The dress comes directly from the original couture client and is in immaculate condition. The twin of it walked the runway for the Spring 1987 Haute Couture presentation and my client ordered this identical dress from that show. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. I am also very pleased to have the runway shot of it for reference.

The lines of the dress are beautiful and I am glad to have that runway shot so that you can see just how wonderful it is on an actual body. Couture pieces are sometimes difficult to truly show in a photo as they are meant to highlight and show off the body and only truly come to life when worn. The fabric is a light silk crepe and it is cut to drape perfectly over the body, skimming over your curves to flatter and fit perfectly. The color is absolutely fantastic. It is his signature clear red that flatters most skin tones. It is a better shade of red in person then how it has photoed. If you know Valentino's work, then you know this red already. The top is sleeveless and angles in towards the high collar. There is a long band of fabric that runs down one side from the collar to the top of the hip and all of the fabric on either side is set to gather in towards that band. A large flat bow its at the top of the band and and I love how the shoulder is left bare beside it to really showcase the bow. A second bow sits at the bottom of the band so that you are wrapped in silk and finished up with those pretty and feminine touches Under there the skirt falls to the floor with in an expansive amount of fabric. It is cut on a curve all the way around and comes up shorter in the front. The back hem is cut longer so you get a slight bit of a trained effect there. The amount of fabric in the skirt is tremendous but its so light that it falls long and sleek when you are standing but can expand out almost to a full circle skirt if you twirl. The entire bottom edge is finished with a red silk satin banding. It is just stunning on the body and an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice and top portion of the skirt are lined in a fine red silk. Done with Haute Couture construction techniques and closes with a hidden set zipper under the front panel of fabric and then has silk covered snaps & hook one eye. Inner waist stay hooks to close. 

Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from neck to shortest point of the front hem, 61" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3579

Reference Photo: (1) Dalma for Valentino SS 1987 Haute Couture.  /  (2) Model in Valentino Haute Couture, 1987, Photo by Francois Lamy.

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 pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day."

This dress is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period. The dress is made of from a fine silk chiffon that has been dyed to the perfect red. Every stitch is done by hand and the hours that would have been put just into the hand rolling and stitching of all the edges on the various layers on the skirt alone is mind-boggling. The skirt is made of four full layers of bias cut silk that is layered over each other in cascading tiers of fabric. Each layer is cut to curve up slightly at the front and dip down longer at the back. The layers of silk create a beautiful sense of movement and lightness when you move. The bodice is beautiful. It is densely beaded by hand in a pretty floral pattern all the way around from front to back. Tiny silk straps curve up and over the shoulders. Along the very top edge of the neckline at the front is an attached panel of silk chiffon that wraps up and around the neck leaving the silk to trail down the back. This little extra detail creates a bit of high drama and intrigue to the design. The scarf is original to the dress but may have been attached at a later date. It would be an easy job to unattached it and have it as a separate piece again if you wished. It is stunning in person and on the body. Excellent condition with one small note below.

Fully lined in red silk chiffon and closes with a back hand set zipper. Finished to Haute Couture standards and entirely made by hand. There are two small areas of a darkened spots on both sides of the attached silk panel. Please see the two photos after the label shot. Depending on how this is tied and styled it does not necessarily show and if was unattached again you would have the option to not wear it with the dress. The proper Haute Couture label is present.

Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2369

Quote and historical info on the house is taken from the Nina Ricci 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.

This is an incredible example of Karl lagerfeld's Haute Couture work. On the runway this was shown with a full wide skirt and I love that it is different because it shows you the versatility of it how you could potentially wear it with a skirt from your own closet. My client opted for a sleek tapered legged trouser instead of the skirt which I think really allows the jacket and its lines to really shine. In the book 'Chanel Catwalk' they said of this collection; 'Karl Lagerfeld focused on suits ..for this haute couture collection, presented as a winding catwalk in a riding centre in the Bois de Boulogne. It featured 'only' fifty-eight looks, 'but I could have had many more,' Lagerfeld told Women's Wear Daily, 'because we have many clients and they want suits, suits, suits.'

The lines of this suit are crisp and sharp and the tailoring is immaculate. Both pieces are made out of a silk taffeta that allows them to retain the exact lines that Lagerfeld intended. The jacket is cut so that it is fitted to the upper bodice and shoulders and then flares outwards as it glides past the hips. The collar is neat and small and I love how it is notched and shaped at the front. It zips to close under a shaped panel of fabric at the front and there are two small discreet holes that you can slide a pin, french cuffs or a very thin ribbon through to add some detailing as they did on the runway. Each sleeve is long and straight with a touch of width to it. These end in a notched slit rather then a traditional cuff which falls in line with the sleek minimalist feel of the rest of the suit. In a little hidden surprise the underside of each cuff, the inside the collar and the front panel of fabric over the zipper have all been meticulously hand lined in a pale gold metallic silk. The pants are sleek and simple in their cut. They are flat fronted and cut to taper down to the ankles. A sharp pleat has been hand sewn down the front and the back of each leg. The inside of the suit is as immaculate as the outside and it is of course, entirely made by hand. The iconic gold Chanel chain runs along the inner hem of the jacket and I suspect that it is actually gold plated. Every stitch is perfection. This is a rare opportunity to own a piece of true couture by one of the most important designers of our lifetime. Excellent condition with a minor note below. 

The jacket is lined in a black silk and closes with a hidden zipper under the front panel of fabric. The pants zip to close with a hidden set side zipper. I see a slight touch of stress to part of the front middle seam on the pant, see the photo after the label shots. Both piece are hand finished to couture standards. Proper couture labels present with couture tape 78762 under the tag on the jacket and 78763 under the pant tag. Sourced from the original couture client 

Jacket
Sleeves: 23.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 30" from neck to head 

Pant
Waist: 15" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 38" from top of bodice to waist
Inseam: 28" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3580

Reference Photo: Spring 2000 Chanel Haute Couture Collection.

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

Thierry Mugler launched his label in 1974 and steadily gained notoriety with his shocking and avant garde designs. In 1992 he became an invited member of the French Chambre Syndicale de la Haute Couture. He was known for using innovative fabrics and the theatricality of his runway presentations. He once stated that couture is 'the materialization of dream-like visions in fabric form'. This is an exceptional example of his work and in person is even more beautiful then how it looks here. 

Mugler's pieces always have a sense of high drama and otherworldliness to them and this one is no exception. The fabric choice gives it an almost space age feel and yet it at the same time hearkens back to the days of Old Hollywood. The dress is made out of a vivid pink metallic silk lurex jersey that has a subtle iridescent metallic sheen to it. This catches the light so that the entire dress shimmers at your slightest movement. The cut of the dress has a strong nod to the thirties with its bias cut and draped lines. The bodice of the dress is set on an angle with the fabric draped up and towards the single shoulder that the entire dress is suspended from. The top of the shoulder is caught up with a triple loop of a metal snake chain. This adds startling contrast to the pink and also leaves more skin exposed on the top of the shoulder. More of the same metal chain is set on the opposite hip where it is used to catch and gather up the fabric. The chain wraps all around the side of the waist on that side. The fabric is looped around that to create a beautiful cascading effect down the entire side of the dress. Under that is an extremely high slit so that when you walk or sit you get a flash of bare leg high to the thigh. The dress is cut very long and at the back it is has a slight trained effect. The lightness of the fabric lets the entire dress flow wonderfully around you and it really plays with the light. The colour is far better in person and the fabric has a texture and feel to it that cannot be conveyed by the camera. A really exception piece. It appears to have never been worn or worn very little. Excellent condition.

Fully lined in the same fabric through the bust and the skirt is lined in a red silk. The dress closes with a hidden set zipper at the side. Both of the chains details loop and snap into place under fabric folds so you do not see the closures. Inner waist stay. Hand finishes. Tagged a 40. 

Bust: to 18" flat across from side seam to side seam
Inner waist stay: 13" flat across from side seam to side seam, 13.5" if you don't hook the stay closed
Hips: to 19" flat across from side seam to side seam
Length: 62" from shoulder to front hem, 66" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD2565

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 October 1997, the first women’s ready to wear collection under the Narciso Rodriguez label was presented in Milan for the spring 1998 season. Rodriguez was awarded 'Best New Designer' at the Vogue/VH1 Fashion Awards in New York and the 'Perry Ellis Award' for best new designer by the Council of Fashion Designers of America that same year. He was the first designer ever to receive consecutive womenswear designer of the Year awards by the Council of Fashion Designers of America in 2002 and 2003. Countless other awards and accolades have been awarded to him as well. He also designed the bias-cut wedding dress that Carolyn Bessette wore for her marriage to John F. Kennedy, Jr. and Michelle Obama chose to wear a dress from the designer’s spring 2009 collection for her husbands victory as present and his first State of the Union address. You may remember seeing Claire Danes in a shorter version of this same dress for the 2012 Tribeca Film Festival. This one is a more evening version and my client had this one made for her by Rodriquez that year. As far as I am aware it was a bespoke piece and it is the only one in existence. It is a stunning example of how amazing of a designer he is. 

The dress is absolute perfection and showcases his talent for the bias cut that is meant to flatter a woman's body but never in a way that is too tight. Rather it just skims over your curves and is so very flattering. The dress is completely cut on the bias and made from a heavy deep fuchsia pink silk crepe. It has that minimalist tendency to it that he is so well known for with a crisp and elegant result. The bodice is cut with his signature bra cut top with a curving black silk panel set so that it scoops under the breasts. It then extends upwards to curve over each shoulder and down the back into a deep scoop. Inset above the black is a top stitched pink bit of silk. The dress flows past the waist from under the black with no seam to break the eye. It is cut on the bias so simply flows perfectly to the hips and then sweeps to the floor. Just above the knee on the skirt inset panels have been set in all the way around the lower part of the skirt. These give the lower skirt the shape volume you see. It moves and flow around you beautifully when you move. The back is cut longer into a slight train that flows behind you. It is absolutely stunning and pristine. The photos come close to the actual color but in person it is even better with slightly more depth and richness. Excellent condition  

Fully lined in a matching silk and closes with a back zipper. The zipper has a bit of a 'stick' feel to it when you close it. Appears to have never been worn or worn very little. The bias cut should allow it to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 74" to the back

Modern Sizing Equivalent: XS-MED

Item# DD3576

Reference Photo: Claire Danes in Narciso Rodriguez at the 2012 Tribeca Film Festival.

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

Tina Leser opened her first shop in 1935 and became known for her use of fabrics curved from far off locations. By 1944 she had been awarded the Coty award. In 1948 she took a trip around the world and the places that she went influenced all of her future collections. She loved to take a fabric that was seen as being for casual wear for this time period and using it for evening wear or vice versa. The Tina Leser Originals label launched in 1953, closed in 1964 and then re-opened in 1966.. This is one of the best pieces I have seen from her and is truly a spectacular example of her work. 

More then anything I love the extreme sleeves on this dress. The are truly spectacular. Each sleeve falls to past the knee. It is shaped like a normal sleeve from the shoulder to the elbow and then extends down from there into those long slit panels that you see. These give the dress a wonderfully exotic feel and they create tremendous movement when you move. They are also lined in a soft pale blue to offer contrast against the exterior fabric. The fabric that the dress is made of is equally stunning. It is actually a beautiful light silk voile that is entirely covered in the print that you see. The pattern is fantastic. The intricate design covers ever square inch and you can see how it incorporates that same blue that lines the inside of the sleeves. The front has a high neckline that is detailed with a collar of hand cut out flowers in two sizes. These are then hand placed around the neckline so they form a wonderful 3D effect. The dress falls from there in a generous cut that is meant to just skim over the curves with just a suggestion of shape at the waist. It widens out gently as it nears the hem and there is a high slit set off side at the front for a bit of leg to flash when you walk or sit. It is gorgeous. It appears to have never been worn or worn very little. Excellent condition.

Fully lined in an orange silk through the body with a wide band of blue silk around the inner edges. The lower part of the sleeves are lined in a soft blue silk voile. It closes at the back with a painted metal zipper. In person the dress has a slightly paler, softer feel to the overall colour. It is even better in real life. 

Sleeves: 42"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 59.5" from neck to hem
Slit: 31" up from hem 

Modern Sizing Equivalent: SML-MED

Item# DD3575

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 dress was shown on the Resort runway for 2008. In Vogue's review of the collection, journalist Nicole Phelps said in part; 'The grand theater-in-the-round setting for Oscar de la Renta's resort show put some audience members in mind of Chanel's recent presentations, but if there was a designer's influence at play in this beautiful collection, other than de la Renta's own, it could have been Yves Saint Laurent's. Loulou de la Falaise, YSL's longtime muse-turned-fellow designer, was sitting front-and-center (coincidentally, as it happened), and up on the raised platform there were seventies references'. The show was presented the same day as the 2007 CFDA Awards where Oscar de la Renta was nominated for Womenswear Designer of the Year which he won (tied with Proenza Schouler).

This Oscar de la Renta dress is absolutely gorgeous. It is red carpet worthy and would even make an amazing wedding dress for the bride looking for a non-traditional choice. It is in immaculate condition. The dress is covered with a dense application of muted pale ivory gold round paillettes in various sizes. These are set onto the entire dress in horizontal rows from the top of the shoulder to the hem. Running around the the neckline is a dense detailing of beadwork. There is also a scattering of pearls that are set in and among the beads. The dress is made up of three layers. There is an inner ivory silk layer topped by a layer of silk tulle net. Then the very outer layer is made of an ivory silk net and it is on this top layer that that all of the sequins, pearls and beads are applied. The edges of the tulle along the neckline and around the openings for your arm are left with a deliberate raw edge. This same raw edge detailing is also done at the hem. The over-sized sequins that cover the dress vary slightly in size and in their colour. This makes the light catch the dress in a slightly different way as you move and it creates the most lovely effect. Their size creates a more overall glow effect rather then a glitzy sparkle. It is very well made and very beautiful. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a cream silk and constructed from three layers as described above. It closes at the back with a metal and nylon zipper. Tagged a size 12

Bust: 18-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 59" from shoulder to front hem, 60" to back hem

Modern Sizing Equivalent: MED-LRG

Item# DD2777

Reference Photos: Resort 2008 Oscar de la Renta 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.

