopolitan Magazine. We also found a photo of the dress that I believe is a backstage shot from the runway presentation. It is instantly recognizable as having been designed by Bob Mackie. Mackie was best known for dressing Cher and for his undying love of opulence and bead work, both of which he incorporates heavily into the best of his designs. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. I think he secretly always designed for the big screen and the bygone glamor of Hollywood as his work is always over the top and extravagant.

This is an amazing dress from his main line. It is extremely sexy and flattering an I am so pleased to have photos of it so that you can see just how great it is on an actual body. The base of the dress is made of a black silk chiffon that has a touch of transparency to it. It is then backed in a layer of the same chiffon to keep it from being see through. Then onto that are thousands of tiny glass tube beads set in vertical rows that run up the full length of the dress. The rows combine a deep, almost black, red bead with bright vivid red beads to get the effect that you see. On the areas where Mackie wanted to emphasize your curves he concentrated the beads into a denser pattern. He then worked in large faceted red rhinestones to add some extra texture and to catch the light even more. This combination of the red glass tube beads and pop of large crystals let every inch of the dress to catch the light and sparkle. The dress has a good weight to it when it is off of the body because of that extensive bead-work and yet once on the body it drapes in a way that it is balanced and not at all uncomfortable to wear. The bodice is cut into a deeply dipped front V neckline. Tiny based straps curve back and around your neck. They hook together to create a racer back and your entire back is left bare and open. The waist is brought in to create shape but there is no horizontal seam to break the lines of the design. It is all done by that clever illusion of the dress wrapping around you. The skirt is incredible and is cut on a curve so the back is longer then the front and it has a high slit at one side at the front. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. I love how the denser bead work follows that curving line that is created. It makes your waist look incredibly snatched in.  If you even remotely love it in the photos you will love it more when you see it in person. Extremely well made and made to demi-couture standards. These were sent to the stores with a full lining made of a second layer of black silk chiffon and you could remove this if you wanted a true nude, semi-see through dress that Mackie is so well known for. Excellent condition.

Fully lined in a black silk chiffon and it closes with a low set painted metal and nylon back zipper. A hook brings the two straps together at the back. Hand finished throughout. It is cut on the bias so should drape to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam with probably a B to small C cup
Waist: to 14.5" flat across from side seam to side seam of the built in corset
Hips: to 18" flat across from side seam to side seam
Length: 63" from top of the shoulder to back hem, 33" to the top of the slit at the front

Modern Sizing Equivalent: SML-MED

Item# DD3695

Reference Photos: (1) Fall 1983 Bob Mackie Runway.  /  (2) Brooke Shields in Bob Mackie, Cosmopolitan, December 1983.  /  (3) Daryl Hannah in Bob Mackie, Vanity Fair, April 1984. Photo by Helmut Newton.  /  (4) Mackie Gowns modeled - originally designed for from left to right, Sharon Stone, Cher, Brooke Shields and Diana Ross. (credit unknown).

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

If you want to know the mindset in which Ossie Clark designed his clothes then this little story will explain everything... during a fitting, Ossie once told an 18 year old Marianne Faithfull to go back into the dressing room and take off her bra and knickers. ‘How do you expect me to go out like this?’, she asked him, and he replied, ‘You're meant to be able to lift your dress up at any time, and pull down the top, and just have sex.' .... That little story pretty much sums up the attitude of wearing an Ossie Clark. They are sensual, sexual and yet still utterly beautiful. He was a master cutter and his main line clothes were made at a Couture level. He could cut freehand and was one of the first designers to source clothing from the past to use as inspiration for his work and yet his designs were always uniquely his own. He was relentless in making the female body look as good as he could and did what it took to achieve that. He once told the Sunday Times ‘I don’t care how much anything costs as long as it is beautiful.’ The period of his work between 1965-1974 was pure fashion porn and in my opinion it will never be equaled as it perfectly summed up the spirit of the times.

Ossie named all of his couture dress and this one is known as the ‘Cuddly’. It was one of his best designs and the wrapped closure made it easy to fit. It is very well documented both then and now as a slew of famous women have worn one. I am pleased to have even sold one to Pink who wore a red version source from my archives for her 2019 music video 'Walk me Home'. Ossie's pieces were never produced in high quantities. In the book on his work written by Judith Watt there is a quote from Nicky Samuel who was a Haute Couture client of Yves Saint Laurent at the time and what she says sums up Ossie's place in fashion history perfectly as opposed to Saint Laurent's work; 'He was an artist, the best things he did were like a work of art; they are timeless. Saint Laurent never had to think about anything except designing dresses. He could create what he wanted. At Saint Laurent you could get everything in one place, 20 shirts from the rail to Haute Couture. It was a different set up from wonderful Ossie, where you'd hope that something would be made in three months by a couple of wonderful women who sewed for him.' I love that and it gives you more of a perspective of really how rare and special each dress that was made was. 

