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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3877

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

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3874

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# C600

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

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3869

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# C599

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3866

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

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

In 1951, 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. That said, his ready-to-wear line was made to almost true couture standards and piece in it were made with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and other pieces. Grace Kelly was an early fan and he was truly one of the great American designers. His work is held in all of the major museums around the world and he is one of my personal favourite designers. This dress is exceptional and I was very excited to have it come into the shop.

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3862

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

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

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

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

Sleeves: 24"
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: 44" from waist to longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD3859

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3855

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3856

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# C595

Reference Photo: F/W 1985 Valentino Runway Collection

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

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

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

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

Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 37" from neck to hem with 3.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3853

Reference photos: Christian Dior 1966 / credit unknown.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3851

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# C592

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

This is an incredible and rare piece of Dior's history in the fur market. During this time period there were select furriers that had permission to make the Haute Couture pieces and the maker of this coat, Canton Furs in Lausanne was one of those. This coat was made in 1984 and this time period was known as the 'Golden Age' for the Dior fur division. Frederic Castet was appointed the head of the division after joining Dior in 1953. He single handedly restructured the fourrure department to follow the haute couture and the prêt-à-porter philosophy of the house in 1968. He was one of the first to treat fur like fabric and would dye it, trim it, pluck it and create whimsical fantasy pieces that had never been see prior. By the 1980s he was doing extravagant presentations that only showcased his furs. These were held on the second floor of the Dior mansion on Avenue Montaigne. They were as wanted a ticket as the couture shows were and they were legendary in terms of the extravagant spectacles that he would put on to showcase his work. His work was worn by all the major stars from Sophia Loren to Elizabeth Taylor.

This coat was originally purchased for the sum of CHF 120’000, on 11.10.1984. That was about $93,000 USD at the time. I have a digital copy of the original insurance value paper done for the coat that is dated to december 13th 1984 that states its insurance value at FR. 200,000. If you want to talk modern dollars that is well over an astonishing $248,000USD. The insurance papers along with the information given to me by the family also gives us an amazing amount of detail on the coat. It is the Haute Couture model nr. 3007 that was named 'Dynastie'. The sable pelts that is is made out of are some of the rarest on the planet. It is made of a Russian sable, 87 Bargouzine quality skin, ’sauvage pointée’, color grade 3 with a matching belt. We found a very similar model that was photoed for the cover of L'Officiel that year. It is of special interest that during Gianfranco Ferre's tenure at the house he used these same sleeves as inspiration for a sable piece that he post on the runway for the Fall 1994 Haute Couture presentation. I have included both these reference photos for you here. 

The coat is in exceptional condition and appears to have been worn very little if at all. The style is very much like a men’s evening smoking jacket with how it wraps to close at the front. I love that feeling of the masculine contesting with the feminine in this piece. I have done a video for this piece that you can watch to get a really great idea of its suppleness and how it moves. It also shows more of the details on the coat. The sleeves are especially of interest. They are cut exceptionally wide and full and the pelts have been set horizontally to contrast against the vertical pelts on the body of the jacket. At their cuffs they are a full 24" around. Everything about the coat is exquisite and exceptionally made to the very last detail. Even the belt has a special hook that allows you to keep it perfectly in place once it is tied at the front. And if you want to wear the jacket without the belt tied you can hook the belt at the back as I’ve shown in the video so you never have to worry about losing it. For those of you that collect and wear vintage furs this is one of the most exceptional pieces you will ever come across and and it is set at an extraordinary price given its original value. It is truly a one-of-a-kind find. Excellent condition.

Fully lined in a brown silk with a second lining floating over that. It hooks to close at the front with fur hooks and the belt has it own hook as shown in the video. Silk lined pockets on each hip. The fir is exceptionally soft and supple. Because of the the tie front it should work on a variety of sizes. 

Sleeves: approx 24"
Shoulders: soft with no defined seams
Bust: to 22-23" flat across from side seam to side seam
Waist- hips: open and adjustable when tied
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C593

Reference Photos: (1) Original Purchase Insurance Papers.  /  (2) Model in Christian Dior, Officiel de la fourrure, 1984.  /  (3) Fall 1994-95 Dior Haute 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.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3850

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

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

This dress is from the Nina Ricci Haute Boutique demi-couture label from the 1980s and it has that amazing eighties aesthetic to it. The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant, as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress fits perfectly into that aesthetic and I think it is absolutely fabulous. 

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3849

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

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. This dress is from the main Nina Ricci line and it is made to level that I would consider to be demi-couture. It dates to the Fall 2006 collection and its twin walked the runway on model Jeisa Chiminazzo. Designer Lars Nilsson was the head of the atelier at the time and he had been there since 2003. His take over of the label was met with rave reviews and he was asked to reinvigorate the then floundering label. He remained there until 2006 so this dates to mid-way of his tenure. In the review of the collection that season by Vogue, they were harsh of the sportswear looks presented but raved about the evening looks saying; 'What his soigné fans love him for is his easy way with a dress. Several of the versions he showed today featured an artsy, swirling print, while the others came in those multicolored layers of organza, chiffon, or silk gauze. His facility with such concoctions makes spring a natural for Nilsson.''

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3848

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

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

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

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

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

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

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

Item# DD2996

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3841

Reference Photos: Fall 1985 Christian Dior Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3838

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

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

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

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

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

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

Modern Sizing Equivalent: OSFA

Item# DD3827

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3825

Reference photo: Jean Patou L'Officiel Spring 1977 

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

This dress was so well documented and photoed when it came out for the Spring 2017 collection it is almost mind boggling. It is instantly recognizable as Phoebe's work and it is amazing. When I started to hunt for references for it I found all the ones that are here, plus there are probably more out there that I just have not yet seen. All of Phoebe Philo's pieces for Celine have reached cult status and the prices are just continuing to rise. Her work is a must have for the vintage collector and this is a particularly hard to find dress that is rare and collectible. 