This is perhaps one of the most recognizable dresses that Halston designed over the course of his career. This dress is sometimes dated as being from 1983 because of the photo I have included here of Dina Merrill wearing hers but people forget that these were still the days where you re-wore pieces from your own closet. The twin of this dress is held in several Museum collections including the The Metropolitan museum. 1973 was also the year that Halston won his fifth Coty Award and it was the year of the famous Battle of Versailles, the fashion face-off between a group of American and French designers in Paris. He was on the top of his game and this dress is wonderful example of his work during this time period.

This dress is right up there as one of his most iconic pieces and it is a piece that any Halston collector should have in their collection. I have the twin of this exact dress in my own personal archives. The dress is made from two layers of stretch jersey. There is a solid inner layer and then the top outer layer has the cloud design printed on to it. The top layer is then completely covered in sequins. The sequins have all been placed and attached by hand and completely cover the dress. They are clear with an iridescent finish that reflects back the light beautifully. This makes the dress absolutely incredible to see in person. Halston used this sequin technique predominantly between about 1973 to 1978. Instead of layering and overlapping the sequins, they were laid out flat, side by side, to cover every square inch of the fabric which allowed them to capture and bounce back the maximum amount a of light. The cut is easy and flattering to wear. It skims over the bust to the hips and then flares out slightly as it nears the hem. The neckline is scooped and rounded. The openings for each arm are cut on a curve and this creates the slightest bit of a capped shoulder and sleeve effect. It is amazingly comfortable to wear because of the stretch of the jersey. This is one of his most famous dresses and it could not have more of an impact once it is on. Excellent condition with a note below.

It closes with a hidden set, side zipper. Fully lined in a white stretch jersey. Hand set sequins. I see some minor areas of missing sequins at the back about where your knees would bend and just above when you sit. Additional sequins could be used form the inner seams. Please see the two photos after the label shot. The stretch of the fabric should allow it to fit a range of sizes. 

Bust: 16-18" flat across from side seam to side seam
Waist: 13-15.5" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 53" from shoulder to hem with approx 2" turned up under the hem

Modern Sizing Equivalent: XS-MED

Item# DD3374

Reference Photos: (1) Fall 1973 Halston Runway.  /  (2) Dina Merrill at NBC studios, Burbank, California, February 1983. From the book 'Halston' by Phaidon.  /  (3) 1973 Halston Dress from The Met Collection Online.  /  (4) Halston Dress from The Indianapolis Museum of Art.  /  (4) Vogue, September 1973.

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 1993 Oscar de la Renta took over as Creative Director at Balmain where he designed the Haute Couture collections until 2002. The house had been floundering at that point and he had a huge impact on the reviving the sales of the couture pieces, mainly by catering to private clients, much like Balmain had originally. The runway photo that we found shows the dress layered over a printed pant but all of the subsequent references of it match the set to the one we have here with the pants in the same striped silk as the top piece. The twin of this set was a part of the 2016 ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco, curated by André Leon Talley where it is referred to as being 'evening pyjamas'. The exhibit was broken into different themed galleries and this dress was a part of the garden themed section. Oscar was an avid gardener and the works in this section took inspiration from that life long passion. And it holds an extra special significance because the one shown in the exhibit was loaned to the museum by Annette de la Renta, Oscar's wife and muse, giving it an extra layer of personal connection to its provenance. The dress also appears in the book 'Oscar de la Renta: His Legendary World of Style' by Talley. The Met Museum also holds one in their permanent collections and then this one is the third.

In an interesting twist, one of the other dresses that was a part of the garden section of the exhibit was a striped OLDR dress from 1999 and my client had a that dress as well. It is listing along with this one today. It is incredible coincidence to have both dresses in at the same time with that shared bit of exhibit history behind them and both are exceptionally beautiful.

It is extraordinary to think that Oscar never produced a Haute Couture line under his own label and these few short years at Balmain gives us a chance to see just how talented he really was at all levels. Like most Haute Couture, this is a set that only truly comes to life when it is on an actual body. No matter how good it looks in the photos, the impact it has in real life and how it moves once on is undeniably beautiful. The fabric that both piece are made from is a fine chine silk taffeta that hearkens back to the 18th century with its washed pale blue striping. All of the edges are finished in that same fabric but for the edges it has been tightly knife pleated. These form a wide pleated ruffle all around the collar, down the front and around each cuff. One pale baby pink stripe runs along the edge of the ruffle for a magical bit of colour against the blue. That pink is then picked up on each hand made button that runs down the front and is set on each cuff. The buttons are amazing. They are hand made and they each have a tiny, perfect sprig of hand embroidered pink flower splayed across their tops. Under the evening coat, are a pair of silk taffeta pants in the same fabric. The pants are cut very simply with a flat front and no banding at the waist. They run in a slightly tapered cigarette shape and land just about the ankle depending on your height. Over this is that amazing evening coat that has the lines of a formal court dress worked into its cut. It is created with a nod to the decadence of the eighteenth century with a high pleated collar and softly defined shoulders. The sleeves are long and slim, ending in an elaborate ruffled cuff. It skims over the bodice and tapers in at the waist. The buttons to close it run from the collar to the waist at the front. From that point under the bottom button the front is completely open so that when you walk you see the pants underneath. The back of the coat is a work of art. The skirt trails out behind you, falling from that curved horizontal seam at the waist where the fabric is gathered in soft folds. It is tremendously full and when you walk it causes the skirt to billow out behind you. Haute Couture is always about the details and I love that for the seam that runs across the low back, Oscar used a fine pink silk piping to define the seam and where the gathers of the lower skirting are set. It is the perfect detail to tie in with the pink at the front. This is everything you want to see in a Haute Couture piece; elegance, refinement and a dash of coquetry. It is ornate but sophisticated and feels wonderfully light and perfectly suited to his love of nature and botanical themes. “A garden is probably the most spiritual and pure of joys. It’s a communion with nature and beauty in the most simple and fundamental form.”– Oscar de la Renta. It appears to have never been worn or worn very little. Excellent condition. 

Both pieces are unlined and all the interior work is done by hand to Haute Couture standards. The pants close with a hidden set side zipper. There is a built in gusset that is pristine. The evening coat/dress closes with a hand set zipper and then a panel that snaps into place over that with silk, hand covered snaps. Hand made, light shoulder pads. A series of hand embroidered buttons down the front. The inner waist stay hooks to close and you could adjust the hooks if needed or wear it unhooked if you needed the extra room. Each cuff zips to close with a hidden set zipper and has three of the same buttons as decoration. I see one pinhead mar near a front button and a nick out of the fabric near the seam under the arm. One inner seam on either side looks like it was slightly adjusted. There is an extra button sewn to an inner seam. Proper Couture tags on both pieces and the coat one has its couture tape underneath numbered 173 470. It appears to have been worn very little if at all. Sourced from the original couture client 

Evening Coat Dress
Sleeves: 23.5"
Shoulders: 15.25"
Bust: to 19" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam, inner waist stay hooks at 14"
Hips: open
Length: 56" from neck to shortest point of the front hem, 62" to longest point of the back hem

Pant
Waist: 15" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 39.5" from top of bodice to waist
Inseam: 28" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3568

Reference Photos: (1) 1998 Balmain Silk taffeta coat and pants from the book "Oscar de la Renta: His Legendary World of Style" by Andre Leon Talley.  /  (2) 1998 Balmain Ensemble from The MET Collection Online.  /  (3-4) Spring 1998 Balmain Haute Couture Runway. / (5-6) Photos from the ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco. Curated by André Leon Talley.  /  (7) Photo from the book "Oscar De La Renta: The Retrospective" by Jennifer Park and Molly Sorkin.

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 billowing silk taffeta dress and pant sent was shown in two color-ways on the Spring 1999 runway; this green and taupe set and a blue stripe and yellow pant version that has a slightly different sleeve. The twin of the blue version was exhibited as a part of the 2016 ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco, curated by André Leon Talley. The exhibit was broken into different themed galleries and this dress was a part of the garden themed section. Oscar was an avid gardener and the works in this section took inspiration from that life long passion.  “A garden is probably the most spiritual and pure of joys. It’s a communion with nature and beauty in the most simple and fundamental form.”– Oscar de la Renta.

In an interesting twist, one of the other dresses that was a part of the garden section of the exhibit was a pale blue striped Haute Couture Balmain dress designed by Oscar and my client had a that dress as well. It is listing along with this one today. It is incredible coincidence to have both dresses in at the same time with that shared bit of exhibition history behind them and both are exceptionally beautiful.

It is interesting to see the cross over from the earlier Balmain piece to this one. Variations on the striped silk taffeta fabric was central to the theme of many of his pieces during this time period. This is definitely one of the most dramatic. The silk is light in weight so that when you walk in this it billows out behind you in the most fantastical kind of way. It is exceptionally long so you get a serious dose of drama behind you that I love. The impact it has in real life and how it moves once on is undeniably beautiful. It is made up of two pieces. The green and ivory striped silk overdress and pair of slim taupe silk taffeta pants that go underneath. The pants are cut very simply with a flat front and no waist banding. They run in a slightly tapered cigarette shape and land just about the ankle depending on your height. Over this is that amazing open front dress. It really needs an actual body under it to truly bring it to life and you can see how it will sit once on from the runway reference photo. It is cut to be very loose and easy. The dress part of this set should fit almost any size and body type as it is deliberately cut full and oversized. The entire edge of the neckline is elastic and finished with a ruffle above that. It slips on over the head and the elastic allows you to pull it down the shoulders leaving a bare expanse of skin. Each sleeve is cut to be incredibly wide and full. It is open through the bust with a row of silk covered buttons and loops running down the centre. The buttons end above the top of the pants so that you get a peak of skin showing between. The body of the dress drops to about the hips and then the skirt is set into that in a curving, ruffled detailed seam that wraps around and dips slightly at the back. The lower skirts are tremendously full and they are cut to trail out behind you in the most fantastical, high drama way. The dress is at its original unaltered length. The fabric is so light that it billows and puffs out around you at the slightest bit of movement. It is dramatic but feels wonderfully light once on. It is perfectly suited to his love of nature and botanical themes. It appears to have never been worn or worn very little. Excellent condition with a small note below. 

Both pieces are unlined. The pants close with a hidden set back zipper. The outer dress slips on and closes at the front with hand covered silk buttons and loops. I see some scuffing and storage marks near the hem of the back skirt. All are minor and they get lost in the extreme length and amount of fabric. I photoed the worst one and that shot is after the photo of the label. It otherwise appears to have been worn very little if at all. Both tags are hand numbered 2256. Sourced from the original couture client. If the pants did not work size wise it would be easy to wear something different under it as the over dress should fit a large range of sizes as it is open through the entire body and generously cut. 

Dress
Bust-hips: open
Length: approx 64" from neck to shortest point of the front hem, 84" to longest point of the back hem

Pant
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 42.5" from top of bodice to waist
Inseam: 32" from inner seam to hem

Modern Sizing Equivalent: Pants SML-MED, Over dress OSFA

Item# DD3570

Reference Photos: (1) Spring 1999 Oscar De La Renta Runway.  /  (2-4) Photos from the ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco. Curated by André Leon Talley.  /  (5) Photo from the book "Oscar De La Renta: The Retrospective" by Jennifer Park and Molly Sorkin.

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

This is an incredible dress set with all three original pieces that would be from when Marc Bohan was head of the Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is the Christian Dior - London label and is considered to be demi-couture from this time period of Dior's history and this set in particular is numbered. These where made for the London market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated. The line was created and designed by Jorn Langberg, Artistic Director of Christian Dior London. We were able to date this gorgeous set by the photo that appears in the November 1968 issue of Vogue. It is exceptional and the textile it is made from is one of the best I have seen from Dior. 

The fabric on this Dior set is jaw dropping. It is a woven gold silk lame brocade with a raised design that gives it remarkable texture. Depending on how the light hits it different aspects of the pattern come to play. It is just incredible. It is made from real metal thread and when you touch it it has a slightly metal feel to it. All three original pieces to the set are present. The very inner layer is a skirt that is suspended from a sleeveless top made out of lining fabric. This is a technique that you no longer see done because of the extra fabric it used and longer zipper requirements but it was the proper way to have a skirt hang perfectly and be the most comfortable for the wearer. Over this is a sleeveless shell that opens up completely down the back with a zipper. It is cut to perfectly fall just over where the skirt underneath begins. It is cut with the slightest of curving in at the waist and each side is notched. Over both of these sits a box cut jacket with glove length sleeves and a simple collarless cut. The jacket is cut on the generous side purposefully. That full shape on the top and more fitted skirt underneath is so representative of this time period and when done by the hands of a genius like Dior, still feels timeless and fresh. The entire set glows like burnished metal and the fabric is unbelievable in person. The photos don't come close to doing it full justice. It is a exceptional piece. Excellent condition with a few small items to note below.

The skirt and top are both interlined in a brown silk organza. The jacket is lined in a brown silk crepe. The inner dress/skirt and the top both closs with a back painted metal zipper. The jacket has no closures. The jacket and shell both have weighted hems. Ribbon edged finishes and hand finished throughout. The inner dress's has been let out and you can see where this was done down the side and along the darts. The silk lining in the shell is beginning to shatter in places. Slight fraying to some edges. All very minor in person and do not detract. Please see the photos after the label shot. The jacket is meant to be worn over-sized.

Inner Dress
Bust: 21" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 17" from shoulder to waist
Skirt: 19" from waist to hem

Shell
Bust: 18.5" 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: 23" from neck to hem

Jacket
Sleeves: 19"
Shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD1696

Reference Photos: (1) Photographed by Arnaud de Rosnay, Vogue US, November 1968 / (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon

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

A Haute Couture version in a gold brocade was shown for the Fall 1997-1998 runway. The Couture version took the formed and shaped bust-line to an even greater degree then this ready to wear version that I have here. Then the twin of this dress was shown on the Fall 1997 ready-to-wear show. Finding runway references for Mugler's work is not always easy as he would often change designs for production and produced many pieces that were not shown on the runway. It's an extraordinary find.