The dress is made out of one of his signature black moss crepes. To wear it you simply slip it on and wrap it at the waist to tie. The front is cut in a low plunge and because of the way it is cut and the ties are set it stays very secure once on. At the back there is a large triangular cut out that leaves your full back bare. It is very sexy and instantly recognizable as being an Ossie. The huge bishop cut sleeves are puffed and full above the cuffs and this perfectly balances the sleek and simple feel of the cut around and across the shoulders. It wraps into place with long attached ties at the waist that wrap around you and tie to give you as much shape and definition as you wish. The skirt skims over the hips and then widens out to be quite full with yards of fabric in its construction. It cascades to the ground and there is a wonderful amount of volume that flows around you when you move. The wrap leaves a long overlapped slit at the front. When you stand still it falls and closes but when you move or sit you get a flash of leg and depending on how tight you tie out around the waist you can literally show the entire leg. These were a signature hallmark of this particular dress. I own one of these myself and it will always be in my collection and I can tell you from personal experience that it is a dress that you will wear over and over. It is the perfect dress for when you want to feel very sexy. It is in its original uncut length which is hard to find with many Ossie pieces you now see out there for sale. It looks to have been worn very little if at all. Excellent condition 

Unlined and wraps to close and ties with the attached ties. It is labeled a vintage UK 10. One tie is a little shorter then the other but does not appear to have been altered. The wrap style should allow it to fit a variety of sizes. 

Sleeves: 28" and meant to pouf up when on
Bust: adjustable to approx 20" flat across from side seam to side seam
Waist: adjustable to approx 15" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to top of band at the waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3690

Reference Photo: (1) June Ritchie, in an Ossie Clark Cuddly dress, at a photo call for Gone With The Wind at the Theatre Royal Drury Lane, 1972.  /  (2) Madeleine Hinde, in Ossie Clark, at the premiere of British horror film 'The Fiend' in London, April 7 1972. Photo by M. McCarthy.  /  (3-4) Suzanna Leigh, in Ossie Clark, by Allan Warren, 1973.  /  (5-6) Pink in Ossie Clark, from Shrimpton Couture, for her 'Walk Me Home' music video, 2019. See below for video.

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

This is an incredible and very rare set by Halston from his main line. The top part of the set is very similar in feel to the one worn in the famous 1978 image of his 'Halstonettes' taken in the Halston offices. The 1978 collections featured many piece that were made from this same feather light metallic lurex in a variety of colours. I love the rich purple metallic feel of this set. 

Both the bandeau and the skirt are made from a very fine light weight metallic knit lurex. The colour is a stunning deep royal purple. I love how the fabric has that touch of a metallic feel to it and how it runs over the entire surface so the whole set has a subtle glitz to it. Both piece are very light in weight and the fabric has a touch of transparency to it. The top is a simple bandeau. It is gathered and ruched down each side. The zipper is hidden along one side and the other side has boning. You can wear the gathers at the side as I have photoed it here or wear the gathers down the centre at front and back. It is lined in a nude stretch jersey for a little support and coverage. Once it is on you have some flexibility on how much skin you want to show between the top and the skirt. You can wear it more pushed up and gathered to really show off a band of bare skin underneath, or pull the fabric down to meet the waist of the skirt. I photoed the majority of these with it worn more pushed up but also shot one for you with it worn down more. The skirt is gorgeous. It is made up of three layers of the fabric and it is so light in weight that even with those three layers it has no bulk when you are standing still. The moment you move you realize just how much fabric is actually there. If you were to lie it out flat it is a full circle skirt and that means that when you move it moves with you and flows around you beautifully. The layers act as the lining and this gives the skirt just enough opaqueness to be able to wear on its own though you still get just a hint of transparency in certain lights. It is amazing. It appears to have been worn very little if at all. Excellent condition.

The top is lined in a nude stretch lingerie jersey. It has an inner waist stay that hooks to close. It zips at the back and has boning built in along the side there and also at the front down the middle. The skirt is made up of three layers of the purple fabric. It hooks to close at the waist and snaps under that.