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3823

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3822

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# C454

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# C583

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

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

This incredible dress is from the Fall 2004 Yves Saint Laurent collection and it's twin walked the runway that season. With it's brilliant rose print the dress has such a joyful feel to it. And it feels very French. I am always excited to find examples of Yves' work from this time period and this one is extra special with the addition of its runway provenance. We also found video of the show so you can see how the dress moves. I love it

The dress is exquisite and I love that you can see just how wonderful it is on the body from the runway reference photos and video that we have found for you. It is made from a light silk chiffon that weighs next to nothing. The sleeves are cut to be very full above their elastic ends and this adds to the flowing feel the dress has. I love that the sleeves are cut to sit fully off the shoulders. This allows your entire upper shoulders to show and the bare skin of your shoulders balances the show of legs under the skirt. The bodice has a built in inner corset that holds the dress in place and gives it hidden structure. Over the inner bodice the fabric is draped into place in a series of gathers and soft pleats. This gives the illusion that the dress skims over the body rather then being so fitted underneath with the built in corseting. The waist is nipped in and I have added a grosgrain ribbon for shape. If you wanted to wear it like it was shown on the runway you could easily pin a rose onto the waist. The skirt under the waist seam is quite full and cut short. There is a ruffle at the bottom of the hem that adds more fullness. Underneath the skirt is a silk chiffon underskirt. Both that underskirt and the top rose printed layer have a touch of transparency as do the sleeves. It is a very subtle addition of sexiness to have these fabrics be so light and with that hint of transparency. The result is that you get a stunning bit of volume through the skirt as it flares out around you and moves when you move and then both the skirt and the sleeves have a touch of transparency to them so you get a suggestion of leg and arm showing. It's killer. The dress looks to have been unworn or worn very little. Excellent condition  

The built in corset acts as the lining through the bodice and it is boned and shaped. The skirt has a light silk chiffon lining. The dress closes with a side set zipper. The grosgrain ribbon belt is not original to the dress but will be included. The front seam at the waist curves up slightly to one side and it does not look to have ever been altered. I think its deliberate to accommodate a flower as you see it placed in the runway photos.  It appears to have been unworn or worn very little. Tagged a TSL 38 

Sleeves: approximately 22" from the drop
Inner bust: 16" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: open
Bust: 8" from the top of the neckline to the waist
Skirt: 22.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3819

Reference Photos & Video: F/W 1994 Yves Saint Laurent Runway Collection.

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

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did and still do retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This dress is absolutely stunning. It weighs ounces and is made from the most beautiful fabric. Netted lace is placed over a nude silk chiffon lining. The lace is then detailed with little swirls of cording that have little ivory iridescent sequins running through. This allows the dress to catch the light from every angle and create the most beautiful effect in the light. It all cleverly closes at the front with hidden snaps running under the edges of the fabric. I love how all if the edges follow the curving pattern of the lace so that everything has that touch of romance and detailing. Once on, the front plunges right to the waist. The fabric closes under that point and overlaps slightly. This leaves a subtle slit running up the front so that you see a flash of leg when you move or sit. The back is equally incredible. The front halter curves up and over the shoulders and meet in a band that runs behind the neck. Extending out from that are two wide straps made of the same fabric. These are set to curve and drape away from the body for this pretty 3D effect. The back is left completely bare under that right to the waist. I love how the seam at the bottom of all that bareness is set on a slight curve. No detail is too small with John's dresses. It is incredible. It is one of the most romantic and beautiful 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. Excellent condition.

Fully lined in a nude silk chiffon and closes at the front with a series of hidden fabric covered slaps. Hand finished throughout. It appears to have been worn very little if at all. Note that it is slightly creamer in person then how it photoed.

Bust: each halter provides 6" of coverage across 
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 62" from neck to longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3829

Reference Photos: Spring 1984 John Anthony 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.

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This is a dress that when you see it in person seems impossible to have the level of detail that is does on the silk and netting fabric. It is magical in person. The dress is made from a beige nude silk chiffon through the body and then the upper bust and back are made out of a nude silk netting. It is cut to skim over the body with a suggestion of a waist worked in by vertical seaming. The netting above the front edge of the bodice curves up to the shoulders and then down the back. The back is dipped very low so you see your lower back peek through the netting. Onto the netting is a design that reminds me of coral in the way that it has been executed. A fine silver colour metal thread is first used to create the organic feel of the pattern. Then onto that is a dense application off silver sequins, soft pastel blue beads and rhinestones. These are applied thickly enough that they sit up and off the silk to give a 3D effect. They run over the entire dress and over the netting as well. When this is on the body the effect that this creates is astonishing. I think it is one of the most beautiful textile examples I have ever seen. A long slit up the side allows a flash of leg to show when you walk or sit. It is magnificent. Besides being a very wearable dress for any special evening  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. Excellent condition with a minor note below.

Fully lined in a node silk chiffon and closes with a hidden side set zipper. One of the shoulders has a Velcro close to help get in and out of it. There is a very tiny break in the net near one arm hole at the front and two teeny stress areas near seams. Please see the three photos after the label shot.

Bust: the front covers to 16" flat across and the sides are open right beside the bust
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 54" from top of shoulder to hem
Slit: 24" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3833

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

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This dress is very sexy and shows off a lot of skin but in the best possible way. The metallic lame jersey that he has chosen as the fabric weighs mere ounces and it is heaven on. Once it is on it feels almost weightless. It is completely cut on the bias so once you slip it on, the seaming and bias cut drape the dress over you and it feels like you are wearing nothing. The halter of the bodice curves up and behind the neck. At the back this leaves you entirely bare. Its scoops down right to the waist and your entire back and sides are a bare expanse of skin. At the front the halter gathers in toward the base of the plunge at the waist and there is a knot of the gold lame there for detailing. To wear it you slip it on, wrap it and then it hooks at the waist under the front knot. The skirt falls under that in a ruffle of gold down the front. It is slit down the center with the ruffled edges of the fabric keeping it covered. When you walk or move you do get a mile of leg showing. The edges curve down and around the hem and the back is cut longer. It is pure golden magic and one of the best lame dresses I have seen. It appears to have been worn very little if at all. Excellent condition.