I love the sharp fitted cut of the dress and that shaped bodice is exactly the kind of lines that we expect when we think of his work. That shaped, curved and pointed bust-line felt scandalous when they were first shown on the runway and still feel that way years later. This is classic Mugler and very collectible as a result. The dress is made out of a gold brocade that is heavy enough so that it was able to be sculpted into that curving shape. It molds and accentuates your curves. The curves through the hips are there whether it is on or off the body and he plays and exaggerates the female form through them. All of the shape is created through seaming to help to give the dress structure, shape and support. The waist nips in and the hips curve out and away from the body. The skirt is cut above the knee and curves in at the hem to further exaggerate the shape. The bust is spectacular. It is seamed and molded like a bra cup and then has those extensions that wing up into points on both sides. The cups are inset at the front so the shape is pushed to the front as you can see in the reference photos. You only have to look at the runway photos included to know how amazing this one is going to be on. The colour in person is a much stronger metallic gold feeling and really is better in real life. The fabric is also surprising soft. It's really fabulous. Excellent condition.

Fully lined in a brown silky rayon and closes with a back zipper. Tagged a vintage Mugler 38. The cups will probably fit up to a B, maybe a small C. They are seamed and wired for shape.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 28" from top of bodice to hem and the paint extend about
2.5” above the top of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3567

Reference Photos: (1) Fall 1997-98 Thierry Mugler Haute Couture Runway.  /  (2) 

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 for an exclusive collaboration with Luisaviaroma in 2018. The Attico brand was founded by street-style stars Gilda Ambrosio and Giorgia Tordini and the line has a vintage vibe to it that I love. It was a social media hit with an amazing array of women choosing to showcase it. 

The dress is brand new and unworn. It is made by applying thousands of tiny gold sequins flat onto a semi-transparent black fabric. The sequins are placed side by side and completely cover every inch of the dress. The fabric itself has a touch of transparency to it that adds to its light and sexy feel. It has an easy feel through the body that is flattering and comfortable to wear. It wraps and ties to one side of the inner side seam and then it snaps into place under the bow on the other side. The front plunges down into a low V at the neck and the bodice is cut on a on a flattering curve. It is set wide across the shoulders and the sleeves pouf out around the upper arm and then taper into the wrists. The ties and snap cinch it in at the waist and then it curves around the hips. It is cut very short and you can see just how short it in the various shots added. It is brand new and unworn. These sold out instantly when they were dropped. Excellent condition

Unlined and ties to close at the inner side and then the bow snaps into place. Tagged a size 44. Unworn and pristine. With the tie closure there is some play in the measurements below

Sleeves: 25.5"
Slightly inset shoulders: 15.5"
Bust: to 22" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam and adjustable more
Hips: to 22" flat across from side seam to side seam and adjustable more
Length: 32" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3566

Reference Photos from various Instagram accounts: @the_attico / @silvanovangi / @luisaviaroma / @jessicakahawaty / @martalozanop / @rosacrespo

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly adored and revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His Couture collections in particular were always exotic lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This dress is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for. It comes to me from the original couture client. This is his Luxe label that was only produced the first couple of seasons. It was very high end, expensive ready-to-wear that was made to near couture standards. We found a photo of a dress with a similar cut from the 1988 Couture runway. It is said that this label only lasted a couple of seasons because some of the couture clients complained on how close the garments were to their Haute Couture. 

This dress is not perfect but I am hoping a collector or someone that can look past its flaws sees the magic in it. The fabric is still strong and wearable but the bright lime green colour has faded and changed to yellow in areas. Because is runs over the entirety of the dress to various degrees it almost seems to make a statement on its own so I think the right person could pull this off and make it feel intentionally done. A statement against perfection if you will. The dress is classic Lacroix from his early years. The dress is sleeveless with wide straps that curve up and around the shoulder. The bust is meant to be fitted and the neckline is set wide and scooped at both the front and back. It is seamed just under the bust so has that empire feel and the skirt is shaped under that to have a bubble feel. This is achieved by the deliberate wide curved cut through the hips and by the way it is set into the waist with those generous soft pleats. The fabric is a light silk but has been given a puffed effect that helps to hold the volume and shape that you see. Hidden pockets sit on either hip. On either side of the waist are two buttons and then there is a separate removable panel in the same fabric. You can curve this panel around you in a multitude of ways, using the buttons to hold it in place. I have photoed a ton of ways I thought of and I bet there are more possibilities. The color is a vibrant lime green. Proper Luxe demi-couture tag present and this comes from the original couture client. The fabric is sound and wearable but has fading throughout. Please read full condition report below and above. 

Fully lined in a matching green silk organza. It closes with a hand set side zipper. There are two buttons on either side and the matching panel that you can use too change the look of the dress has two corresponding loops at either end. Pockets on each hip. The fabric has slight fading in areas and some areas have lightened to a yellow. The photos are a fair representation of the dress and I have added three after the label shot of the worst areas that have yellowed. 

Bust: 17" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 24" from waist to hem
Panel: 58" long and stretches from 7"-11"

Modern Sizing Equivalent: XS-SML

Item# DD3565

Reference Photos: (1-3) Spring 1988 Christian Lacroix Collection.  /  (4-5) Spring 1988 Couture Christian Lacroix 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.

A version of this set is held by the Liverpool Museum and was a key piece in the exhibit at the Walker Art Gallery Collection for the Fashion Icons: Celebrating Gay Designers exhibit. The show notes for their piece stated; 'Bill Gibb was born in Scotland and moved to London to study fashion design at St Martin’s School of Art. Between 1969 and 1972 he worked as a freelance designer for the fashion house of Baccarat before launching his own company. This evening dress, with its petal-shaped hemline, and glowing jewel-like colours, is typical of much of Gibb’s work in the early 1970s. In particular, his use of an exotic pattern and a metallic Lurex thread in the fabric shows how he was often influenced by rich historic fabrics and non-Western cultures.'

Gibb was one of the most influential and famous designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. This set is a wonderful example of the kind of work he was doing during this time period. His use of these metallic lurex fabrics helped to add a fantastical twist to the story he was trying to tell through his clothing. This set has all four original pieces to it. There is a skirt, a sleeveless tank that buttons at the front, the most fabulous jacket and a matching belt. The skirt is cut to midi length and is made of a series of flat knife cut pleats that fall from a more fitted hip. The choice of the lightweight lurex lets it have a ton of movement when you move and the pleats swish around you when you walk. The sleeveless top tucks into that. It is made in the traditional tailoring manner with a panel of lining fabric attached all the way around the bottom. This is something you normally see in couture pieces. This additional panel of fabric is made so that when you tuck it into the skirt you are not adding any bulk or lines around the hip area. The top buttons down the front and closes with holographic faceted buttons. Topping these two pieces is the jacket. It is cut with high capped shoulders and has an over-sized dog eared collar. It cinches in at the waist by seaming and flares out below that to past the hip. There are big curved pockets on each hip and the same buttons close the jacket that are on the top. It almost has a slouchy cardigan feel to it. The set comes with its original belt that has an unusual finish of a flexible holograph strip on the front of it. This strip picks up on the buttons of the jacket and top. I have shown the belt over the skirt and top, and then also around the jacket, since it works either way. The colour in the lurex is a fabulous mix of a soft green with other colours running through. The heavy dose of glitter running over the lurex softens the fabrics and gives it a fairy tale quality. I love the nod to the forties that the set has and the fabric is truly incredible. This is a rare set from one of my personal favourite designers. It appears to have been worn very little if at all. Excellent condition.

The skirt is lined through the hips and then where the pleats start it is unlined. It closes with a side zipper. The top is unlined and buttons to close with of lining around the lower half that you tuck into the skirt. The jacket is lined in a green silk satin and buttons to close. Two buttons on each cuff. Pockets on each hip of the jacket. Original tie belt. It appears to have been worn very little if at all.

Jacket
Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 18-18.5" flat across from side seam to side seam
Waist: 14.5-16.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Skirt: 16" from waist to hem

Top
Bust: 16.5-17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 21" from shoulder strap to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 34.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2739

Reference Photos: (1) Evening dress, Bill Gibb, 1973 from the Walker Art Gallery Collection, Fashion Icons: Celebrating Gay Designers" exhibit / (2) Evening dress, cellulose acetate, nylon and lurex, Bill Gibb, 1973, Liverpool Museum Archives. / (3) Charlotte Rampling wearing Bill Gibb for Harpers & Queen, February 1973. Photo by Barry McKinley.

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

This beautiful silk blouse was produced and made by hand in the YSL Haute Couture atelier. This piece comes direct from the original Haute Couture client and it is a remarkable example of his work during this time period. 

The top is done in a classic Yves Saint Laurent cut and silhouette. It is entirely done by hand and the silk is heavy and rich feeling. It is as finely tailored and cut as a jacket would be and every stitch and line is deliberately placed. The top is cut in a long, straight silhouette through the body and the sleeves are slightly voluminous above their deep French cuffs. The shoulders are lightly padded and defines by seaming across their tops. The front is kept simple with a front double panel to hide the buttons and a small neat bow at the collar. I love the subtle play on the tuxedo shirt that this creates. It is truly a brilliant piece and when you see it in person, the level of craftsmanship and care put into the construction is even more apparent. A masterpiece. Excellent condition with one tiny note below.

Unlined with all interior seams hand finished. It closes with hand set, hidden buttons at the front. Small padding in each shoulder. French cuffs, however they do not have the buttons. The buttons were often ordered separately for these. The buttons photoed with it are just temporary ones from the cleaners to hold the shape and will be sent with it. Entirely hand and finished to Haute Couture standards. 

Sleeves: 25.5" when cuffs are flipped up
Shoulder seam: 14.5"
Bust: 19" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S923

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 shrug was shown on the runway in a darker colour but I prefer this amazing cream version. Its a little sleeker in feel an the colour feels more elevated to me.  I have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced by designers like Valentino during this time period. Fur was well established as being treated like a fabric by this period.  It is made from a soft mink in a pale creamy ivory. In person it has a more creamy feel then how it photoed. The fur is supple and very very soft. What is remarkable is that the curving pattern that you see winding down each arm . The lines all match up perfectly across the back s they go into the sleeves. This gives the shrug an added bit of texture and pattern. To wear it you simply slip it over the shoulder. It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition

Fully lined in a black and white Valentino printed silk lining. It slips on with no closures. Tagged a 42

Sleeves: 22"
Shoulders: approx 15"
Bust: no defined side seams
Height at back: 14" from top to hem

Modern Sizing Equivalent: XS-MED

Item# S924

Reference Photo: Fall 2004 Valentino Runway Collection, model Malin Persson.

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 twin of this dress was shown on the Resort runway for 2008 and was Look 56. In Vogues review of the collection, journalist Nicole Phelps said in part; 'The grand theater-in-the-round setting for Oscar de la Renta's resort show put some audience members in mind of Chanel's recent presentations, but if there was a designer's influence at play in this beautiful collection, other than de la Renta's own, it could have been Yves Saint Laurent's. Loulou de la Falaise, YSL's longtime muse-turned-fellow designer, was sitting front-and-center (coincidentally, as it happened), and up on the raised platform there were seventies references' she went on to mention this dress in particular saying; 'And as for those evening gowns, a pair of printed chiné taffeta dresses (one in marigold, another in coral) may have had the front-row lovelies—Renée Rockefeller, Aerin Lauder Zinterhofer—reconsidering their outfits for tonight's CFDA Awards, where, of course, de la Renta is nominated for Womenswear Designer of the Year.'

The dress does have a nod to the work of YSL who did several dress in the 1970s in this same silhouette that is caught up at the bust and then widen out as it nears the floor with a longer back then front. This silhouette is marvellously falter on and easy to wear. It also creates the most beautiful lines as you walk away and the skirt and back pillow out and trail behind you. It is made out of a bright coral silk hat has a slight iridescent quality to the finish. The very upper bodice is fitted and wide starts curve up and around each shoulder. Under that it is all volume and drama. The dress has a ton of volume to it that shows best when you move. It has three sets of ruffled tiers that fall softly to the floor. The lightness of the silk causes the on the skirt to billow out and move with the slightest bit of air. When this is on and you are walking the effect that this creates is absolutely gorgeous. The back of the skier is longer then the front and I took some shots of it from the side so you can see how it curves down and back. The runway references also show this beautifully. I love how each there is defined by that gathered ruffle and the entire bottom hem is a wider version of the same. This extra little detail is fabulous and adds an extra element of romance and femininity. This is Oscar at his best and a tremendously beautiful dress. The dress was never worn and still has its original tags. Excellent condition. 

Fully lined in a matching coral silk.  It closes with a hidden set side zipper. Tagged a size 6. All original tags and unworn. The colour is slightly less vivid in person and even better.

Bust: to 17" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Natural waist - hips: open
Length: 52" from top of shoulder to shortest point of the front hem, 62" to the longest point at the back

Modern Sizing Equivalent: XS-SML

Item# DD3563

Reference Photos: Emina Cunmulaj for the Resort 2008, Look 56, Oscar de la Renta 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.

This stunning and rare gown was designed by Bob Mackie. Mackie shot to fame with the work he did dressing Cher. The best of his work is dramatic and opulent and he was a master at print and color. He worked for both Edith Head and Jean Louis, where he drew Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress, prior to working as a costume designer and co-designing with fellow costume designer Ray Aghayan who would become his life partner. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways it was his work and his creations that really defined their careers and helped to shape that entire idea of high glamour on the small screen. How work is incredible and this dress is one of the favourites I have had in the shop and shows his range as a designer beyond his signature beaded pieces.