Top
Bust: 17.5" flat across the top from side seam to side seam
Inner waist stay: 13.5" flat across from side seam to side seam
Height: the boning at the side is 9" and the fabric between is adjustable

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3354

Reference Photos: (1) Alva Chinn, Halston and Chris Royer at Olympic Tower, September 1978. From the Book 'Halston' by Phaidon.  /  (2) Model in Halston, 1978. From the book 'Halston An American Original'.

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

Jean-Louis Scherrer was one of the great French couturiers. Sophia Loren and Jackie Kennedy were fans and I especially love the work that he was doing in the 1970s. It was very classical French in feel but still had his signature feel to it. He began his career with Christian Dior in 1955 and left when Yves Saint Laurent was appointed to the head designer position. He then joined Louis Feraud and stayed there until launching his own couture label in 1962. Scherrer soon had a loyal following and the 1970s were the pinnacle of his career. Everything about this dress is well thought out and it is perfectly constructed. 

The dress is a beautiful example of the level of work that you only find with true Haute Couture pieces. The dress is entirely made by hand out of a fine, slight weight silk crepe. It is in pristine condition and looks like it was just made. The shoulders are lightly padded and shaped. Each sleeve is cut to slight taper down to the wrist where it zips to close. The top has a V front and is cut to skim over the bust. This narrows down to the waist where a matching band of the same silk wraps around your waist to give shape and definition. The sash at the wast has all been hand draped and stitched into place. The skirt skims over the hip and is cut in pencil silhouette to end just past the knee. I love the floral print with its pink colour palette. It is like wearing a floral bouquet and the colours are as vibrant now as when it was first made. You can really see Scherrer's beautifully tailoring skills in this dress. It manages to feel strong but also soft and romantic at the same time. A tricky thing to pull off. Haute Couture pieces from the Scherrer label that are in this level of condition are hard to find and each time I do find one feels very special. It is gorgeous dress and it is even better on person and on an actual body. Excellent condition.  

Unlined and each interior seam and edge is finished by hand. It closes at the back with a handset painted metal zipper. The sash at the weasel is attached and it closes with hook & eye at the back. There is light padding in each shoulder and each cuffs has a zipper. The dress appears to be unworn  or to have been worn very little. Finished to Haute Couture standards and entirely done by hand. Appropriate Haute Couture tags numbered 000332. I took several shot of the interior finishes for you to see. 

Sleeves: 22"
Shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 27" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2472

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 months ago I sold a green version of this caftan and I am so pleased to have found a red one so soon after. Like the green, this Thea Porter caftan was made in 1977. It was dated from a copy of the original sketch of the caftan shown worn over a pair of wide legged pants. A copy of that sketch also appears in the 2015 book 'Thea Porter: Bohemian Chic' and I have included both the sketch and a shot of it in the book for you reference. These open front versions were especially loved for their versatility and ability to 'hide the body beneath the billowing forms, with transparent fabrics hunting subtly at the female form'. Of all of Thea's pieces, her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector. By the end of Taylor's life she had amassed a large collection of Thea's work that was auctioned off through Christie's in 2011. Many of the caftans in that auction fetched well over the $20,000USD mark and a burgundy version of this one sold at the auction for USD $8125. Each of Thea’s caftans were made by hand and no two are exactly alike. 

The caftan is very beautiful and is made from a plush devore velvet on a silk chiffon base. She has used the same velvet for the top and bottom portion of the caftan but has set them to that the pile of the velvet goes on the opposite direction. This causes the velvet to catch the light differently and in person the effect is gorgeous. Around the neck and down the back is a raw silk panel that is both embroidered and detailed with hand set beading. Red silk piped ribbon is set along the edges of the caftan to highlight its shape. At the sides and front this piping extends out to tassels that hang down and move when you move. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs so some of the elements used may be found antique textiles. The caftan is unlined and once it is on you see that velvet fused chiffon is semi-transparent. This see-through quality makes is very sexy despite the full coverage it has. The front tassels tie to hold it closed. You can easily add a soft belt to add shape like the one shown in the reference photo that was owned by Elizabeth Taylor. A very special piece and worthy of its book noted provenance. It looks to have been worn very little if at all. Literally like it stepped through time. Excellent condition

Unlined and slips on to wear with a little hook at the front. It's easy and open shape should allow it to fit just about any size. Hand beading and finished by hand

Width: 37" side to side at widest point
Length: 49" from neck to middle hem and falls to 55" at the sides

Modern Sizing Equivalent: OSFA

Reference Photos: (1) Thea Porter sketch of a devoré velvet open-fronted version of the abaya, 1977   /  (2) Previous sketch shown in the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.  /  (3) 1977 Thea Porter from Christie's.