Unlined and closes with a back hidden set hooks. It has an inner waist stay that has a hook. You could probably move the hook a little up or down to get more or less room if needed. Cut on the bias and is feather light. Hand finished throughout. The strap at the back of the neck has been folded and tacked to shorten it a notch. It would be easy to adjust this if needed.

Bust: each side of the halter front will expand to cover up to 9" across 
Inner waist: is currently 12" flat across from side seam to side seam but it would be expanded to get another inch easily and maybe more. 
Hips: open
Length: approx 60" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3836

Reference Photo: (1-2) Fall 1980 John Anthony Runway.  /  (3-4) John Anthony Ad for Bergdorf Goodman, October 5th, 1980

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

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This is an amazing dress that is heavily beaded and extremely sexy. The base of the gown is made of a red silk chiffon that then has hundreds of vertical bands of red coloured glass tube beads laid out in vertical rows that fully cover the dress. The dress is already spectacular on its own and the addition of the thousands and thousands of glass tube beads give the dress an extra layer of texture and glamour. Every square inch of the dress catches the light and sparkles. As a result the dress is fairly heavy off the body because of that extensive bead-work, and yet once on the body it lies and drapes in a way that it is balanced and not at all unwieldy. And the colour... If you even remotely love it in the photos you will gasp to see it in real life. This needs a body to give it a life of its own and the camera cannot capture just how gorgeous it is and how the beads catch the light. The bodice is cut with a deep plunge that goes right to the waist. There is no structure inside the panels that sit of the bust. They are meant to just skim over you. They curve up and over each shoulder to turn into thin straps that run down the sides of your back. The back is otherwise left completely open and bare. The sides plunge equally as low so there is an expanse of bare skin there as well. I love how there are no horizontal seams added at the waist so that the front remains a long unbroken line right to the hem. The skirt widens out as it nears the hem and the combination of the silk and beading give it incredible drape. A slit runs up one side so that when you walk or sit you get a flash of leg. As good as it photoed, the effect that this dress has once it is on an actual body is far more dramatic and fabulous. If you even remotely love it in the photos you will dance when you see it in person as it is so much better in real life. Extremely well made and made to demi-couture standards. Excellent condition with one minor note below.

Fully lined in a red silk chiffon and it closes at one side with hidden set silk covered snaps and a hook & eye. Hand finished throughout. It has a good weight to it since it is fully beaded from top to bottom with glass beads but feels balanced when on and comfortable. There is a small part of a row of beads missing near the back scoop and a part of a row at the back. Please see the photos after the label shot. The straps have been folded and tacked to shorten a bit at the top of each one.  This could be easily reversed if needed.

Bust: each halter covers approx 5.5" across
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 60" from top of bodice to waist
Slit: 21.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3834

Reference Photo: (1) Fall 1975 John Anthony Collection.  /  (2) Dayle Haddon in John Anthony, photographed by Hiro for Harper's Bazaar, September 1975.  /  (3-4) Fall 1975 John Anthony 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.

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

The dress is stunning. It is made from a sleek black silk mix that falls and drapes beautifully. At the front it is cut in a simple sleeveless sheath with a high scooped neckline. The back dips into a very low squared off cut out that goes right to the waist to show a bare expanse of skin. Each side is also cut to go right to the waist seam so you get a flash of skin there that is very sexy. Inside it is lined in a hand jet black silk that feels amazing against the skin. The waist seam is set in a slightly curved line up towards the bodice and then the skirt falls from there to the floor in a stunning sleek column. It is cut super model long in length. I love that on one side there a very high slit. This leaves your leg exposed to the thigh and it is very sexy but in an insanely subtle and refined manner. The dress is just heavy enough to keep its sleek sculptural shape. It is very beautiful. It is stunning on the body. Excellent condition 

Fully lined in a hand set black silk and closes at the back with a low set zipper . All the interior work is done by hand to demi-couture standards. It appears to have been worn very little if at all. 

Bust: the fabric will cover to 14" across and it is open a each side
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 13" from top of shoulder to waist
Skirt: 50" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3830

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

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This dress is exceptional and a wonderful example of his work during this time period. It is made from a black stretch jersey that allows it to drape beautifully over the body and highlight every curve. The stretch in the jersey and the netting on the top allows the dress to show off your curves while still feeling unbelievably comfortable once on. The top of the dress is spectacular and it is so well made that you could wear it either way around depending on just how bare and daring you want to be. The entire bodice mixes curved cut outs of the black jersey with a back netting. This makes it very sexy despite the fact that the dress completely covers you. The net sleeves are long and followed the curve of the arm. Panels of jersey curve up from the waist and wrap over you. If you wear it with the more covered side to the front then the back is left almost bare under the black netting. If you turn it around and wear the more exposed side to the front it creates a more halter effect. The dress skims over the body and falls to the floor in a beautiful drape of jet black jersey. It is cut super model long in length and I love how the bottom of the skirt flares out just a touch. A zipper sits at the neck of the more opaque side and this allow you to show a little skin there or zip it up to the neckline. It is incredible and made to demi-couture standards. Excellent condition.

Unlined and slips on to wear with a zipper at the neckline. It appears to have been worn very little if at all. Hand finished. The fabric does have stretch so should fit a range of sizes. The measurements below give you the comfortable range the fabric has when lying flat.

Sleeves: approx 25""
Shoulders:
Bust: 15-18" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 16-19" flat across from side seam to side seam
Length: 67" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3828

Reference Photos: From the John Anthony website.