This is an extraordinary Bob Mackie dress that is made in a vivid coral silk chiffon. Onto the silk are huge pink and soft orange closers set among bright green leaves. This colour combination is stunning to see. The bodice is made into a corset that is hidden under the extensive draping of the silk the covers it. Inside it is fully formed and shaped for full support. The fabric at the front crosses over itself to highlight the shape of the bust and the top of the bodice is set in a  high peak. This visually cuts on the waist and adds length. The skirt flows out from under the waist and it is made up of yards and yards of silk set in individual panels priced together. This allows the silk to really move and the movement it creates as you move is just incredible. It is cut on a curve so the layers at the front are shorter which allows some leg to show when you walk. The skirt is made up of thee full layers of silk and under that top printed layer are two more layers of a solid coral silk chiffon. All the silk is cut on the bias. The dress comes with its original matching cape piece. This buttons at the neck and then flows down and around you. It is cut on that same curves line that angles down and back around you. The colour is a bright tropical feeling print and it is truly one of the best dresses of his that I have seen. Excellent condition with one small note below

The bodice of the dress is fully lined in a red silk. The skirt has two inner layers of coral silk that follow the line of the outer layer. The bodice is shaped and and fully boned inside and has an inner waist stay that hooks to close. It then closes with a back painted metal zipper. Hand finished throughout and hand rolled edges. There are some repairs to the edge of the hem of the cape and one small one near the hem of the dress

Bust: to 18" flat across from side seam to side seam, the bust area itself is large and will accommodate a C or more bust
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of the high peaked bodice to bottom of inner waist
Skirt: 45" from waist to longest part of hem
Cape: approx 60"

Modern Sizing Equivalent: SML-MED

Item# DD3384

Reference Photos: (1-4) Spring 1992 Bob Mackie Runway. Model: Lu Sierra.  /  (5-7) Cherie, Owner of Shrimpton Couture.  /  (8-9) Elizabeth Gillies, in this set, on Live with Andy Cohen, July 2021.

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

If there is a dress more instantly recognizable and famous then the Valentino dragon dress I am not sure what dress that might be. It is a star even among the many outstanding dresses that Valentino has created over the years. The Haute Couture version was first created to great fanfare in 1969 and we have included some of the many reference photos that can be found for that original version. Then for the spring of 2001, the Valentino atelier released a limited edition collection of re-edited copy of the dress. This is one of those dresses and my couture client purchased it directly from Valentino. This is a rare chance to own an official Valentino version of one of the most iconic dresses ever produced. 

This version of the famous dragon dress follows the lines of the original couture one perfectly. The only difference is that this one is of ready to wear finishings rather then made to the Haute Couture level that the original would have been made to. At first glance you immediately think of the 1969 version and it is such a special piece. The description of the dress where it is documented in the book on Valentino's work sums it up perfectly; 'Printed tunic dress with a yellow, green and red oriental dragon against a very dark background; it features a seamed bust line, a stopped neckline, long sleeves and a deep slit along the left hip.' The dress is made out of a silk that has a satin like finish to it with that wonderful dragon printed on its surface. The dragon curls around the body on both the front and the back of the skirt and across the back and bust. Even the sleeves have part of the design on them. The neck is scooped and the sleeves each end in a wonderful flare out by the time they reach their ends. A curved horizontal seam gives a touch of definition just under the bust and then the skirt flows to the floor in a widening line. The choice of fabric is perfect as it is just heavy enough to keep the shape that you see so that you get the full view of the dragon design from any angle once it is on. The slit on the one side is very high and shows a ton of leg when you move, balancing out the coverage everywhere else. It is incredible. Excellent condition 

The dress is unlined and closes with a hidden set side zipper and a hook & eye at the back of the neck. It has no tags but was purchased direct by my couture client. Proper interior tag and tagged a size 42. The cut is small through the upper bodice and arms hence the XS-SML size designation I have given it

Sleeves: 22"
Shoulders: no defined seams
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 58" from top of shoulder to hem
Slit: 33" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3561

Reference Photos: (1) Vogue, December 1968.  /  (2-3) Valentino dresses, 1969.  /  (4-5) The re-issued Spring 2001 dress and credit from the book "A Grand Italian Epic: Valentino Garavani" by Taschen.  /  (6) Heidi Klum Valentino at the 2018 From Paris With Love Children’s Hospital Los Angeles Gala.  /  (7) Ruth Negga in Valentino, New York, 2018.

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

This dress is instantly recognizable as an Alexander McQueen piece. While there are pieces out there that only die-hard collectors would know at first glance, this is one of the dresses that has entered the mid of the general public na have become a pop culture icon. The spring 2008 collection was called 'La Dame Bleue' and was a tribute to his mentor and friend Isabella Blow who had committed suicide on May of 2007 after a long bout of illness. His statement of the show was this; 'Isabella flew. The collection is exuberant and excessive. It's about her way of thinking and that way of thinking brought light into fashion. Even when she was down she was up with what she wore. I had the best times with Isabella. I remember going to Mauritius with her and I'd come back from scuba diving and it would be 100 degrees and she'd be standing on the beach head to toxin McQueen with a Philip Treacy Hat on. Or we'd be sitting around the pool and she'd still be head to toe in McQueen with a Philip Treacy hat on. I've though a lot about why she would wear things like that and she wore them because it made her feel like a diva. She was a diva in what she wore. She pulled it off. I never blinked at what she wore. It just seemed normal. So this was a collection about Isabella ad about wearing clothes that transform you." The entire show was a beautiful testament to someone he loved dearly and the series of rainbow butterfly dresses were an immediate hit world wide and have become some of his best known works. This was the fifth last collection of his career and these last collections are considered to be some of his most brilliant. 

On the runway this dress was shown with a feathered shoulder harness over it. It was endlessly documented at the time as everyone was drawn to its joyful exuberance and coloir. We found references of it from four different Vogues issues from different countries. In 2015, FKA Twigs wore the full runway version to the Savage Beauty exhibit opening gala to great acclaim. This dress sold out world wide when it was produced and there are very few out there. This is a rare opportunity to own an important piece of fashion history. The dress itself is a piece of art. It is strapless with a built in inner dress that has built in cups and a sheer nude inner mini dress. This inner corseted garment is attached and made from a combination of nude stretch lingerie jersey and nude silk chiffon. Over this are four panels of the rainbow printed butterfly pattern on a feather light silk chiffon. These are attached and draped around and over the top of the bodice and then swoop down from there is four sections. Each sections is miles long and ends in a point. When you have this one and walk in it the front panels swoop back and trail behind you like some fantastical fairy costume and you seem to float rather than merely walk. The bodice is curved to a modified sweetheart and I love how there was no expense spared into amount of silk chiffon used. You can see how it is heavily gathered at the front on particular. My client also bought the optional belt at the time that was shown on other runway pieces in the collection. Having this with the dress not only adds to the variation in how you can wear it, but it also adds another important bit of history and provenance to the dress as it is very rare to find the belt with one of these. The colours in the dress are spectacular and cover the full spectrum of the rainbow. To see it in person and how it moves is literally like looking at a moving three dimensional piece of art. This is a very rare opportunity to own one of his most recognizable dresses and the FKA Twigs association adds another dimension of modern culture to it as well. Excellent condition with a minor note below.

The inner dress has built in cups and light boning. Over this is a nude silk chiffon that falls to the top of the thighs. The inner corset closes with its own zipper and then the nude silk chiffon inner dress zips to close over that. It is tagged a McQueen size 42 but my client had it expanded at the back. These were sold out worldwide and this was the only one she was given the option to buy. I have photoed the triangle inset that was added to the back on the layers. The work is very well done and would be easy to reverse if you wished to do so. The bit of extra fabric from the exterior layer was stolen off the very end of one point. It as worn once for an hour and has not been worn since and is pristine. The belt snaps to close and is tagged a McQueen 44. There is a minor surface scuff on the belt. 

Bust: to 17" flat across from side seam to side seam with an approx B-C cup 
Waist: the inner will stretch out to 18" flat across from side seam to side seam
Inner hips: to 24" flat across from side seam to side seam
Length: the shortest parts of the panels where they connect is approx 47" from the bodice and the longest parts extend down from the bodice to approx 86" to the ends of the points on each panel. 
Belt: Adjustable from 29.5" - 33.5"

Modern Sizing Equivalent: SML-MED

Item# DD3560

Reference Photos: (1-3) Viviane Orth for Alexander McQueen Spring 2008 Runway Collection.  /  (4) Daria Werbowy in Alexander McQueen by Mario Testino for British Vogue, March 2008.  /  (5) Daria Werbowy in Alexander McQueen by Terry Richardson for Vogue Nippon, February 2008.  /  (6) Chanel Iman in Alexander McQueen by KT Auleta for Vogue Russia, February 2008.  /  (7) Luca Gadjus in Alexander McQueen by Vincent Peters for Vogue Germany, April 2008.  /  (8-10) FKA Twigs at the Savage Beauty Gala, 2015.  /  (11) 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.

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. The twin of this dress was photoed a year later for the September issue of Vogue on Donna Mitchell and I think that this photo has become one of the most famous shots of her and one of the best shots done for Vogue period. To have this in the shop is a bit of a holy grail for me personally as it is such a beautiful dress that I  have always loved. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. Even when the dress was as extravagant as this one is. He knew how to walk that line perfectly. This very early piece of his work and with its glamorous fabric, history and that dramatic feather collar, it is some of his very best work ever. 

The dress is stunning and besides the actual beauty of it as a dress, the fabric is one of the best textiles I have ever seen. It is a printed silk voile in a riotous colour palette of yellow, coral and black with dots of an extra soft plush chenille fused onto the surface. The chenille appliqué covers the entire dress from shoulder to hem and gives it the most amazing tactile feel. The dots also give the dress texture and a three dimensional quality. To offset the texture and extravagance of the print on that fabric, the actual lines of the dress are fairy simple The bodice skims over the bust to the seamed waist and the sleeves are long and straight with zippers at each cuff. The neckline is high and scooped. The skirt falls from the waist to the floor in a gentle widening line. At the neck it becomes all drama again. Here we see that famous feathered collar in all its glory. the collar is actually a separate piece on its own that hooks into place and I have provided photos of the dress with and without the collar. The feathers on the collar have been hand dyed to match the colours of the dress and there are hand dyed smaller feathers hand placed and attached onto the larger feathers to create the pattern that you see. The effect is amazing and it is even better on person and on an actual body as all the elements really come to life. It is really one of the most significant and dramatic pieces ever done by him. A true collectors piece. Excellent condition 

The entire dress including the sleeves is fully lined in a nude coloured silk. It closed with a back painted metal zipper and each cuff has a zipper to close. The collar is backed with a silk organza and hooks to close. There are a few tiny areas of thinning to the silk behind the feathers of the collar but these are extremely minor. Overall it appears to have been worn very little if at all. 

Sleeves: 23.5"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem with 3.5" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD3562

Reference Photo: Donna Mitchell in Bill Blass, Shot by Richard Avedon, Vogue US, September 1971.

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly adored and revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His Haute Couture collections inn particular were always exotic lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This jacket is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for while still being refined and elegant. It comes to me from the original couture client and is immaculate. His true Haute Couture pieces are very special and rare. This one is particularly wonderful and slipping it on feels like magic. 

It is not until you put this jacket on that it really comes to life. It has a rich feel to it from the moment you slip it on. It seems unassuming on the hanger, and even on the dress form to a degree, but once on the body, the way it flares outward to the hip is perfection and you can tell it is a couture piece by feel alone. It is made from a textured black wool crepe and the high quality of the fabric is what allows it to retain and hold that shape. The sleeves are slightly cropped. The collar curves softly around the neck and then it is set wide on either side of the elaborate front. Running down the front is a panel of silk velvet that runs down either side and then there is a tightly spaced row of buttons placed on both sides. The buttons are magnificent and each is domed and made from metal done in a deep gunmetal grey-black. Each button is embossed with various configurations of black crystals. Because they are set so closely to each other you get a famous tactile feel along with an actual soft pretty sound as they softly click together when you move. It is quite wonderful. They are intentionally offset with one side having more buttons then the other for a whimsical touch. The back is equally spectacular with two extensive embroidered areas done down the centre. These layer a black lace with silk cording, embroidery work and 3D knotting and beading techniques. At the very bottom is a spray of three hand carved wood tassels covered in embroidery work that dangle down past the back hem. It is very difficult to full present black pieces and the jacket is even better in person. It has been sourced from the original couture client who recalls purchasing it around 1990. The hand written couture tape under the label reads 93789 and perhaps denotes the 1989 collection. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk and closes with as tries of Couture hook and eye down the front. The jacket has its proper Haute Couture label numbered 93789. All hand finished to couture standards. It looks to have been worn very little if at all. Sourced from the original couture client 

Sleeves: 19.5"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: open
Length: 26" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3558

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

Like the other suit I have today by Yves this one is also a Haute Couture piece. This one is documented and from the Fall 1996 collection. Supermodel Claudia Schiffer walked the runway in a pant version of it for that season. Having both reference photos and the video of that moment allows you to see the incredible tailoring and movement of the piece. For the runway it was shown with a pant. My client ordered it with a pencil skirt which gives it the benefit of being able to be worn day through to evening. Yves play on the tuxedo suit, most often called the 'Le Smoking' suit, is one of his most famous hallmarks. He first presented the now iconic suit in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. 

There is nothing quite like slipping on a meticulously tailored piece of true Haute Couture. It feels different somehow then any other experience and the feeling is unlike any other. The suit is a meticulously constructed and is in pristine condition. It is sourced from the original couture client. These played on the lines of a men's tux and then were shaped and tweaked by Yves to be immensely flattering on the female body. The cut is masterful and its simple appearance is produced by his genius tailoring that is sharp and meticulous. The jacket is tailored with a sleek cut that follows the curves of the body. It has his signature matte satin notched tuxedo collar. This one's collar slightly exaggerates the classic men's version of a classic tuxedo suit. Yves produced many versions the this suit over the years but what I find remarkable is that each version is distinct in how it closes at the front and the way that the collar is shaped. This version closes with a single button below that amazing collar. Three pockets are top set on the front and the shoulders are sharp. The traditional mens suiting fabric has enough weight that it holds the lines perfectly once it is on. I love the row of three glossy black buttons on the cuffs of each sleeve. These are set with working buttonholes and that bit of gloss to the ends of the cuffs is fantastic. The skirt is cut in a simple pencil shape. There are small discreet belt loops on the skirt and these are made out of crocodile.  Once on, the suit transforms. You can see how beautiful the lines are from the runway photos and video that I have included here for reference. His suits changed the way we approach woman's wear and any example of the Le Smoking version is particularly collectible. They are a particularly wonderful example of how strong his tailoring was and vision for a woman's place in the world. This is a rare and iconic piece of documented YSL Haute Couture. Excellent condition

Both pieces are lined in a rich heavy black silk. The jacket has a single button at the front to close. The skirt has a zipper and hook & eye at the waist. Three pockets on the jacket. All hand finished to couture standards. It looks to have been worn very little if at all. There are no tags present. Sourced from the original couture client 

Jacket
Sleeves: 23.5"
Shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: to 18.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 27.5" from neck to head 

Skirt
Waist: 15.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3557

Reference Photos: Claudia Schiffer for Fall 1996 Yves Saint Laurent Haute Couture 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.