Item# DD3687

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

Spring 2003 marked Alber Elbaz's second collection for the Lanvin and the reviews were very positive. Vogue's Sarah Mower said of the collection; 'Bouquets are due Alber Elbaz for excellent taste and innovative design aimed directly at the sophisticated women of the world. His spring collection for Lanvin was a rare vision of luxurious dressing, balancing luster with rawness in a grown-up, wearable way.... The designer also has a genius for dresses, which came in many variations on the goddess theme.... As a collection, Lanvin was a highly considered—and considerate—piece of work, executed with an impressive degree of respect for real women.' Besides being a documented runway piece and one of the genius dresses Vogue referred to, the dress is especially interesting because of the tag that is inside. Normally the ready to wear tag has the company name and the date of the collection noted underneath. This tag is larger with just the Lanvin name and has a hand written #39 on the tag. There is also an additional hand written tag. Given that this was look 39 in the show I am sure that this is the actual runway sample. The inner work is all by hand and has the look of a sample dress finish. This makes it extremely rare and a piece that Alber would have worked on himself and handled. Especially considering it was only his second show for Lanvin! He would have been completely hands on with each piece. It is an exceptional and early example of his work. We lost Alber this year and it is an honour to have such a beautiful piece of his work from early in in his career with Lanvin in the shop. 

It isn't until you put this dress on that you realize just how masterful the draping is. It is the easiest dress to wear. There is wide ribbon of elastic running around the inner top edge of the dress. You just slip the dress on and it falls to the floor in one perfectly draped column of silk chiffon. The silk is gathered along the top of the edge and then top stitched into place. It skims over the bust and falls loose and easy over the waist and hips so that it is incredibly comfortable and accommodating once on the body. The silk has a beautiful block print on the terracotta chiffon with one side of the dress left as a solid colour with no print. I love how this break the print up and adds more visual interest. A second layer of chiffon sits under that top layer and it is also printed. Both layers have a touch of transparency to them so that the two prints on each layer are slightly offset. This gives the print an extra dimension of depth as they move over each other when you move. The very bottom of the hem is an earthy brown and there is a band of feathers that runs around the hem between the print and the solid bottom layer. The edge is left raw and there is a tiny dot of the red spaced out all the way round the edge of the hem. On each hip there is a slip opening that has been done on both layers. There is no actual pocket but if you look at the runway footage that I have added you can see the other two dresses that were done in this same print. One of those was worn belted and draped. I think he added these slits onto the dress so that if you wished you can add a belt or a ribbon to wear low on the hip or at the waist. Or perhaps they tried it belted and instead wrapped the ribbon around the neck. They way it is now give you some versatility. Adding a ribbon or a belt would change the line and length of the dress and gives you many more styling options. And in referring to that ribbon - you will also notice that the runway photos show a ribbon wrapped around the neck and one shoulder. This was not sold with the dress. It was a styling edit done for the runway and you can see ribbons used in different variations on other looks in the show. It would be very easy to just add a wide black ribbon and recreate if you wanted the same look as how it was presented on the runway. The dress is absolutely gorgeous and a wonderful example of his work and a piece of his history with the brand. Excellent condition with a minor note below

Unlined and slips on with an elastic running through the upper edge of the bodice. Slips along the seam of each hip as described above and photoed. The measurement range below is the comfortable range of the fabric lying flat. It is very accommodating and will should fit a variety of sizes. There is one repair on the back solid part of the ham - with the feathers above it you don't see it when the dress is one. It otherwise appears to have never been worn, or worn very little

Elastic at the top of the bust: 14-20" flat across from side seam to side seam
Waist-hips: open to 30" flat across from side seam to side seam
Length: 56" from top of bodice to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3686

Reference Photos: (1-3) Spring 2003 Lanvin Runway Collection, Look 39.  /  (4) Credit unknown.

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

This dress is from the Nina Ricci Haute Boutique demi-couture label from the 1980s and it has that amazing eighties aesthetic to it. On the inner tag it has a space for the model style and this dress was called the 'Garda'. 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. 