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

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

The level that this dress is made to is a beautiful thing to see. It has all those lovely details that you expect in a couture level garment. The skirt is made from a black silk taffeta and then the bodice is very elaborately finished. These fabric choices help to hold its intended shape and give it a high glamour feel. The bodice is more fitted and the neckline is cut wide across so that you can wear it off the shoulder. The bodice is entirely covered in thousands of tiny black sequins. Glass beads in gold and red create a diamond pattern that runs over the bodice and then gold roses are embroidered into that. Onto the gold embroidery sits little clusters of 3D rosettes of metallic pinks and gold. It is incredible and very elaborate. The top is cut to follow your curves and the waist is cinched in. The sleeves are long and are as covered with the sequins, beads and rosettes as the bodice is. All of the edges are bordered and the zipper is hidden under the border that runs down the centre at the front. The skirt is equally well made. It curves out from under that elaborate beading widening out as it nears the hem. Inside the skirt are built in panniers at each hip to help give it shape and volume. This technique helps to hold the shape of the skirt and when on the body it poufs out perfectly. The hours of work that it would have taken to implement the detailing on this dress is mind boggling. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a black silk. There are built in hip panniers on each side of the inner skirt. It closes with a hidden set zipper down the front. Each sleeve buttons to close with a series of jet buttons and loops. Hand finished.

Sleeves: 19"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: approx 32" to hem once on the body

Modern Sizing Equivalent: SML-MED

Item# DD3832

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

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This jumpsuit is gorgeous just on its own with its cut and line never mind the fact that every square inch of it is completely covered in thousands of tiny sequins. Under all of those sequins the base fabric is a pale green silk onto which are thousands upon thousands of the tiniest sea green sequins. The sequins are all placed in a way that they slightly overlap each other which uses twice as many then if you laid them out side by side. This heavy coverage means that it catches the light magnificently. These literally cover every inch of the jumpsuit and create a moving, sculpture as they fall and drape over the body. The combination of colour, sequins and cut make you instantly seem taller and leaner. The top has a high collar that is detailed with a thick rope of sequins. This snaps into place around the neck and then snaps together at the front. This same piping of sequins also sits at the end of each cuff. The bodice is cut to skim over top and the sleeves are long. A matching sash covered in more sequins hooks into place around the waist for shape. The pants are cut wide and straight as they reach the hem and they help add to the sense of being long and lean. Because the base fabric is a very light silk the entire jumpsuit is shockingly light despite the heavy coverage of the sequins. It is just beautiful and extraordinary once in a lifetime find. Excellent condition.

Fully lined in a green silk chiffon and closes with a back zipper. the collar snaps into place and the matching sash belt hooks to close. Light padding in each shoulder. Hand finishes. I see no bare areas. There are literally thousands of discs covering the jumpsuit. It is even better in person.

Sleeves: 24'
Shoulders: 14.5
Bust: 16" flat across from side seam to side seam, though the open back will allow for a larger cup size
Waist: 12.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 16" from neck to waist
Pants: 45" from was it to hem
Inseam: 33"

Modern Sizing Equivalent: XS-SML

Item# DD3835

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

Perhaps one of the most iconic of all the Yves Saint Laurent pieces, the laced safari corset top is a piece coveted by anyone who loves vintage or is a collector. When Yves introduced them to the world in the Spring of 1977 they caused a sensation. They are as important now as they were then if not more so. This particular one is extra special for two reasons. The first reason being that we found a reference of this exact colour as it walked the runway that season and the second that it comes with its matching skirt. The skirt is a different one then the one the corset's twin was shown with on the runway because once these pieces hit the shops they were sold on a mix and match basis. I love the pattern with the solid top. I think it gives it more pop then the solid coloured skirt did. The corset tops were produced in a small range of specific colours and I love that I have found one in the exact colour match to the runway piece. 

The top is edged in a white and brown braiding with a chevron design that offers a wonderful contrast. It is made out of a canvas weight cotton that gives it its shape and a little extra structure. To wear it you just slip it on and then it laces into place at the front as shown. The top is rounded at the corners and the waist is seamed for even more shape. The peplum effect at the hip adds to the bombshell effect and curves the corset created. I love that you can lace it in tightly so that it is completely closed or leave it looser for a bit of skin to peek through down the front. The skirt is a classic shape from this time period in YSL's history. It is banded at the waist and then has lots of volume underneath that. Pockets sit at each side of the hip and I love the big oversized paisley print that pics up the colour of the corset top and also has bold pops of blue and red worked through the print. It is gorgeous and seriously chic. Bonus points for being able to mix and match both pieces with other things in your wardrobe. Excellent condition.

Both pieces are unlined. The top laces to close at the front and the skirt closes with a side set zipper and a flat hook & eye at the waist. The skirt is labeled the top is not.

Note that the top is measured with the front edges lined up and completely closed. You will get more room by creating/leaving a space between the edges when lacing it closed.

Corset top - fully laced up to the edges meet
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Length: 22" from top of the shoulder to the hem

Skirt
Wast: 14" flat across from side seam to side seam
Hips: open
Length: 31" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3816

Reference Photo: S/S 1977 Yves Saint Laurent Runway Collection.

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

Stella McCartney started at Chloe in the Spring of 1998 and forever changed the brand. She was intrumental in reviving the Chloe name and her years there produced some of the most iconic looks of the brand's history. This dress is the twin of the one that walked the runway for the Spring of 2001. Vogue's review of the collection said in part; 'VH1/Vogue Fashion Awards Designer of the Year 2000 Stella McCartney certainly did not disappoint her legions of fabulous young fans who rely on Chloé for the season’s hot new trends. But this season, in addition to delivering sexy new T-shirts and plunging bathing suits (with playful pineapple motifs), McCartney explored grown-up territory. Perhaps drawing inspiration from Schiaparelli’s inventive chic, McCartney worked graphic horse prints (borrowed from Stubbs and Géricault) into loosely structured diagonal-seam dresses and beautiful jackets with a softly draped triangle shoulder.... This was a very strong collection for McCartney, and one that confirms her considerable talent and potential as a major designer.' We all know in hindsight how true those words were. The horse print pieces from this collection are some of the rarest and hardest to find and this is a piece that will only increase in value and get more important as time goes by. 