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 was made to almost true couture and 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 gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

The label on this dress is one of his earlier ones and when researching the date I found a dress in the Met Museum's collection with the same label and that uses the same technique for the way that the skirt is set into the bodice of the dress. The dress in the Met's collection was also photoed for Vogue that year. I have included both those for reference and it gives you a great idea of how this dress will look on the body. In the Vogue description the skirt was described as being; 'narrow in outline, but with beautiful easy folds from the waist, falling in self contained spirals' which is a lovely way to describe the way that it is set into the dress. I love that my version has a more bare shouldered feel to it and how the bright floral print covers the entire dress and adds a real wow factor it. It also gives it a bit more of an easy, tropical feel then the more formal version held at The Met. The fabric is a beautiful light weight silk that is completely covered with the large flower print that you see. The colours in the print are spectacular and combine a bright orange, yellow and green on a black backdrop.The skirt is cut so that it gathers up and into the middle of the dress. This gives it that lovely curved line at the front and the draping down each side that you see. It also creates a touch of volume across each hip which makes your waist look smaller. The bodice is suspended by tiny straps made out of the same silk. The front has a wide set scooped neck and the back is the same. The back of the dress closes with a series of buttons that run from the nape of the neck to the waist with a zipper set under that. It is seriously gorgeous on and gives you curves while feeling very forgiving. It really showcases just what a genius he was. Excellent condition

Fully lined in a black silk chiffon. It closes with a low painted metal zipper at the waist and then has a row of buttons above that. Bias cut so there is a little play with the measurements which I have given below. It appears to have been worn very little if at all.

Bust: to 18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3555

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

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

This is an exceptional example of Valentino's Haute Couture work from the early 1990s. Finding true couture pieces from this time period in such immaculate condition and so well documented is a rarity and and I am very pleased to have this beautiful evening suit in the shop. The set comes directly from the original couture client and is in immaculate condition. It was ordered from the runway collection as presented in 1994. It was shown on Helena Christensen on the runway with just the jacket and skirt. My client also ordered the matching silk top to go with it. Having the reference shots gives you a wonderful way to see the suit how it looks worn on its own and with the top under it as on my dress form. 

Each of the three pieces that make up this set is exquisite and would be an amazing vintage find on its own. The suit itself is true to the runway. The skirt is cut to hug the hips and then flares out in a wide 11" band of silk at the bottom hem. The silk has been folded into sharp pleats and then set into the skirt so that by the time they reach the hem they open and swirl and curve around you. The movement this creates is wonderful. Over this is that stunning jacket that is cut and tailored to perfection. The soft set shoulders have just a suggestion of padding. It falls from those shoulders and gently widens out and away from the body. This gives the detailing on the jacket an uninterrupted line to be displayed on. The hem of the jacket ends in a rounded curving edge and then under that is a panel of the same pleated silk that finishes the skirt. It layers over the top portion of the skirt and the tiered effect it creates is stunning. The detailing on the jacket is extensive and the pattern combines insets of black silk and silk velvet with hand beading. Glass tube beads are densely applied by hand around the insets and these run from the hem to just about the bust area and all the way around the jacket. Each sleeve is finished with the same treatment. It is insanely beautiful. My client also ordered the matching pleated silk taffeta top to go under the jacket and it is remarkable in its own right. When worn under the jacket it is cut so that the top two pleated tier and collar lie perfectly over the jacket's neckline. That top tier is cut at the back in a way so that it sits perfectly in place so that it can be worn like this. The front of the top has a high ruffled collar and then there are three tiers of silk set on a slight curve at the front. A velvet strop runs down the centre with glossy black dome buttons. These are set on the upper part of the top and then hidden snaps close the bottom part. Each cuff is finished with a pleated ruffle. You can wear everything together or mix and match any of the pieces with what you have in your wardrobe. This is a very special documented set and a fantastic way to add a piece of real Haute Couture to your closet. It is absolutely beautiful. Excellent condition

The top is unlined and the jacket and skirt are lined in a fine black silk. The skirt zips to close at the side and then hooks at the waist. The jacket closes with the glossy black dome buttons as seen and hand set silk loops. The top buttons to close and has hidden set snaps from where the buttons end to the bottom of the front. My client had the pleat that runs around the the of the jacket made so that it can be removed and worn without the ruffle which makes it even more versatile. Made with Haute Couture techniques and by hand. Hand done detailing on the jacket. It looks to have never been worn or worn very little 

Top
Sleeves: 24"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 26.5" from neck to first hem, 32.5" to the end of the pleated hem

Jacket
Sleeves: 22"
Shoulders: 16"
Bust: 18.5" 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: 22.5" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 21.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3554

Reference Photos: Helena Christensen for the Fall 1994 Valentino Haute Couture 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 dress comes directly from the original couture client and is in immaculate condition. It was ordered and made on the same time 1985 period as the crystal bow dress I am listing today. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. I am also pleased to have found a reference photo to fully document and date it on Christy Turlington from the November issue of Vogue 1986

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it is perfection on an actual body. Couture pieces are very difficult to truly show in a photo as they are meant to highlight and show off the body and only truly come to life when worn. The bodice of this dress is made from an inky black silk velvet. It is fitted and nipped in at the waist. One shoulder is left bare and the other is encased in a sheath of velvet. The sleeve is cut to the wrist and the shoulder is set to be high and capped with a pretty gathered seam set on an angle on both the front and the back. The shoulder pad underneath is hand formed so that it is rounded to flow and exaggerate the curve of the shoulder. The skirt is wonderful. It is set into the waist in a series of soft pleats that help to give it the fullness that you see. It is very full and cut with a nod to the skirts of the fifties. It is made from a gunmetal silk taffeta that has wide panels of velvet flocking fused to its surface. These wrap around the skirt in three bands starting just under the waist and ending just above the hem. The inner construction of the skirt is amazing. The outermost layer is backed in a silk organza and all of the seams are hand finished along their edges. Set inside the skirt is that startling emerald green silk taffeta underskirt that is built into the dress. It falls below the hips and then has a second ruffled piece nearer the hem for fullness. This is placed into the interior by hand and backed in silk. There is a wide strip of stiffened net running though the two inner hems. It is cut very full to give the skirt its shape and volume. Plus the unexpected flash of green when you move a certain way or sit is fantastic. It feels very tactile on to have all these skirt swirling around you as you move. It really is wonderful and an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice, skirt and underskirts are all lined and backed in silk. The sleeve is self backed. Done with Haute Couture construction techniques and it closes with a hidden set metal zipper at the side and then has silk covered snaps and a secondary zipper on the side of the skirt. I have photoed this for you. Inner waist stay hooks to close. Hand made padding on the shoulder and light boning at the side of the bodice around the zipper. A fine metal zipper to close the end of the sleeve. Built in underskirt with stiffened inset at the edges as described above. 

Sleeve: 22.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 31.5" from waist to hem with 4.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3553

Reference Photo: Christy Turlington in Valentino, Vogue, November 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.

This is a beautiful example of Valentino's Haute Couture work that he was doing during the 1980s. The bow in particular was an important element of the collections that year and it is the highlight on this dress. We were able to find the runway photo of this look as worn by the beautiful Amalia Vairelli which shows you just how gorgeous the dress is once it is on an actual body. The dress comes directly from the original couture client and is in immaculate condition.

The dress is fairly simply in its cut and it is not until it is on the body that it really transforms. I love that the more you look at it, the more you begin to see the many couture details. At first glance the dress appears to be a skirt and jacket but this is all an illusion as it is all one piece. The inner part of the dress is a black silk crepe and this is cut to create the illusion of wearing a  simple scooped top and pencil skirt under a jacket. Over this he has used an inky black velvet that is cut to look like a sharply tailored jacket over an inner dress. It has bold shoulders and long sleeves. It swoops down at the front on a curve to the waist where it is caught up in a 3D crystal encrusted bow. The lower part of the 'jacket' then curves down and around the hips. This is Haute Couture under the masterful hand of Mr Valentino himself and is an exceptional example of earlier Valentino Couture. Excellent condition.

Fully lined in handset, very high quality black silk crepe. Done with Haute Couture construction techniques and it closes with a hidden set metal zipper at the back. Inner waist stay hooks to close. Hand made padding at each shoulder. Signature faceted jet buttons on each cuff and all the buttonholes work. The inner waist stay is smaller then the actual waist so if you needed the room you can just wear it without hooking the stay closed. 

Shoulders: 15.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam and the inner waist stay hooks at 24"
Hips: 19" flat across from side seam to side seam
Length: 41" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3552

Reference Photo: Amalia Vairelli for the Fall/Winter 1985-86 Valentino Haute Couture Runway Show.

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 dress was worn by Yasmin Warsame on the runway that season and you can see just how fabulous the dress moves. The key pieces from this collection, including this dress, were sold out or waitlisted around the globe despite their high price tags. Sarah Mower of Vogue said of the spring show: "In a season when India is inspiring so many collections, Etro—which uses a paisley print as its brand identity—is more entitled than most to roam the subcontinent. Sure enough, that's where the collection went, but via the seventies hippie route." This dress was mentioned specifically; "One of the standouts—which could make a lovely entrance at any party—was a long, flowing seventies-style dress with belled sleeves, detailed with pinwheel pleating in the Empire bodice."

This was Look 19 in the show and is truly fabulous. It is very flowing and beautiful and I would hazard to say that it is one of the stand out Etro pieces from any of their collections to date. It almost has the lines of an Ossie Clark and the print of a Zandra Rhodes. The top portion drapes over the bust and has a deep V at the front. The fabric has been gathered in and there is a topstitched pin tuck circle there that is quite wonderful and a unique detailing. Long attached ties sit on either some of the waist and they are long enough that you can leave them draped down the back or bring around to the front and wrap them around you. The skirt flows from under there in a pretty soft expanse of silk. There is a great deal of fabric in the skirt and this is what creates that wonderful movement as you move. At the back the dress closes with a tightly spaced row of silk covered buttons and loops. A tremendous amount of work and detailing. The sleeves are spectacular. each is cut extremely long so that once n they are caught up and the wrist the fabric over just drapes snapped flowers around the arm. The silk chiffon is a beautiful quality and light as a feather. Excellent condition.

The bodice and sleeves are unlined the skirt has an inner lining of an ivory silk. It closes At the back the dress closes with a tightly spaced row of silk covered buttons and loops. There is perhaps the slightest smudge under one arm near the seam but look to have been worn very little. Any yellow areas on the dress are lighting. In person the black part off the print is a true black and the white chiffon is white. The underskirt through the skirt has a touch of a cream color to it. Tagged a modern 44

Sleeves to the end of the actual cuff is 32" and then the extend from there. They do of course come up once on
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam and ties in with the ties
Inner hips: to 24" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 43" from waist to front hem, 46" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3551

Reference Photos: Yasmin Warsame for Etro Spring 2005, Look 19.

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 1996, the same year this gown was made, Hanae Mori was awarded the Order of Culture by the Emperor of Japan. This after a long and lustrous career that included becoming the first Japenese women to become a member of Le Chambre Syndicale de la Haute Couture Parisienne in 1977. In the Encyclopedia of Fashion they say of her work:

"....examples used bright hot colors, juxtaposed in one ensemble to provide interest, bringing a strong Japanese feel to their narrow hues, frequently harking back to the kimono for their silhouette and cut. It is in this area that her work is most inspired, bringing together European tailoring and Japanese color and ideals of beauty. She uses the Japanese love of asymmetry to further develop her style and the linear patterns she prints onto her distinctive silks. She exploits the natural appeal of such fabrics with a well-defined sense of cut to illuminate her realistic styles. By doing so, Mori is providing both an alternative to and a definite rejection of the type of elaborate couture confections that mold the female form into fantastical shapes, ignoring the woman beneath the fabric.......The designer is also a favorite of the Japanese royal family and Thailand's Queen Sirikit."

To find a true piece of her Haute Couture is exceedingly rare and when the design is as beautiful as this one is, it just makes it that much more special. This is couture on the highest level with everything about the piece deliberate and constructed to work as a whole. It is made of the finest silk and silk chiffon. The design is one of her signature custom prints that she helped to develop. Along the hem of the skirt there is also a hand painted detailing layered on top of the print. Bead work has been hand applied to the silk chiffon bodice to follow the black and white pattern on the underlying silk. The skirt wraps and secures over, draping around the hips and legs in a beautiful swath of silk. At one side of the waist she works in a touch of the East with the bow that you see. Underneath is a short mini skirt that is built in and has just the slightest touch of padding at the back. This gives shape around the hip and I feel it is also a subtle nod to the bustle pad. The top is semi-transparent and zips to close from the waist. It can be left open more to give a deeper plunge. I photos most of the shots with the zipper left a little open and included one with it fully closed. The shocking flash of brilliant turquoise under the skirt and lining the bow along with the high slit created by the wrapped effect are the perfect finishes. Great condition with a note to review below

The skirt is lined in a brilliant turquoise silk and the interior partial skirt is lined in black silk. The bodice and sleeves are unlined. The bodice closes with a front zipper. Her signature tiny fabric covered snaps sit at each cuff. There minor loss and loose beads on the top. Please see the photo after the label shots for the worst area. Completely made by hand as per the the standards of Haute Couture. Numbered tag underneath labeled "HC 1363 (perhaps the first number is a 7?) Pe 6-12-96"

Sleeves: 26"
Shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 53" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2363

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

This is from the famous Russian collection from the Fall 1976 Collection and these are rare and hard to find. The now legendary 'Opéra Les Ballets Russes' Haute Couture collection by Yves Saint Laurent for that season was one that took the fashion world by storm and has been endlessly re-interpreted since. Stylist Catherine Baba has the twin of this coat and versions have been well documented. The Met has a fabric version in their collection and the suede version was photoed for Vogue that season. This was a key look of the season and highly collectible. 