I love the bold cut of the dress combined with the richness of the black velvet. Using velvet allows the black to be as deep and dark as it possibly could be so that the body of the dress becomes a backdrop to those wonderful shoulders. I am actually seeing a lot of similar pieces on the runways this past season or so and they are all based on work like this. The body of the dress falls in a perfect column of velvet and is cut to skim over the body and your curves. The sleeves are long and each narrows to a zipper cuff. The bodice is finished in a high end black silk and is shaped and cut to hug and lift the breasts. It curves over the breasts and then gathers in the centre where it is caught up with a strip of silk. This creates a curved sweetheart neckline that is beautiful. At the top of each arm is an explosion of pleated silk taffeta that is done in multiple layers of fabric. These swirl and curve around each other. The effect this creates and the volume it gives is remarkable. This also leaves the shoulders bare for some skin to show. To off-set the volume at the top of the dress, the skirt is more fitted as it falls to the floor in a graceful column of velvet. A slit runs up the back so that you can walk. The dress is very well made and the black silk interior gives it a rich and sensual feel once on. Excellent condition

Fully lined in a black silk and closes with a back zipper. There is a built in bodice that closes with its own separate zipper. Inner waist stay that hooks to close. Each cuff has zippers to close. Hand finishes. It appears to have been worn very little if at all. 

Sleeves: 22"
Bust: to 17" flat across from side seam to side seam
Inner waist stay under the bust: 14.5" 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: Approx 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3681

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 caftan version of a dress in a similar print appears in the Halston book and is a copy of the photo shot for Harper's Bazaar in 1975. This one is a one shoulder variation in a cotton and I love it. This is classic Halston from his main label. The one shoulder silhouette is one of the most instantly recognizable looks that he created and these have gone on to be one of the most iconic pieces that he did. I feel very lucky to have found this one in a print and it is exceptional. 

This is an amazing Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is made of a light polished jersey cotton which makes it so easy to wear and travel with. The American sportswear aesthetic was just coming into its own during this time period and there was a movement to combine comfort with high style and sexiness. I feel like this is the perfect example of that. You can easily wear this with flats or sandals for the day or turn it into a full on evening piece with the right shoes and accessories. The dress slips on and you tie it at the top of the shoulder. It simply falls into place from there with an elastic band running through the waist. The band through the waist is set loose and easy so that it falls away from the body. I have clipped it in a bit for the photos so you can get an idea of the shape of the dress. You can leave it worn loose or even add a belt to really cinch in the waist. The skirt is incredibly full. If laid out flat it is a full circle with fabric to spare. It is absolutely wonderful and the movement all that fabric creates is fantastic. This is a rare example of Halston at his very best and it is incredibly bold and fabulous on. Great condition with a note below to review 

Unlined and slips on to wear with elastic through the waist. It hooks at the top of the shoulder and then wraps and ties on the top of that shoulder. Hand finished. It is all bias cut and the easy waist should should allow for a larger range of sizing. There are some very faint light areas where the white part of the fabric has yellowed slightly on the bodice, near the inner waist and on the side of the hip. Please see the photos after the label shot. 

Bust: drapes and will accommodate to at least 18" flat across from side seam to side seam
Waist: the elastic will stretch to about 40"
Hips: open
Bodice: adjusts with tie but apron 15-16" from shoulder to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3679

Reference Photo: Photo by William Connors, Harper's Bazaar, September 1975. From the book 'Halston An American Original'.

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

This is a very rare and beautiful example of Halston's work using cashmere during this time period. He was a master at combining function and ease but without sacrificing glamour. He did this with the absolute minimum of seaming that a garment required. His bias cut knit pieces sometimes feel and look somewhat shapeless on the hanger or dress form and it is only when they are slipped on that they drape and settle into place the way they were intended. They seem so very simple but they are not. Halston used 4-8 ply cashmere for these pieces and that high quality shows. I have included a reference photo of a campaign photo from 1977 that shows a jumpsuit version in the same brilliant blue as this piece has been done. Recently, variations of his work in cashmere were featured in the Museum at FIT exhibit 'Yves Saint Laurent + Halston: Fashioning the 70s'. In their exhibit notes they mention these cashmere pieces specifically: 'Halston’s use of historical elements to create new collections was sparing. Rather than re-interpret the designs of those who came before him, he made subtle allusions to those designers whose work he most admired. He was inspired by body-revealing activewear and the sinuous, bias-cut gowns of Madeleine Vionnet from the 1930s, while primary influences from the 1940s included the cashmere sweater sets of Mainbocher and the ingenious ties and closures employed by Claire McCardell'