This dress is especially interesting as it is an impoertnat part of modern pop culture too. In the show Sex and the City, Carrie Bradshaw, played by Sarah Jessica Parker, wears it as as a coat. Stylist Patricia Fields paired it with a tulle petticoat underneath and left Carrie's nude bra exposed. In 2001 this was almost scandalous and it shows you the strength of amazing styling and how pieces can play double duty under the right eye. When worn as a dress it is a very sexy piece. The silk has a bit of a crepe texture to it and there is a touch of transparency to the fabric. To wear it you simply slip it on and it wraps over you at the front and secures at the waist by two tiny little buttons and loops. This leaves it plunged right to the waist at the front. The skirt part wraps over itself right across the front to make it safe and secure to wear without it opening on you. I am obsessed with the sleeves and how they have a poufed fuller area at the top of each shoulder. They then narrow down to the wrist. The runway version was shown with a belt and you could easily switch up the look by adding one of your own. The print is her now iconic horse print and it runs over the entire dress to make it instantly recognizable as being from this Chloe collection. It is fantastic. It looks to have been worn very little if at all. Excellent condition

Unlined and closes with buttons at the waist. You could easily adjust the waist measurement if needed by moving the buttons. Tagged a Chloe 36 and has a slightly generous cut. It should fit a range of sizes 

Sleeves: 22"
Slighty inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3817

Reference Photos: Spring 2001 Chloe Runway Collection, Look 11. Model: Colette Pechekhonova.

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

On the runway this was shown as a skirt but for production they did it as a full dress. Vogue's Sarah Mower said in part of this collection; 'This time, her (Miuccia Prada) address seemed aimed directly to youth. There were cycling shorts and duchesse satin A-line tunics and baby doll dresses; plunging bodysuits with straps under the breasts; sheer black knee-highs implanted with Prada’s triangular logos; and iterations of her ’60s–’70s throwback print jersey ladylike coats, all of it topped off with puffy Alice bands. “I wanted to break the rules of the classic,” she said. “To discuss a wish of freedom and liberation and fantasy, and, on the other side, the extreme conservatism that is coming—the duality out there.' This dress has the added provenance in that Rachel Brosnahan wore its twin to the 2019 PaleyFest which is wonderful as it shows you just how fabulous the dress is on the body.

The dress is classic Prada and it is a simple but refined silhouette. The top is cut the skim over the body and the shoulders are soft and unpadded. The sleeves end just above the elbow and have a black satin button detail on the cuff. This same detailing is picked up on the collar where a ring of black silk satin circles your neck. I love the little bow and gold button detailing it. It is an extra little quirky touch that is so in line with the Prada brand. The front of the top is bloused and there are two pleats running down the front for detailing. You can wear it without the belt if you want it to fall more loose and easy on the body or use the belt to give it shape. Adding the belt does pick up on that same black satin detailing and the use of the gold buttons. The skirt is gorgeous. It is a cut in a series of flat pleats set to run all the way around you. These allow the skirt to open up and have tremendous volume when you move. When you stand still the skirt falls smooth and flat and as soon as you move it flares out around you. The most astonishing thing about the dress is the fabric. It is a silk crêpe that’s been tie-dyed in shades of blue that range from a deep navy to an almost purple. This is then combined with an almost acidic neon green. It is fabulous to see and a definite showstopper. It appears to have been worn very little if at all. Excellent condition.

Unlined and closes with a back hidden set zipper. Each cuff has a decorative button. The belt buttons and hooks to close. The fabric has Prada embedded in the print. Tagged a 42

Sleeves: 13"
Shoulders: 15"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3815

Reference Photos: (1) Spring 2019 Prada Runway Collection, Look 41.  /  (2-3) Rachel Brosnahan in Prada at the 2019 PaleyFest.

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

The twin of this coat walked the Fall 2002 runway. In the review of the collection that year Vogue's Janet Ozzard commented; 'There was a whiff of far-flung exoticism throughout the collection, although it was grounded in city-smart sportswear. De la Renta started with nubby cashmere sweaters, limpid ruched tops and soft wool poet-sleeve blouses, paired with tailored flannel pants and skirts in gray, moss green, taupe and black. But almost every outfit got a touch of spice via embroidery, a dusting of sequins, even a cowrie-shell fringe, along with exotic belts trimmed in coins, studs or smooth horn buttons' and mentioned the coats specifically; 'Beautiful, delicately decorated coats have become fixtures in de la Renta's collections, and this one was no exception: There were opulent styles, like the silk patchwork version lined with sheared mink, alongside low-key versions in black cashmere or silk twill with a light touch of embroidery or beading.' The coat is in mint condition and is just as good as the runway shots if not better in person. 

The coat is made from a wool cashmere mix that gives the base fabric an incredibly rich feeling. I love the neutral tone of the colour. It makes it easy to pair with just about anything. It is cut with a long straight silhouette and you just slip it on and go. The shoulders have light padding for shape and the sleeves are long. It is meant to just skim over your body and widens out slightly as it nears the hem. It closes at the front with hidden set fabric covered snaps so that when it is closed there is no break to the pattern at all. I love that detail as it gives it such a clean look with no buttons or zipper to distract from the gorgeous embroidery work. Inside the coat is lined in the most incredibly soft wool and cashmere jersey so that it feels like heaven on. On the exterior the coat has been embroidered extensively. The the outside of the coat is covered in a snowflake feeling pattern and then the edges, cuffs, waist and collar have all been densely embroidered to highlight the cut of the coat. There are little 3D flowers worked through the pattern that are done in the same ivy cording that the embroidery is done in. If that was not enough there are also little ivory sequins that are scattered and worked into the design for the a subtle bit of glitz. It is gorgeous and even better in person. It appears to have been worn very little if at all. Excellent condition

Fully lined in a soft wool and cashmere mix jersey and closes with hidden set fabric covered snaps down the front. Hidden pocket set along the seams of the coat. It appears to have been worn very little if at all. Tagged a vintage Oscar de la Renta size 10

Sleeves: 24"
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 23" flat across from side seam to side seam
Length: 50" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C578

Reference Photos: Fall 2002 Oscar de la Renta Runway Collection, Look 14.