The coat is in exceptional condition and looks to have been worn very little if at all. The leather is soft supple and the color is a deep chocolate. The inner bodice has been lined in a sheared sheepskin that is very soft and fine and has been dyed to a deep chocolate color to match the leather. The sheared sheepskin is set to follow the front edges and goes all the way around the neck and down the front. There is also a a band of it set within each cuff. The lines of the coat are pure Yves from this time period. The neckline is cut high on the front to curve gracefully around the neck. The shoulders are set high with gathers so that they have a slight capped feel to them. Under the top portion of the coat the lower portion of the jacket is set into the waist seam and done like a proper skirt would be with slight gathers along the top so that it has some fullness. Inside the coat the upper bodice is lined with the sheared fur and the lower part of the skirt is lined in a quilted fabric.  I love how all the edges are top stitched with a deep red thread, placed to emphasize the lines of the coat and add to its Russian feel. This wide panel of red top stitching runs all the way down the front, around the collar and finishes each cuff. Highly polished buttons close the coat down the front. It really transforms when on a real girl and is just wonderful. Amazing and rare piece of fashion history. Excellent condition.

The upper bodice and cuffs are lined in fur and the sleeves and skirting of the coat are lined in quilting. It closes with the buttons at the front. Tagged a vintage YSL 44

Sleeves: 24"
Shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: open
Length: 47" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C404

Reference Photos: (1) The Peasant Collection 1976 as photographed by American Vogue  /  (2) Coat from the MET  /  (3) Yves Saint Laurent Runway.  /  (4) Catherine Baba at the S/S 2017 Haute Couture Shows in Paris. (Top Photo by Nabile Quenum; Bottom Photo by Phil Oh)

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.

My couture client had this stunning silk evening coat made for her. It is roughly based on the one that walked the runway but the detailing on the silk is far more delicate and intricate and combines elements from the suit that was also presented in that show. Since it was custom made for her it is a one off and the only one of its kind. It is an extraordinarily beautiful piece of Haute Couture that is also one of the most beautiful textiles that I have had in the shop. The workmanship is exquisite. 

The jacket is made from a fine silk brocade that has a slight sheen to its finish and a very rich and luxe feel. The color in person is far better then how my camera captured it. It has a touch more of a deep burnished gold feel to it and the flowers that are woven through the silk are a crisp white. Any change in color in the ohoptos is lighting. In person the jacket is absolutely pristine. What is truly remarkable about the jacket is that the designs has been carried flawlessly all around the coat and through to the interior. Inside it is an immaculately finished as it is on the outside. The only difference being that the print is not as extensive on lower half of the back portion as it is on the exterior and the sleeves have been finished in a high end silk. It has a simple cut with sleeves that are wide and set to just below the elbows. The shoulders are soft and the collar is small and neat, set to perfectly finish the top of the neckline. There is a single hand made button and silk loop at the top of the neck and below that are no other closures to break the line. It gently widens out as it nears the hem. The design is absolutely exquisite and it is one of the most beautiful textiles I have seen. Every inch of it represents the elegance and refinement that Valentino built his empire on. This is a rare opportunity to own a piece of true Haute Couture by one of the preeminent ateliers in the world. Appears to have never been worn or worn very little. Excellent condition

The interior is finished in the same fine silk brocade as the exterior. The sleeves are lined in matching deep gold silk. All of the work is done by hand and finished to courier standards. Note that there is no label present but it was sourced from the original couture client who had it made for her. It is pristine and meant to fit loose through the body. 

Sleeves: 17"
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist - hips: open
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C556

Reference Photos: F/W 2000 Haute Couture Valentino Runway. (Models: Erin O'Connor & Mini Anden)

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 1983 runway, a version of it walked the runway for the Fall 1982 Haute Couture show and the cloth version was photoed for Vogue Italia that season. Most importantly, a photo of Catherine Deneuve was taken in a version of the coat allowing us to see just how wearable the coat is despite its avant grade and bold lines. The dramatic and huge sleeve detailing was an important element for that season. This is a rare and collectible piece. 

All of the documentation on this coat are gives you an idea of how spectacular the coat is in person. It is made out of a soft, supple leather that has been dyed to a deep brown. The bodice of the coat is meant to follow the lines of the body and then curve down into a slightly dropped waist seam. He has treated the lower portion of the coat like a true skirt and it is set into the seam of the waist in soft gathers. This helps to give it the fullness that you see in the photos. Pockets sit on each side of the hip. The collar is high and neat. It sits above a dramatic double row of polished hand carved wood buttons. They are large and sit in a double row of six buttons that down the front to just past the waist seam. These same buttons are then used on each sleeve. The sleeves are incredible and at the time were probably startling to see on the runway with their excessive fullness. They still feel dramatic even now. Each is cut on a rounded curve that starts at the shoulder and curves down the arm to the cuff. They are very full and wide. Six of the polished and hand carved wood buttons are hand set down the extended cuff whose overlapped edging goes right up to the elbow. Those sleeve and how they are cut are really a testament to his genius. Each button is fully functional which shows you just how much care and detail was put into the piece. Despite it being leather, the coat has been made with the same care as if it was fabric, which would have been a very innovative approach to leather for this time period. It is absolutely stunning and very rare. Excellent condition with a small note below.

Fully lined and closes at the front with the buttons as seen. All the buttons, including the ones on each sleeve are functional. Pockets on each hip. There is some minor discolouration on the inner lining. The fabric used for it tends to change colour over time so it is a natural progression of aging. One small and minor scuff to the leather next to the collar on the upper shoulder. Please see the photo after the label shot 

Sleeves: 27"
Slightly inset shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 47" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C402

Reference Photos: (1) Fall 1983 Yves Saint Laurent Runway.  /  (2-3) Yves Saint Laurent F/W 1982 Runway.  /  (4) F/W 1982 Yves Saint Laurent Runway in the book "Yves Saint Laurent Haute Couture Catwalk".  /  (5) Outfits by Yves Saint Laurent, Vogue Italia, September 1981.  /  (6) Catherine Deneuve

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

The twin of this set walked the runway for the Fall 1977 Christian Dior Haute Couture collection. It was also used in a Vogue editorial and photoed by Roland Bianchini that season. In the 'Dior Catwalk' book, journalist Alexander Fury references this suit specifically in his write up for that season saying; "The designers autumn/winter collections proposed a series of equally glamorous ensembles, including the 'white silk jacquard pants suit with the white fox, white pearls and bareness underneath - a soft white camisole' that Vogue predicted would be the 'sure fire' bestseller that season. Trouser suit aficionado Bianca Jagger was in the audience and 'said she loved everything''. It is exceptional and a wonderful example of the work that Marc Bohan was doing for the house during this time period.

The set is made from a beautiful ivory colored silk that has a secondary pattern woven through it. That pattern is made up of little abstract shapes and I love that every once in a while one of the shapes in that design look like a little heart. The pants are cut with a straight leg so that they have a soft flow to them. Pockets lie along the seams on each hip. The jacket is a simple, almost box cut that ends just at the hip to perfectly balance the line of the pants. It can be worn open like it was shown on the runway or fully closed. I love the clear lucite buttons with their little silver capped tops that run down the front. They are the only embellishment on the piece and give it a subtle bit of glitz. On the front of the jacket there are three top set pockets for detailing. Each sleeve buttons to close and on the runway these were left open and flipped back for an easy feel. This is a true piece of fashion history and an amazing example of Bohan's work during this time period. It is even better in person. All proper Haute Couture labels present. Excellent condition with some small notes to review below.

Both pieces are fully lined. The jacket in a rich cream silk satin and the pants are lined in a slightly lighter version of the same silk. The set is entirely made by hand. The jacket buttons to close and pants close with a front painted metal zipper and hook & eye at the waist. Pockets on the jacket and pants. The pants have a slight line of a yellow mark at the lower front right leg near the hem. The jacket shows slight discoloration under the arms on the inside lining that does not go through. There is the very slightest darkening to the edge of the collar. All minor and it presents as excellent. Please see the photos provided after the label shot

Jacket
Sleeves: 21"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 23.5" from neck to hem

Pants
Waist: 13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41" from waist to hem with 2.25" turned under the hems
Inseam: 30.5"

Modern Sizing Equivalent: SML-MED

Reference Photos: (1) Christian Dior A/W Haute Couture 1977 Runway Show.  /  (2)  Christian Dior A/W Haute Couture 1977 Runway Show from the book "Dior Catwalk: The Complete Collections".  /  (3) Photo by Albert Watson, Vogue, October 1977.  /  (4) Photo by Roland Bianchini, Dior, 1977.

Item# DD2793

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

This was the closing look of the Spring 2001 Haute Couture collection and there are countless photos of Yves with Laetitia Casta wearing the twin of this suit. It was coined the 'Just Married' suit and the background and inspiration for this collection is one of my favorite things that I have read to date about his collections as it has such a romantic twist to it. This was one of his final collections and to have come full circle and to have him look back to his very beginnings in fashion strikes a chord in my heart. This is perfectly explained in the 'Dior Catwalk book which states; "The spring/summer 2001 collection paid tribute to Parisian elegance, and above all to Christian Dior, Yves specified, in an interview to the newspaper France Soir, that 'this collection represents my memories of the time when I was working for Dior an was an adolescent'. He added; 'I was very inspired... I wanted to go back to the Paris couture of the 1950s'. Leslie Veyrat, who wrote the  notes for this collection in that book, references the suits in particular stating; "The day suits presented a fluid silhouette, heightened by strong shoulders, designed for a confodent and powerful woman.'  She goes on to mention this suit specifically; "White dresses were followed by a 'just married' dress modelled by Laetitia Casta, bag in hand, and looking as though ready to go on her honeymoon. The couturier presents her with a bouquet of lilies in the valley, Christian Dior's talisman flower. The end of the show was greeted by a standing ovation, a sign of the emotion generated by this collection of 105 designs that seem to be a farewell and epitomized the poetic quality of the couturiers collections." 

The suit is a marvel of construction and is in wonderful condition. It is sourced from the original couture client. Its 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. Three pockets are top set on the front and the shoulders are padded. The silk mix fabric has enough weight that it holds the lines perfectly once it is on. It has its original belt to cinch in the waist and add shape. I love the flipped up cuffs on each sleeve. These are set that way and give it a little French nonchalance feel to the suit that is fantastic. The skirt is cut in a simple pencil shape. The waist is banded and the lines have been kept simple to accommodate the belting of the jacket over it. Once on, the suit transforms and you can see how beautiful the lines are from the runway photos I have included here for reference. His suits change the way we approach woman's wear and this particular one is a particularly wonderful example of how strong his tailoring and lines were. The added provenance of it being from one of his final collections, and the sweet story behind how it was presented on the runway, adds to its importance. This is truly a once in a life time find. Excellent condition with a minor note below

Both pieces are lined in a rich heavy cream silk. The jacket has a single hand carved button at the front and there is a little hidden snap that allows you too close the lapels so that you don't have to wear anything underneath it. The skirt has a zipper and hook & eye at the waist. Two top set pockets on the breast of the jacket. The slip belt is stamped as being Haute Couture and the jacket has its proper Haute Couture label numbered 075986. All hand finished to couture standards. There is a smudge of a mark at the seams under the arms and perhaps the smallest hint of grubbiness to the edge of the skirt. It looks to have been worn very little 

Jacket
Sleeves: 23"
Shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 39" from neck to head 

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 19.75" flat across from side seam to side seam
Length: 25" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3548

Reference Photos: Laetitia Casta in the final look for the 2001 Haute Couture Yves Saint Laurent Runway Collection.  /  Last photo: S/S 2001 Haute Couture Collection as shown in the book “Yves Saint Laurent Haute Couture Catwalk” published by Yale University Press.

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 2015 Curator and Fashion Historian, Laura McLaws Helms contacted me about the upcoming exhibit at the Fashion and Textile Museum in London on Thea Porter's work that she had planned. She ended up borrowing a dozen Thea Porter pieces from me for use in the exhibit and for the accompanying book 'Thea Porter: Bohemian Chic'. A close up of the fabric from this dress appears on p.84 of the book to illustrate the collaborative efforts between Thea Porter and textile designer, Hannah Meckler. The pattern on this dress is the 'Wave' design and in the book this is clarified as being done by hand and "painted onto meters of silk chiffon that were made into evening dresses and Abayas". This dress has the added provenance of being the same print and fabric of a Thea Porter owned and worn by style icon, Kate Moss

This is a wonderful Thea Porter dress that has a bare back and halter neckline. This more fitted shape is a bit unusual for her but that is part of what I love about it. It shows the range that Thea had while still staying within her wheelhouse of that bohemian feel. Thea's pieces often created sensuality by combining full coverage and flowing fabrics, so to see a dress that has far more 'bareness' to it is a bit of an anomaly for her and really showcases how multi-faceted she was. The hand painted Hannah Meckler wave design that covers the silk is appropriately named for its beautiful blue tones that are reminiscent of the ocean. The pattern has been set to highlight the lines of the dress which would have required much pre-planning and a disregard for the extra fabric needed to achieve this. The skirt is made from many yards of the silk and is set on a bias cut so that the movement it has is incredible. The fabric choice gives the dress an airy, floating feel. The bodice is fitted and cut with a high halter neckline that curves up and around the neck to tie at the back. There is a second layer of silk there that ties over the inner strap and trails down the back. The back is left completely open with a wide expanse of bare skin showing. Curved pleats, done by hand, angle up to the silk chiffon rosette details the neckline. It is very beautiful. A wonderful example of Thea Porter's work and her collaborative efforts with textile designers of the time period. Excellent condition with minor notes to review below

Fully lined in pale blue tissue silk. It closes with a low, hand set, back painted metal zipper. The halter closes at the back with hook and there is a panel of silk chiffon that ties into place over that. Light boning on either side of the bodice. All hand work. There is a slight discoloration to the lining near the top edge, the waist and inner skirt. Tagged a vintage UK 10. Note that it was too small for my mannequin and it does of course zipper and close properly.