This dress has the added provenance of being specifically dated. In addition to the Halston tag it also has a hand written custom order label from Bergdorf's that states the clients name and gives us the exact order date of the dress - November 9, 1977. The dress is exceptional. It is in its original extra long length and falls from the shoulders in a column of the fine cashmere. The sleeves are long and simple and the dress is cut to skim over you from the bust to the hips before starting to widen out gently as is nears the hem. The front neckline is done in shallow v and the ties extend out from the band that runs along the neckline. One tie is notched and then the other tie slips through that to cross over the tie without adding any bulk. The ties are very long and you can then wrap and tie them as you wish. I think you could easily wrap them around the body even more then I have done and you could also just loop then to the back and tie then just once if you wanted a more caftan feel. Basically, the ties give you full control on just how fitted you want the dress to feel. In the book 'Halston; An American Original' they talk about Halston's cashmere pieces and quote Polly Mellen as saying: "His cashmere pieces to the floor... weren't just tubes: they had armholes, were neat on top, yet very cozy and at the same time elegant". It is said that they were inspired by a close associate that was a dance instructor and were intended to give the body complete freedom. The colour on this one is truly amazing and it is just gorgeous. It is a rich sky blue that is even better in person. It is the kind of color that will flatter most skin tones. These brilliantly created, more colorful examples of his work are not as easy to find for Halston anymore and this dress is an amazing and rare piece of fashion history. It is also remarkable in that it is in great condition. It has a couple of tiny flaws but they are minor. So many of his cashmere pieces that you find now are not and a piece this good and in this condition is a true find. Great condition with notes to review below.

Unlined and slips on to wear. It is made from 100% cashmere made in Italy. Tagged a size S . Because it is knit it has stretch and will 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. I see some minor small marks on it here and there. They are faint and light. I also see a few small repairs that you really only see if inspecting from the interior. I took a shot of one on the shoulder so you can see how minor it is from the exterior. Please see the shots after the label shot. 

Sleeves: approx 26"
Shoulder: no true shoulder seam
Bust: 17-20" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: approx 60" from neck to hem and the ties that extend from the neck are over 70" long

Modern Sizing Equivalent: XS-MED

Item# DD3675

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 Luisa Beccaria label is out of Italy and is run by the mother-daughter team of Luisa and Lucilla Beccaria. They are known for their incredibly feminine pieces that have an almost story book feel to them. The cost of their pieces run into the thousands and their clothing is very well made. This is a caftan version of the dress that walked the runway in 2014. Both pieces are made in this same amazing fabric and I personally love this version more. 

This dress is gorgeous. It is pristine and in its original unaltered extra long length. The fabric is wonderful. It is an open cut work embroidery and the stitches that run around the outer edge of the open parts are the palest possible pink in colour. Mixed in and around the open bits are embroidered floral medallions that are finished with combination of a pale light cotton that has a soft blue embroidered detailing on it. The overall effect is so pretty in person and the colour in person is even better then how it photoed. The open work gives it the dress a touch of transparency. You could easily wear this by the pool as a cover-up or wear a slip under it to wear it out for day or evening. Or go bare with just nude lingerie underneath if you dare. The sleeves are cut extra long and each ends in a wide flare. The neckline is notched and open down the front and there are a series of clear hidden snaps there so you can wear it done up to the top of the neck or more open. It is cut to skim over the body and then gently widens out as it runs down to the hem. A high slit runs up each side so that you get a flash of leg when you walk or sit. There are even pockets on each hip for the perfect finish. It is very beautiful and a very easy dress to wear. Excellent condition

Unlined and slips on to wear. Hidden snaps at the neckline and pockets on each hip. Tagged a modern 38. It looks to have never been worn or worn very little. The easy cut and loose caftan feeling cut should allow it to fit a range of sizes

Sleeves: 27"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 66" from neck to hem
Slits: 20" from hem up

Modern Sizing Equivalent:  SML-LRG

Item# DD3486

Reference Photo: Spring 2014 Luisa Beccaria Runway Presentation, Look 23.

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 amazing little black dress is from the Marc Bohan years and it is a stunning example of his work during this time period. The dress is made from a black silk crepe and the cut at the front is a play on a classic tuxedo. The neckline is cut into a low scoop and it has the illusion of wrapping over itself and closing with a double row of silk black crepe covered buttons. This gives it that wonderful reference point to a tuxedo while at the same time it adds pretty detailing to the front. The dress is cut to skim over the bodice and then comes in at the waist. A simple black belt in a matching fabric circles around the waist and it partially attached to the dress so that it sits perfectly. I love how even the buckle of the belt is covered in the same fabric so that your eye does not get drawn down to the belt and the line of the dress is not broken. The skirt falls below that in a simple and slim pencil silhouette. The overall effect is very refined and chic. To add a subtle touch of glamour Bohan has edged the neckline all around with a row of glittering crystal rhinestones stacked in a double band. These then curve up and over each shoulder strap where they form a chain and loop pattern. They glitter like diamonds in real life and have far more of an impact then how they photographed. The dress is done to demi-couture standards and the interior Christian Dior label is numbered. It is a beautiful. Excellent condition with one small note below