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

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

This was Look 14 in the Fall 2004 line-up from fashion icon Miuccia Prada. This collection is still thought of as one of her most stellar achievements and I doubt the pieces and prints used in this collection will ever truly go out of style. The reviews were spectacular. Vogue.com said of this collection: 'Audiences always arrive at Prada shows tingling with anticipation, braced for Miuccia Prada's next departure from the last season's plot. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection. That, of course, was famously about the fifties lady tourist, with an overlay of hippie-ish tie-dye among the circle skirts and knits. For winter, she took that same woman into new realms of intellectual exploration on the print front: back to the future, in fact. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection...."It was a dream of extreme romanticism," she said. "The idea of eighteenth-century painting, with video games. A romanticism between past and future."....For colder months, she added more layers, adding in dip-dyed cable knits and buttonless cardigans betwixt tweeds and bejeweled fifties-style couture-like pieces. What held it all together, literally, were the cinched waists, circled in narrow grosgrain ribbon or with tie-on belts encrusted with sparkle. It was that idea of jeweling, on collars, belts, and fabric brooches, that added the news.' 

On the runway this was shown layered over a jewelled skirt that ironically we just had in the shop in a blue tone. It is one of the most instantly recognizable coats that she’s ever done I think. The coat is made out of a shearling with the sheepskin facing towards the inside to keep you warm while the leather side is on the exterior. When the coat is closed you only see the shearling interior on the flipped up cuffs. If you don't want any shearling to show you can flip them down. Putting the leather on the exterior gives it this amazing feeling of a natural patina and a slight vintage feel to it that I love. The coat falls from the shoulders and gradually widens out as it nears the hem. The shoulders are cut to slouch a bit which gives it an easy to wear feel. Most of the seaming is done on the vertical and cut so that it has some shape through the body. Pockets sit on each hip for a cozy place for your hands. Running down the front and over the hidden set fur hooks is a strip of luxurious natural coloured mink. There is no collar but there is a wide band of golden toned silk inset around the neckline. This was then covered in a pattern made up of gold beads and big oversized glass crystals. They have been applied by hand are are densely set to all the way around to highlight the neckline. It is just gorgeous. This is an iconic piece of Prada history. Excellent condition.

The leather is fully backed in sheepskin shearling. The jacket closes with hidden set covered fur hooks down the front. Pockets on either side. The cuffs can be flipped down. The leather has a natural bit of scuffing that is part of this type of leather and a desired effect. Tagged a Prada 46.

Sleeves: 23" with cuffs turned up, 25" with them turned down
Shoulders: 16"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C580

Reference Photos: Fall 2004 Prada Runway Collection, Look 14.

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

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

This dress 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 beautiful. A truly iconic piece of couture 

The dress is made from a combination of a black velvet bodice with an attached brilliant emerald green silk skirt. The bodice has been kept sleek and simple with the richness of the black velvet taking centre stage. The shoulders are squared off with light padding to give them shape and the sleeves are cut to be wider at the top and taper down as they reach each wrist. The bodice skims over you and drops on an angle past the waist. At that point the skirt is attached and it is cut to sit on an angle down one hip for a bit of a swag feel. A panel on the skirt wraps and snaps into place from the back, perfectly following the seam. When it reaches the hip it hooks into place under an attached large bow. This gives it the effect that you just wrapped it around yourself and tied it in place. It is quite flattering once on. My dress form definitely does not do it justice and like all couture it really needs an actual body underneath to bring it to life. Every seam is done by hand and the craft put into making this is exquisite. The green of the skirt in person is so much better then how it photoed. It is a clear crisp emerald green and the silk is rich and heavy so that it holds the drape perfectly. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk through the bodice and the skirt is unlined. It closes with a hidden set zipper at the back and there are hidden set zippers at each wrist. The skirt snaps into place as described above. Hand finished throughout. 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: 24"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 57" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3814

Reference photo: Yves Saint Laurent collection Fall 1983

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

Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and although his atelier was never formally designated as Haute Couture by the French, he certainly produced clothing that met the parameters of couture and he is often referred to  as one of the great American couturiers. This stunning dress was custom made, and my client acquired it from the estate of 1950s model Betsy Pickering Kaiser. Betsy appeared on several Vogue covers in the 1950s and it was during that time period time period that she met Galanos. They were friends for over 60 years. She collected and wore Galanos pieces her entire life and was his friend and muse. He once told her husband ‘I would rather have Betsy wear my clothes than any other woman’. She was a constant presence on the International Best Dressed List and and was added to the Best Dressed Hall of Fame in the early 1970s. It is a wonderful thing to have such a beautiful piece of her history in the shop 

This is one of my favourite Galanos pieces. Betsy was a model and was tall and this dress is cut to a supermodel length that reflects that. It is beautiful. It is made of a printed light weight silk chiffon that is combined with a black lace. The entire thing weighs ounces and you will be delightfully shocked at how light it is in person. The black silk chiffon is covered with a vivid floral print. The colours are bright and true with a slightly washed watercolour feel and they pop against that black backdrop. He made the body of the dress by layering three layers of chiffon over each other. The top layer is the one printed with that huge floral design and then the two layers under that are done in a black. The layered effect of the silk gives it lots of movement and creates a light floating effect when you walk. Each layer is finished with a black ribbon piping along the edges and the dress does up along each side with a series of black frog knots and loops made of the same fabric as the piping along the edges. It is cut in a long column that skims over the body to the floor. Each side has an opening along either side and the lower frog knots are functional so that you can control how open the slit goes. Leaving more open creates a sexy flash of skin when you walk to offset the more easy fit through the body. The bodice is scooped at both the front and the back. Both of the scoops are finished with a panel of a fine black lace. This allows your skin to peek through. The back is scooped very low and that bare expanse covered with nothing but the black lace is fabulous. The contrast between the lightness of the silk, the see through quality of the lace, and the boldness of the colours is killer. Excellent condition

The dress is made of three layers of silk chiffon and closes with a hidden set side zipper. Frog knots run over that and then down each side. This is a one-off unlabeled custom piece made for Betsy and came from her estate. The cut is loose and easy through the body.