Bust: approx 16" flat across from side seam to side seam but there is some play here as the back is open
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 13" from neck to slight empire waist
Skirt: 45" from slight empire waist to hem

Modern Sizing equivalent: XS-SML

Item# DD1108

Photo Credit: (1) From the Book Thea Porter; Bohemian Chic, p.84.  /  (2) Kate Moss in a dress with the same print

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

This dress is the twin of the one worn by Miley Cyrus on The Voice in 2017 and is instantly recognizable as having been designed by Bob Mackie. Mackie was best known for dressing Cher and for his undying love of opulence and bead work, both of which he incorporates heavily into the best of his designs. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. I think he secretly always designed for the big screen and the bygone glamor of Hollywood as his work is always over the top and extravagant.

This is an amazing strapless dress that is extremely sexy and flattering. The base of the dress is made of a black silk chiffon that has a pattern made up of beautiful gold curving bands that feel like they are wrapped around you. The designs that you see are made up of gold glass tube beads hand set in curving bands. Scattered within those are little highlights done in a silver sequin with a tiny clear bead at their centers. This combination of the gold glass tube beads and pop of silver sequins give the dress an extra layer of texture and glamour as every inch of it catches the light and sparkles. The dress has a decent weight to it when it is off of the body because of that extensive bead-work, and yet once on the body it drapes in a way that it is balanced and not at all unwieldy. The strapless bodice is cut in a deeply dipped sweetheart neckline. The waist is brought in to create shape but there is no horizontal seam to break the lines of the design. The skirt is incredible and is cut on a curve so the back is longer then the front and it has a high slit at one side of the front. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. If you even remotely love it in the photos you will love when you see it in person. Extremely well made and made to demi-couture standards. These were sent to the stores with a full lining made of a second layer of black silk chiffon and you could remove this if you wanted a true nude, semi-see through dress that Mackie is so well known for. Excellent condition.

Fully lined in a black silk chiffon and it closes with a painted metal and nylon back zipper. Hand finished throughout. The bust has built in inner cups and is lightly boned. Tagged a vintage 6

Bust: 16.5" flat across from side seam to side seam with probably a B to small C cup
Waist: 12-12.5" flat across from side seam to side seam of the built in corset
Hips: to 19" flat across from side seam to side seam
Length: 51" from peak of bodice to hem

Modern Sizing equivalent: XS-SML

Item# DD3545

Reference Photos: Miley Cyrus, in Bob Mackie, on The Voice, 2017.

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

This was the closing look of the resort collection and one of the most visible of the pieces from Clare Waight Keller's time as Creative Director for the house. It was featured in the ad campaign that year and Emma Stone chose it for her red carpet premiere. And just this year Nicole Kidman was spotted wearing one on her Instagram in a behind the scenes look from her new show. It also appears in the trailer for her show. It is a very well documented dress that will only gain in importance as time goes by.

Clare said of the collection that year “There’s a powerful woman in there that I really love; she’s a very strong character who loves a strong shape—something that gives a real sense of fashion.”, and in the Vogue review of the resort collection, fashion journalist Amy Verner mentions this gown in particular along with another comment from Clare; "This marks the first season since the passing of Monsieur de Givenchy in March and Waight Keller hinted that a more intentioned homage might be forthcoming. In the meantime, the collection’s evening looks—specifically the long-sleeved black dress showered with silver embroidery, and the gradient celadon and rust plissé lamé gown—further the couture spirit we’ve seen most recently at the Met Gala and at Cannes. “It’s a real joy to be able to work at both ends of the spectrum,” she said. “It’s what I believe in: everything from the really simple everyday to the absolutely fantastic and fabulous.” You can believe she means it.

The dress is amazing. It is made out of a light weight silk mixed with a metallic thread. The fabric was then pleated into permanent, sharp edged knife pleats. The color of it is gorgeous and it ranges from a deep metallic green to a burnt rust and copper and these are done in a gradient ombre that runs the length of the dress. The front is cut into a dramatic cut out that leaves a wide swath of skin exposed down the front. The width is kept perfectly in place by how it is set into the waist and closed at the top of the neck. The dress is so well made that I think you could spin it around and wear the cut out at the back if you wished. Each shoulder has a caped effect with the pleating allowed to splay out dramatically over them. I love how the colors are set to follow each pleat and the cut of the dress. This extra detailing shows the high quality in making this. The waist is banded with the only bit of fabric not pleated on the dress and then the skirt falls to the floor from there in an extra long supermodel length. There is a ton of fabric in the skirt so it moves and flows around you when you move. It is absolutely amazing  and the dress originally retailed at just about the 10k mark. This one appears to have never been worn or worn very little. Excellent condition

The skirt is lined in a black silk chiffon and the bodice has a built in halter under the exterior fabric made out of a fine  black silk netting. It closes with a hidden set side zipper and there is a hook & eye at the top neck. Tagged a 38. It appears to have never been worn or worn very little. Note that the owner took the main tag out but it has its correct inner fabric and size tag present

Bust: the inner net halter is open does the sides to the waist so there are no true side seams
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to top waist seam
Skirt: 50" from the top waist seam to hem including the 1.5" band at the waist

Modern Sizing Equivalent: SML-MED

Item# DD3543

Reference Photos: (1) Resort 2019 Givenchy Collection, Look 57.  /  (2-3) Emma Stone in Givenchy for Netflix’s Maniac premiere, September 20th, 2018.  /  (4-5) Nicole Kidman in Givenchy for HBO's "The Undoing". 
Reference Video: (1) Givenchy Pre-Spring/Resort 2019 Campaign.  /  (2) Nicole Kidman in Givenchy for HBO's "The Undoing".

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 only ever seen one other of these. His pieces were only ever made in very limited quantities. The tag is numbered and states that it is #8/BO and I suspect the number detonates the production model number. I can confidently date it to just after 1987 as it has a Fred Hayman Beverly Hills tag which came into being that year. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Dalida, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. Loris launched his label in 1967 and quickly defined his trademark looks with color, ornate beading, sequins, daring cut-outs and avant garde ways of defining the body.

The dress is pristine and even the labels inside are still crisp and brand new looking so I don't think it was ever worn. The dress is a figure hugging sheath that is covered in hand applied copper sequins that easily number into the thousands. Once on, these catch the light fantastically and shimmer with every move. The dress is cut to cover you from head to toe. The sleeves are long and it is cut to follow the curves of the body. At the back, the skirt extends out past the floor for a little drama. Both the back and the front are cut wide across so you see a glimpse of your collar bones and then it plunges into deep V's. I love how the sequins form a little peak at the front center bust to add a little extra detailing there. The shoulders are spectacular. An iridescent copper silk taffeta has been pleated and then this is fanned out and around each shoulder to dramatically frame the shoulders and face. He has used three stacked layers to achieve this look and I took photos from the side so that you can see how they are set to wrap around and under each arm. It is absolutely magnificent. Excellent condition

Fully lined in a copper silk and closes with a back painted metal & nylon zipper. Each sleeve has its own individual zipper at the cuff. Tagged a FR38. The fabric has a little stretch as it is bias cut. It appears to have been worn very little if at all.

Sleeves: 23.5"
Shoulders: variable
Bust: to 18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 60" from shoulder to front hem, 63" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD2874

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

This is the second of these dresses that I have had in the shop and I am very pleased that this one a little more of a wearable size. Three versions of this dress were presented on the Fall runway that season making it an important theme for that season. The twin of this one was worn by Trish Goff on the runway.

Vogue's review of the collection states in part; 'Fall 2000 was, overall, the season of the lady. One who had polish—and, likely, two homes and one eye on the fluctuating stock market. “With the Dow Jones and Nasdaq soaring and plunging like a late-sixties hemline,” wrote Sally Singer in Vogue, “it was perhaps inevitable that many designers would choose for fall 2000 to forgo fantasy and get back to basics—luxe basics, that is.”....Upending Chanelisms was not Lagerfeld’s goal for Fall 2000, but he worked with the building blocks (as opposed to basics) with which Coco Chanel built a wardrobe for active women while adding his own touches, like whisper-light pleated skirts or midi-length ones of quilted down. (The double-C tights deserve mention too.) Asked to elaborate on his inspiration, Lagerfeld said he had been looking at and thinking about “early ready-to-wear, the end of couture.."

The dress itself is an absolute stunning example of the work that Lagerfeld was doing during this time period. It has an easy, sexy feel to it while still fully showcasing that famous double C logo in the print. The custom screened silk chiffon used is feather light and mixes a purple and a magenta print for the various layers of silk. The fabric is draped and gathered to create the very feminine silhouette that you see. The inner dress is fully lined to just below the hip and the silk gathered in soft sweeps around the body. There is a curved panel of fabric attached along one hip that drapes down and around the hips and then another panel attached at the top that drapes over one shoulder and down the arm. These are left unlined so you get an interesting play on the patterns underneath. The lower skirt is also unlined so has a touch if transparency that gives just a glimpse of the shape of the leg underneath. It is cut on an angle to further play on the asymmetrical feel of the dress and slit up on side. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a purple silk chiffon through the body of the dress and closes with a hidden set side zipper. Light boning on either side of the bust. Tagged a 44. It appears to have been worn very little if at all.

Bust: 19" flat across from side seam to side seam
Seam under bust: 17" flat across from side seam to side seam
Natural waist: to 15" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Bodice: 5" wide
Line part of the body of dress: 28" from top of bodice to end of inner lining
Total length : approx 60" from top of shoulder to longest point on hem

Modern Sizing equivalent: MED-LRG

Item# DD3544

Reference Photo: (1-2) Chanel Fall 2000 Runway Collection, Look 72. Model: Trish Goff.  /  (3) Look 73.

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 Rive gauche label was often derived from the couture pieces of the previous season and with this dress exemplifies that progression. A dress with a similar hemline treatment was shown in the 1979 Haute Couture collection. That couture look was then translated into silk taffeta gowns for the Rive Gauche Fall collection of 1980. The twin of this dress was photoed in March 1980 on the runway and backstage at YSL.  This is actually the second dress like this that one I have had in the shop and I am very pleased to have found another. This one is not perfect but its flaws are in a spot that still makes it very wearable and its a very good price as a result. 

The dress combines two of his signature fabrics, silk taffeta and velvet. He used these fabrics extensively during these years as they gave him the structure and volume he needed to pull off his designs while keeping the dresses to a reasonable weight. On this one, the silk he chose is a deep, rich magenta. The silk has an iridescent quality to it that catches the light and gives the silk different hues and tones. This is combined with a inky black velvet that he uses for the bodice. The top portion of the dress is cut to be more fitted and it has a ruffled collar in the same silk as the skirt. At the end of each sleeve is a ruffled finish that is also done in the silk. A wide, attached silk sash wraps and ties around the waist to cinch it in and add shape. The velvet extends down to the top of the hips and then the skirt falls from there. It is set high up on one side and then curves down and around the back. On the side that it is set high up on the hip the hem is cut to also follow that line making it shorter at the front and then falling long at the back. It is exceptionally full and the fabric choice keeps it light in feel while still giving it volume. I love the wide ruffle that circles the hem giving it an extra flounce and added movement. There is an incredible amount of fabric in the skirt. It is truly remarkable. Excellent overall condition with a note to review below 

Fully lined through the bodice and unlined through the skirt and sleeves. It closes with a side painted metal and nylon zipper. There are areas of thinning on the back ruffle of the hem. The volume of fabric makes these pretty much lost on the folds. Please see the photos after the label shot.  Tagged a vintage YSL 38

Sleeves: 25.5"
Slightly inset shoulders: 13.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 51" from shoulder to shortest spot on the front hem, 61" to the longest part of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD2854

Reference Photos: (1) 1979 Haute Couture Yves Saint Laurent  /  (2-3) Sayoko, wearing Yves Saint Laurent, in Paris, March 1980 for the Fall 1980 Collection. Backstage 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.

The lines of this dress are pure Yves Saint Laurent for this time period. It is just extraordinary. For the skirt of the dress he has used a silver grey silk taffeta. This fabric choice gives it the volume that you see and helps to support the edging that circles the entire hem. For that he chose a black, sequin detailed lace. This same sequin and lace fabric was then used for the bodice. The dress is suspended from the shoulders by two thin silk ribbons. I love this detail because it gives you the option to tuck those in and wear this as a strapless piece if you wanted. The bodice is fitted and covered in a black silk lace netting over a silk organza. Black sequins have then been applied by hand to highlight the curving design underneath. This same fabric as been used all around the hem where it has been used in a single layer with no lining backing it. This gives you a touch of transparency that is very sexy. Some parts of the skirt are actually cut quite high up the leg when you just look at where the grey silk part falls to and this transparency gives you a flash of skin behind the lace. The skirt is very full so that when you move you get a lot of volume and movement. A long silver silk sash wraps and ties to cinch in the waist. It also comes with its original matching wrap. This is very large and finished with a wide ruffle all the way around. This is a dress that is even better on an actual body and moves and feel fabulous once on. Excellent condition with a couple of minor notes below

Fully lined through the bodice with a black silk and the grey part of the skirt has a black silk chiffon inner skirt. It closes at the side with a metal and nylon zipper. Tagged a vintage YSL 42. There is a faint mark on the side of the skirt near the seam and bottom of the grey part of the skirt that you only would see if you lay it out flat as I have. The straps show a bit wear and fraying at their very tops. Please review the first two photos after the label shot. The matching wrap has a small blue mark near a seam and there are some watermarks/scuffs to the fabric. These are shown in the last two shots. All of these are minor.