Fully lined in a black silk and closes with a fine back painted metal zipper. All the inner edges are ribbon finished and hand done. Constructed to demi-couture standards. The buttonholes behind the decorative row of front buttons are properly made. The belt is attached around the waist with hidden snaps and has a slip buckle front. There is a tiny amount of snagging to the fabric here and there. It does not detract but is mentioned for accuracy.

Bust: to 17.5" flat across from side seam to side seam
Waist: 14-14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from top of shoulder strap to waist
Skirt: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2702

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

Phoebe Philo had moved to Paris just prior to the Spring 2004 collection and this effect on her work was noted in the Vogue review of this collection: 'Now that she's moved to Paris, the London girl's references have acquired a French accent.... 'I went through my mum's old fashion magazines—she had a garageful, from when my parents were living in Paris in the late seventies. That's when I was born, she said, and I just thought the girls looked so gorgeous, fresh, and happy.' Another Magazine also did an editorial on Phoebe in 2016 and stated: 'Spring/Summer 2004 marked the height of Philo’s influence and lusted-after originality....The collection as a whole signified a new direction for Philo – a move away from looks infused with urban sportswear to grown-up femininity....There’s no doubt that Spring 2004 signified the beginning of Chloé’s (and Philo’s) reign over the wardrobes and department stores of the world.'

The twin of this dress was presented for Look 42 on the runway and was worn by Daria Werbowy. I love that it is a documented runway piece so that you can see just how amazing it is on the body in the reference photo. The dress is made from a slinky black nylon that falls and drapes over the body fabulously. The bodice is suspended by two tiny straps that come out from the centre front and then they angle up and over each shoulder and attach to the back. From the outside the dress looks like it is cut to just drape over you but inside it actually has a full built in interior corset bra with formed cups. This extends all around the back and then hooks there to close and hold the dress in place. It drapes over you and hangs loosely over the waist once it is on. The hips are more fitted with an elastic ruching. Phoebe was heavily influenced by vintage during this time period and you can see that in that elastic lattice detailing. This makes it incredibly comfortable on. There is a high slit on each side of the skirt that shows a lot of leg when you sit or walk. It is gorgeous and a very collectible Chloe piece. It appears to have been worn very little if at all. Excellent condition 

Unlined through the body with a lined and structured built in corset bra. Hooks to close at the bag. Tagged an XS

Bust: 15.5" flat across from side seam to side seam
Underbust of interior corset: 14" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: approx 49" from top of shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD2905

Reference Photos: S/S 2004 Chloe Runway, Look 42. Model: Daria Werbowy.

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 Blass became the head designer at Maurice Rentner in 1959 and soon after that his name started to appear on the labels. In 1970 he bought out the Maurice Rentner label and re-launched it under his own name. These Bill Blass for Maurice Rentner pieces, are some of his earliest and you will find many of them, like the twin of this coat, in museum collections throughout the world. Blass was arguably one of the most famous of all the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seem to have a way of flattering the wearer even at their most extravagant. This piece has the additional bonus of being able to be worn as either a coat or a dress

This early Bill Blass coat is particularly gorgeous with its metallic gold and light taupe brown silk brocade fabric. I just sold a blue and gold one and it is a pleasure to have a brown one version now as well. The base of the coat is done in the brown and then onto this, in horizontal rows that run over the entire coat, is an incredible and intricate design that has been created out of gold lame and gold thread. The gold pops off the brown base and has a lovely way of catching the light. The coat has a bit of a military feel to it and I love how the pattern is laid out to highlight the high collar and cuffs. Flap pockets are placed on the front of the coat. One on each hip and then two more on each breast. They are perfectly set to follow the pattern and each has a large bead covered dome button to secure its flap closure. The same big bead covered buttons run down the front giving the coat a neat and polished feel. The shoulders are structured but are not padded. There is a subtle fabric epaulette across the top of each shoulder. The sleeves are long and he took the time to make sure that the fabric on them lines up with the striping on the body of the coat. The fairly simple design of the coat allows that beautiful fabric to take center stage. An interesting thing about this one, it closes all the way to the bottom hem so it could be worn as a dress as well. Excellent condition

Fully lined in a brown silk and closes with silk covered snaps hidden behind each hand beaded dome button down the front. All four pockets are functional. Hand finished throughout. It appears to have been worn very little if at all. 