Bust: 18-19" flat across from side seam to side seam
Waist: to 19.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from top of shoulder to hem
Slits: to 28" on one side and to 23" on the other

Modern Sizing Equivalent: MED-LRG

Item# DD3004

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 jacket seems to be done based on either the Fall 1977 Yves Saint Laurent Haute Couture collection or the Fall 1980 one. Both those collection featured several variations on this same gold metallic silk brocade fabric. The jacket would have been made during the time period my clients aunt lived in Switzerland, from the late 70s to 1993 and that fits in with the dates of the other pieces from this second round. The jacket is completely made by hand to Haute Couture standards and it is extremely well tailored and cut.

The jacket is incredible. It is insanely cut and tailored to a master level. It is made from a rich metallic silk brocade and it feels like it has actual metal in the fibres. It is a good weight and I think it is because of the metal in the fabric. It is incredible. The camera really doesn't capture the depth of the colour or how much the metallic glints in the light. There is a pattern worked into the fabric and parts of it are raised and puffed with a different finish then the parts that are not raised. The jacket is tailored with a sleek cut that has some fullness through the upper body. The collar curves around the neck and has a soft rounded shape around the notched front. Two angled pockets are set on the front at each hip and the shoulders are padded for volume and shape. Each sleeve is cut wider at the top near the shoulder and cut on a curve to follow the arm in the traditional way of tailoring a sleeve. As each sleeve narrows down to its end it is caught up in a series of big gold toned metal buttons. Each is made to look like a wrapped cord but done in gold. Four of these buttons sit on each sleeve on top of properly done button holes. Four more of them close the jacket at the front. The ones at the front are slightly larger in size for more impact. Once on the jacket transforms. If you even remotely like it in the photos you will be overjoyed when you see it in person as it is far far better in real life and on. Yves' suits change the way we approach woman's wear and this jacket is a particularly wonderful example of how he combined strong tailoring with full on glamour. It would be so easy to mix and match this with other pieces in your wardrobe. It is spectacular. Excellent condition with a small note below 

Fully lined in a rich heavy gold toned silk. The jacket closes with four gold metal buttons at the front. Four more buttons on each sleeve for a total of 12 buttons. Made to Haute Couture standards with a tremendous amount of detail put into its construction. There is a spot on one side where the metal fabric has oxidized a bit and the edges show some minor grubbiness and wear. Please see the last two photos here 

Sleeves: 21"
Shoulders: 17"
Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# S956

Reference Photos: (1) 1977-78 Yves Saint Laurent China Collection. Photo by Lothar Schmid. From the book "Yves Saint Laurent: Images of Design."  /  (2) A/W 1980-81 Yves Saint Laurent Haute Couture from the book "Yves Saint Laurent: Haute Couture Catwalk."

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 suit is a marvel of construction and is in wonderful condition. I love that it even comes with its original silk top. It is so rare that you get all three pieces to a suit and it gives you incredible versatility with it since you can mix and match all of the pieces with things you already own. The suit's simple appearance belies the masterful cut and tailoring that lies behind it. The jacket is tailored with a sleek cut that has some fullness around the upper body and a wonderfully wide notched collar. Angled pockets are top set on the front of each hip and the shoulders are padded for shape. The nubby wool fabric has enough weight that it holds the lines perfectly once it is on. The belt that comes with it is intended for the skirt but you could easily wear it on top of the jacket if you wanted to cinch in the waist and add more shape. I love the big glossy crocodile patterned buttons. These sit at the low from top the jacket and then three run up each sleeve. The skirt is cut in a simple pencil shape. The waist is banded and has attached loops that match the suede of the belt. On each hip of the skirt are angled pockets. The original matching silk top has a high neckline and padded shoulders for shape. One shoulder is gathered across the top and buttons in place with hand carved wood buttons. The sleeves are fuller at the top and taper down as they reach the wrist. The body of the top is cut loose and easy. I love the puffed effect that the silk has. It is an incredible mix of textures against the patchwork print that is worked thought the wool of the jacket and skirt. Once on, the suit transforms and I think you will be shocked at how much better it is in person and on then how it looks on my dress form. Yves' suits change the way we approach woman's wear and this particular one is a particularly wonderful example of his strong tailoring and cutting skills. Excellent condition

Both the skirt and jacket  are lined in a rich heavy blue-purple silk. The top is unlined. The jacket has two buttons at the front and three on each cuff. All the buttons holes are properly tailored to couture standards. The skirt has a zipper and hook & eye at the waist and the top slips on and buttons along the one shoulder. Two pockets on the jacket and pockets on the skirt. Shoulder padding in both the jacket and top. Made to Haute Couture standards with a tremendous amount of detail put into the construction of all three pieces. It looks to have been worn very little if at all. 

Jacket
Sleeves: 23"
Shoulders: 16.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 25" from neck to hem

Top
Sleeves: 21"
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 25" from neck to hem 

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 22.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3810

Reference Photos: (1) A/W 1991 Yves Saint Laurent Haute Couture Runway Collection.  /  (2) Catherine Deneuve Yves Saint Laurent Haute Couture A/W 1991 Suit from the Sale at Christies.