Bust: to 18" 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 shoulder to waist
Skirt: approx 42" from waist to longest points and approx 25" to shortest
Shawl: 57" x 46"

Modern Sizing Equivalent: SML-MED

Item# DD3342

Reference Photo: (1) F/W 1981 Yves Saint Laurent Runway Show.  /  (2) Model in Yves Saint Laurent F/W 1981 Rive Gauche Collection. Photo by Helmut Newton. From the book "Yves Saint Laurent: Icons of Fashion Design" by Schirmer/Mosel.  /  (3) Andie MacDowell for Yves Saint Laurent, photographed by Helmut Newton, 1981.

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

These net dresses are among the most coveted of all Giorgio Sant Angelo's designs. They are almost impossible to find anymore and are much prized by their fans when one appears. Out of all the bandage and fitted dress out there over the decades they stand at the top of the ranks for the title of the ultimate fitted and sexy dress. They date to the 1989-1991 period. Versions of this dress with sleeves was photoed for Vogue Australia on Lana Ogilvie in 1990 by Anthony Gordon and also on Yasmin Le Bon for Elle UK

The dress is made out of two layers of a fine stretch netting with a stretch jersey layer lining the body of the dress. At the bottom of this one is a skirt that is done in a single layer of the netting so that you get a semi-transparent feel there. The opaque parts hit to just below the bum and the skirt gives you just enough coverage to make it only a little bit scandalous. The mesh and fit allow you to make the skirt as high up the thigh as you dare or leave is as long as it will extend down. I photoed is at what is probably the longest length. The front plunges down into a deep V and the back mirrors this same deep plunge. There is a swag of netting attached along the side seam of one hip and this exaggerates the shape there and gives the dress a little extra detailing. It is amazing and looks to have never been worn or worn very little. Excellent condition.

Made up of two layers of the black stretch net through the body and a layer of stretch jersey under that. The dress is almost impossible to measure as it literally will stretch to fit up and down. In 1990 the one pictured on Lana retailed for $1890 - which is about $4000 in modern US dollars.

Bust: 12-20" flat across from side seam to side seam
Waist: 10-15" flat across from side seam to side seam
Hips: 10-19" flat across from side seam to side seam
Length: its full length off the body is approx 37" from top of shoulder to hem but can be adjusted up or down once on and will come up in length regardless as it stretches to accommodate the body underneath it

Modern Sizing Equivalent: XS-MED

Item# DD3539

Reference Photos: (1) Photo by Anthony Gordon for Vogue Australia, 1990. / (2) Yasmin Le Bon in Giorgio di Sant'Angelo for Elle UK, December 1990. Photographed by Robert Erdmann.

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 not presented on the runway but a version was made for Rhianna for her to wear to the Fall 2014 Dior show. The dress was then seen on a huge variety of stars. Rita Oro loved it so much she wore it in 2014 and then again two years later in 2016. Selena Gomez wore it in both black and red and it appeared in her music video that year as well. Dior pulled it from their own archives for Natalie Portman to wear it to shoot the Miss Dior 'Rouge Dior' campaign in 2016. Irina Shank, Lucy Hale and Elsa Hosk all made appearances in it as well. The Raf Simmons era at Dior has become extremely collectible and this dress in particular is perhaps the most documented and well known pieces from his time there.

This dress is incredible. The shape is a play on the famous rounded hips of the bar jacket transformed into an incredibly modern micro mini. The fabric choice of the silk matte satin gives it a strong and powerful feel. You see Raf's tendency towards clean and simple lines while still honoring one of the most definitive shapes of the house with the overtly shaped and rounded hips. The top is the barest suggestion of a halter at the front with a deep plunge. They have built in cups inside for support and to add shape. The back is cut straight across, low on the back and I love how the straps curve down across the bare expanse of skin to meet that line. The waist curves in under the bust and is defined by a series of vertical seams. The skirt is wonderful and it curves out and is shaped by seaming and the fabric to hold that gorgeous curve that you see. It is cut to micro mini length. The dress looks to have never been worn or worn very little. Excellent condition

Fully lined in a black silk and closes with a hidden set back zipper. Built in, hidden cups for support in the bust. It appears to have never been worn or worn very little. Tagged a US4. Note it was small on my dress form and the back does close all the way up at the back to make a straight across line there.

Bust: to 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 28.5" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3541

Reference Photos: (1-3) Rihanna during Paris Fashion Week S/S 2014, February 2014.  /  (4) Selena Gomez, Same Old Love Music Video, Sept 2015.  /  (5) Rita Ora, June 2014.  /  (6) Rita Ora, June 2016.  /  (7) Selena Gomez, Oct 2014.  /  (8-11) Natalie Portman for the Miss Dior 'Rouge Dior' Campaign, 2016.  /  (12) Irina Shayk, March 2016.  /  (13) Elsa Hosk, February 2014.  /  (14) Lucy Hale, 2014 Teen Choice Awards.

Reference Video: Selena Gomez "Same Old Love" Music Video.

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day." This late seventies gown is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period.

This dress is spectacular. It is one of the best Nina Ricci pieces I have seen. This is true Haute Couture label from the atelier and every stitch has been done by hand. The hours that would have been put into making this dress and ensuring that drape and line are perfect are mind-boggling. The dress is made out of a fine silk that has been dyed to the perfect clear red. In person it is perhaps a touch brighter and better then how it photoed. The silk that has been chosen for the fabric gives it that fantastic drape you see. The fabric is so light that the dress seems to  float around you when you move. The neckline is slightly scooped and the silk is gathered up on one shoulder. It skims over the waist and is gather into a low drape over the skirt. On the side opposite to the draped shoulder there is another gathering of the silk. The creates a lovely long line through the body. The skirt flows to the floor from under that. It is cut on an angle at the hem and one corner of the back skirt is left longer so that it trails down and past the lower hem to create a slight trained feel. There is a slit up the leg and above that, a tightly spaced row of buttons that run up the side and disappear under the drape of the bodice. The sleeves are amazing. They are each cut to drop to the floor and flow around you every time you move. Here Pipart has again played on the asymmetrical feel he has created for the dress and he has cut one sleeve to be longer then the other, with the longer one set on the same side that the skirt is longer. The final touch is that fabulous pleated double flower at the neckline that gives it the perfect finish. This little extra detail creates that last bit of high drama to the design. Excellent condition with some small notes to review below.

The body of the dress is fully lined in red silk crepe and the skirt and sleeve are unlined. It closes with a side, hand set, zipper and a second one at the top of the shoulder where the flowers are. Light padding in the shoulders. Finished to Haute Couture standards and entirely made by hand. Note that there is some grubbiness on the trailing parts of the silk panels and some very tiny areas of thinning/picking of the fabric on the lower trailing panel of the skirt especially. Some small areas of darkening on the sleeves. Once on these do not detract at all and the fabric and dress is strong and stable. This is more from not being stored properly prior to my acquiring of it. I have included photos after the label shot to review. It is cut on the boas so there is a little play on the measurements. Haute Couture label present and made to couture standards.

Sleeves: the left is approx 62", the right is 52"
Shoulders: 15.5"
Bust: to 16-17.5" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: approx 60" from neck to front hem and the trailing panel extends another 15" longer

Modern Sizing Equivalent: SML-MED

Item# DD3386

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 and coat set is extraordinary. After much research I have dated it to the mid-fifties while Christian Dior still presided over the house. You can see a striking similarity to the color and print in the examples shown here from the Haute Couture collections between 1954 and 1956. This is the Christian Dior - London label and is considered to be demi-couture from this time period of Dior's history and this set in particular is numbered. This label is a little extra special as it is a 'Modele Original' label and these were done one a custom order / custom made basis. The designs were based on the Haute Couture presentation from that season and then special ordered through the London store by clients. The line Dioe London was created and designed by Jorn Langberg, Artistic Director of Christian Dior London and he would have overseen the custom order of this piece. It is not unusual to see variations and small changes from the runway line in these while still retaining the same color and line references found in the Couture examples.

Both the coat and dress are numbered and entirely hand finished and extremely well made. The silk used is very fine with a soft washed raspberry coloured floral print screened onto the entire surface of both pieces. The dress is backed in a feather light silk organza while the coat is a double layer of the silk with the organza lining only found in the sleeves. Both pieces are so light that each of the two pieces have hand placed weighted hems in their interiors so that they fall and stay perfectly in place. The seaming is wonderful with the shape deliberately created through the placement of the seams. The inner dress has a voluminous cut that is wider and has more volume through the upper body and then narrows in towards the hips and hem. There is a small notched neckline anchored by a flat bow at the front and the back has a low slung flat bow and strap detailing set at the base of the small of the back. It is cut to be loose and full through the body and has an almost cocoon shape to it. The coat is cut with even more volume. These exaggerated lines and shapes perfectly showcase the feel of that era and would have been cutting edge then and still feel avant garde now. The evening coat is collarless and cut to sit almost off of the shoulders. On an actual body it has an almost slouched feel and the back puffs out tremendously in a beautiful curving swoop. The seams are all cut gracefully on a curve and the sleeves are to the elbow and wide. The sizing is a bit deceptive as these were made to be oversized and narrow through the hips. Excellent condition

Both pieces are lined in hand set silk, the dress in an organza and the coat in the same silk as the exterior and silk organza through the sleeves. The dress closes at the back with a series of hook & eye and snaps at the back and a low set zipper under that. The coat has no closures. Hand placed weights in both pieces. Slight stress points at the corner of the lining under each arm. Please review the photos after the label shot. The dress is numbered 19013 and the coat 19012. These were made to be worn over-sized. The hips on the dress do narrow down and there is no give there. The generous proportions should allow it to fit a range of sizes. 

Jacket
Sleeves: 12.5"
Shoulders: 23"
Bust: 25.5" flat across from side seam to side seam
Waist: 25.5" flat across from side seam to side seam
Hips: 25.5" flat across from side seam to side seam
Length: 40.5" from neck to hem

Dress
Bust: 22.5" flat across from side seam to side seam
Waist: 19.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 41.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2674

Reference Photos: (1) Dovima in Dior, 1956. Photo by Henry Clarke.  /  (2) Dior Afternoon ensemble, 1954 from the Chicago History Museum Collection.  /  (3-5) Cherie, Owner of Shrimpton Couture.

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

This is a remarkable example of his Courrege and his more extravagant work during that time period. I know we more often associate his work with very mod, strict lines but he also did many dramatic pieces like this using silks and organza's and I am sometimes more excited to find these then the more common mod feeling ones. A version of this one is held at the Munchner Stadtmuseum making it even more special.

This beautiful dress made out of a feather light black silk organza is just absolutely stunning. Many of his pieces are a play on volume and proportion and this dress is an amazing example of that. It is a dramatic piece that is more fitted through the upper shoulders and then flares out very dramatically through the body to the hem. When you think about how this is a look that you really started to see pick up speed a couple of decades later, you really get an idea of just how far ahead of the curve his work really was. The fabric is a very light weight black silk organza that has just enough structure to it that it holds the intended shape and volume while feeling like you are barely wearing anything. The slight sheen and texture to it combined with the absolutely superb seaming details give the dress a rich, luxurious feel. All of the seams are set vertically and there are long lines of ruffles done in the same fabric that run from the neckline down to the hem. Each of these is set to follow the flare of the dress and this added texture to the surface of the dress is a wonderful touch. The same ruffle treatment runs down each sleeve. The neckline is finished with a flat, hand set piping of the same fabric and a sweet little bow that sits at front of the neck. Each sleeve is finished in the exact same manner. The dress somehow is able to feel like a combination of a child's baby doll dress and the most wonderfully edgy avant garde thing you have ever seen. Made to demi-couture standards. Extremely collectible and rare. Adding a modern belt would add shape and change the look and feel of the dress. Excellent condition.

Fully lined in a hand set black silk organza. The lining zips to close at the back and then the layer over that snaps in place in a series of snaps that lie over the zipper. There are 1/2 snaps ringing the interior of the neckline but I think they are placed there for weight and were never intended to actually snap into anything. Hand finished throughout. Tagged a Courreges A but very generously cut through the body. The open cut should allow it to fit a range of sizes keeping in mind that the shoulders have a slightly narrower cut

Sleeves: 22'
Slightly inset shoulders: 13"
Bust: 19.5" flat across the back from seam to seam
Waist-hips: open
Length: 48" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3532

Reference Photo: 1969 Courreges Dress from the Munchner Stadtmuseum 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.

Versions of this dress have appeared in several museum exhibits of his work and I have included a photo from one of the Halston's books that shows a close variation of this style. This is classic Halston from his main label couture line. These one shoulder pieces are one of the most instantly recognizable looks that he ever created. I have versions of these in my own personal collection and this one is a very versatile version of his classic dress 

The dress is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is feather light and you are barely conscious of wearing anything. The fabric is a very fine light silk chiffon that moves and drapes beautifully. The silk used is on two tones of hand dyed color. The inner dress is a deep raspberry and then one half of the overlay is a deep burgundy. Both  colors are flattering on most skin tones and are a beautiful alternative to black. The inner dress is suspended by a single hook at the shoulder and is made of three full layers of the silk. A second, separate piece is made of the same silk. That second piece is an oversized rectangular constructed from two attached layers of the silk chiffon. This is what allows you to be able to create countless looks. I quickly styled a half dozen variations by tying the over layer in different ways around the inner dress and you could easily get more elaborate if you started using brooches or got more creative. When draped over the shoulder and tied it creates a full second outer layer, cascading down and over the inner layer for his classic one shoulder silhouette. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it is a piece favored by Museums. Presents as excellent condition but please review the full condition notes below

Constructed in multiple bias cut layers as described above. The inner dress slips on and has a hook at the top of the shoulder and the second outer layer is a double layer of silk in two colors tones. Hand finished and the bias cut should allow it to fit a range of sizes. There are two marks n the inner dress's skirt. One on the hip and one on the lower skirt. You would not see either with the overlay worn over it. The marks are only on the top layer so you could remove the one layer or have it switches to the inside. Note the length will come up when on due to the bias cut

Dress
Bust: 13.5-17.5" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
Hips: 13.5-21" flat across from side seam to side seam
Length: 62" from shoulder to hem but will come on once one

Outer Layer
80" x 39"

Modern Sizing Equivalent: XS-MED

Item# DD2473

Photo Credit: "Halston" by Phiadon, 2001. Various Halston dresses held in The Metropolitan Museum Permanent collection, NYC

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