Sleeves: 21"
Shoulders: 15.5"
Bust: 21" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C572

Reference Photo: Samantha Jones in Bill Blass, photographed by Richard Avedon, Vogue October 1968.

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

This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway. This particular dress is a YSL copy from the Fall 1985 Couture collection. I have included the runway photo of a that dress. This dress does not have a label but is from the time period that she lived in Switzerland. There is also the possibility that it is an actual YSL because she was also buying from some more well know labels at the time. It is priced as an Ady piece and the context that it would have with that label. The dress is completely made by hand to Haute Couture standards and it is an incredible piece.

This is a dress that when you see it on the hanger is really doesn't look like much but the second it hit the dress form it came to life. I can only imagine how amazing it will be once on an actual body. It is made out of a rich liquid silk satin that drapes and falls over the body beautifully. The bodice is fitted and it nips in at the waist. The skirt below that falls in a sleek column that wraps around you and overlaps itself at the front. This allows it to open slightly when you walk so you get a bit of leg showing. Attached around the waist is a draped panel of fabric that hooks into place along one hip and then you tie the long extended ties into place. I have tied it into a bow so that there is more volume there. I also shot one photo where it is just looped so that the ties hang long down the side. This gives the illusion of a more voluminous skirt then there actually is and also gives the dress a nod back the forties in feel. At the back it buttons into place with a series of glossy black buttons and the back dips into a low V for a little expanse of skin to show above that. The silk is a true black that has that amazing bow and ribbon print in a vibrant pink screened over it. It is gorgeous. Inside it is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and just beautifully made. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk crepe through the skirt and a silk crepe chiffon through the bodice. It closes with a low set zipper at the back and buttons to close above that. The hip swag wraps around you and hooks into lace with four hook & eye. Hand finished throughout. It appears to have been for very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3673

Reference Photos: (1) Fall 1985 Yves Saint Laurent Couture Runway.

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

This is from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and seventies her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. He designed many piece for the Queen of Belgium and like Ady, he had permission from several of the Haute Couture ateliers to produce their Haute Couture pieces using the patterns and buying the fabric direct. After some research I think this is inspired  by the Fall 1970 Givenchy collection. In that collection he used riffles at the neck and hem quite extensively and also used this same silhouette. Given her overall wardrobe and love of couture and having things copied I am quite sire that this is from that collection. It is stunning and one of my favourite personal pieces form her estate so far. 

This is such a gorgeous dress and it is beautifully made. All of the finished are by hand and it has all those lovely details that you expect in a couture level garment. It is made out of a black silk taffeta and this fabric choice helps it to hold its intended shape. On the main body of the dress the silk has been finished with hand embroidered flowers. Some are a pink with green leaves and then others are a turquoise blue with green. These add a pretty bit of bright fresh colour to the dress and give it such a lovely and romantic feel. The bodice is more fitted and the neckline is set wide across the shoulders. Circling the neckline is a ruffled collar. Two layers of silk have been used and each is sewn into place down its centre so that you get the effect of four layers. They have been sharply knife pleated to add even more texture. These frame the upper shoulders and if you are very slim cut through the shoulders I think you might be able to wear them off the shoulder too. From there the waist nips in and then the skirt flows to the floor and widens out quite a bit as it nears the hem. The bottom of the dress is finished with the same ruffle technique as the collar but there they are set so fold over each other as opposed to open up like they do at the neckline. Inside the skirt is a full built in under-skirt and I love that it has been done in a bright vivid pink silk taffeta. It is like a little hidden secret burst of colour that you will only get a glimpse of when you move or sit. That inner skirt is also finished with a layer of the black silk ruffles and it set slight below the top skirt in length. So the final effect is three layers of ruffles at the hem. Its wonderful and there are even pockets hidden on each hip. The interior is made to couture standards with all the inner seams finished by hand. I have included some shots of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little. Excellent condition

Fully interlined in a black silk crepe chiffon though the bodice and skirt. Built in pink silk taffeta inner skirt. It closes with a back fine metal zipper and has a waist stay that hooks to close. Pockets on each hip. It looks like its been taken in at some point through the bodice. There is at least an inch and a bit of fabric on either side of each inner seam through the bodice to let it out if needed. The inside is all hand done and it is finished to couture standards. 

Bust: 17" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3672

Reference Photo: Fall 1970 Givenchy.

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