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

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

This is an amazing suit that still feels perfectly on point for our modern girl which shows you just how well great design holds up even after 50+ years. The skirt is exceptional. It is cut in a sleek little flare that skims over the hips and then flares out under that into a series of large flat pleats. These are set in a series of flat pleats with deep gussets of precisely the exact same size as the one next to it. They run all around the skirt and when you stand still they lay flat and smooth but when you move you get an incredible burst of movement and volume. The jacket is beautifully constructed and it is cut to fit and flatter the body. The shoulders are soft with the barest minimal of hidden padding to hold their shape. The sleeves are left long and simple and are slightly cropped. The shape through the body of the jacket is a long box silhouette with just the tiniest suggestion of shape through the waist. In the lining around the hem there are hidden weights to ensure that the jacket falls perfectly in place at all times. I love that there is no collar. It just simply scoops around the neckline and then closes all the way down the front with a series of hand carved buttons dyed to match the pink fuchsia in the print. Each button hole is precisely made by hand and perfectly finished. I love that you can wear it on its own without needing a top underneath. It is genius and meticulously tailored. The fabric deserves its own mention as it is a very high end silk twill. Onto that is the beautiful bright pink fuchsia that was so very relevant to this collection. If you are looking for a statement suit this is it. It is simple, chis and elegant, yet extremely glamorous because of that stunning colour and silk twill fabric choice. Excellent condition

Both pieces are fully lined in a fine pink silk. The jacket buttons to close at the front and the skirt has a metal zipper and hooks. Hand carved and dyed buttons on the jacket. Soft padding in shoulders and hidden weights in the hem of the jacket. It appears to have never been worn of worn very little. The color is slightly different in person and more a true fuchsia pink then how it photoed

Jacket
Sleeves: 21"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 24" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3812

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

This is from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. 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. I have some new information that he might have sold actual couture pieces through his salon as well. So this may be an actual Yves Saint Laurent. Either way it is definitely the Fall 1976 dress that I have included several reference photos for here. That 1976 dress was especially interesting because it was also one of the dresses chosen to walk the 2002 retrospective show. It is beyond beautiful in person and one of my favourite personal pieces from her estate so far. 

The level that this dress is made to is a beautiful thing to see. All of the finishes are by hand and it has all those lovely details that you expect in a couture level garment. It is made out of a combination of a pink silk taffeta for the skirt and a black velvet for the bodice. These fabric choices helps it to hold its intended shape. The bodice is more fitted and the neckline is cut wide across and you could potentially wear it off the shoulder like reference photos. It has an elaborate detailing of hand braided silk cord, beads and tassels that circle all the way around the neck. Another even more elaborate band of the same goes around the waist and falls over the top of the hips. The top is cut to follow your curves and the waist is cinched in. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm. They are softly set into the shoulders and then taper down to the wrist. The skirt is equally well made. It curves out from under that elaborate beading and falls to the floor where it widens out as it nears the hem. Inside the skirt is a full built in black silk under-skirt. That inner skirt is finished with an edging of black velvet and it set slight below the top skirt in length. So when you move a certain way or sit you get just a glimpse of the velvet under the hem. This technique also helps to hold the shape of the skirt. The hours of work that it would have taken to implement the detailing on this dress is mind boggling. The interior is made to couture standards with all the inner seams finished by hand. I have included some shots of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition

Fully lined through the bodice in a black silk crepe chiffon. There is a built in black silk taffeta inner skirt. It closes with a hidden set zipper at the side. Each sleeve buttons to close with a series of jet buttons and loops. The inside is all hand done and it is finished to couture standards. 

Sleeves: 25"
Shoulders: no true defined seam
Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: 43" from waist to longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD3809

Reference Photos: (1-3) F/W 1976 Couture Yves Saint Laurent. (First two images by Barry Lategan. Book image from "Yves Saint Laurent: Icons of Fashion Design" by Schirmer/Mosel.) /  (4-6) Spring 2002 Couture Yves Saint Laurent.

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 am now on the second batch of very interesting pieces that are coming from a client whose aunt had most of her clothes made. This dress was most likely made by 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. She also did buy Haute Couture pieces from the ateliers so this may be an actual Yves Saint Laurent. She tended to remove the labels from the actual couture pieces from the ateliers. Either way it is absolutely the twin of the Fall 1980 piece that we all know of. There are so many references to this particular dress it was almost hard to include them all. It has been exhibited, photoed and is in several books on Yves' work. The dress is completely made by hand to Haute Couture standards and it is beautiful. A truly iconic piece of couture 

The dress is made from a combination of that gorgeous patchwork appliqué for the skirt and a black silk velvet for the top. These fabric choices allow the dress to hold the beautiful lines that you see. The dress is absolutely stunning and a testament to the level of design that you only see in couture pieces. At the front the neckline is scooped and cut wide across. The sleeves extend out from the shoulders and taper down slightly as they reach each wrist. The bodice is made out of a silk velvet and is cut to skim over you. The waist is seamed and brought in further by the matching pink silk sash. This adds shape and I love the strong band of vibrant pink there. It compliments and allows the colours in the skirt to really pop The skirt is set into the waist in a series of soft gathered pleats that allow for the fullness that you see. The skirt curves gracefully away from the hips and widens out to be quite full as it nears the floor. It has an incredible amount of volume with several yards of the base black silk taffeta used in its construction. Onto the base fabric are those incredible patchworks. Each has been individually applied and they are fabrics that range from silks to velvets to crepes. It is incredible. All of the volume is created by the cut and the fabric alone. The interior of the dress is completely finished to couture standards with every single seam done by hand. I took a detail shot 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 

The bodice is fully lined in a black silk and the skirt is unlined. It closes with a hidden set zipper at the back and there are hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. The pink silk sash belt is original to the dress. slight wear here an there to the bottom edge of the skirt. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Sleeves: 24"
Shoulders: no defined seams
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 4" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3807

Reference Photos: (1-2) F/W 1980 Yves Saint Laurent Haute Couture Runway Collection. (Book photo from "Yves Saint Laurent Haute Couture: Catwalk".   /  (3) F/W 1980 Yves Saint Laurent Haute Couture Collection Board.  /  (4-6) Henri Matisse Homage in the Yves St. Laurent Style is Eternal Exhibition, Bowes Museum, 2015.

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