I am now on the second batch of very interesting pieces that are coming from a client whose aunt had most of her clothes made. This dress was most likely made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway. This one is similar to the work that a few of those ateliers were doing at the time so is a bit of a mystery. She also did buy Haute Couture pieces from the ateliers so this may be one of those pieces. She tended to remove the labels from the actual couture things so it is a bit of a mystery. Either way it would have been made during the time period my clients aunt lived in Switzerland, from the late 70s to 1993. The dress is completely made by hand to Haute Couture standards and it is beautiful.

The dress is made from a combination of a deep brown silk taffeta for the skirt and an embroidered silk netting for the top. This fabric choices allows it to hold the beautiful lines that you see. The dress is absolutely stunning and a testament to the level of design that you only see in couture pieces. At the front the neckline dips into a deep plunging V that goes almost to the waist. This is edged with an elaborate ruffle that follows the plunge down and then circles the neck. The ruffle is made from an incredible six layers of silk that are stacked on top of each other. They alternate between a black and nude colour. They are incredibly full as a result and the effect they give is very dramatic. The ruffles are also used to finish each incredible sleeve. Here they circle around the wrist and then go up the back of the arm. It makes each sleeve feel like a work of art. The sleeves are set into the shoulders with a subtle capped feel and have very light padding inside to give them the perfect touch of shape. The bodice is made out of a soft embroidered netting in a muted coppery gold colour thread. This is backed by a black silk chiffon so that it has just a hint of transparency to it. The waist is seamed and it is tied with a long grosgrain ribbon for shape. The skirt is set into the waist in an elaborate series of closed pleats that give shape, detail and structure around the hips. The skirt then curves gracefully away from the hips widening out as it nears the floor. It has an incurable amount of volume with several yards of silk taffeta used in its construction. Underneath is a half length interior skirt around the inner hops to help hold the shape. Otherwise all of the volume is created by the cut and the fabric alone. The interior of the dress is completely finished to couture standards with every single seam done by hand. I took a detail shot for you to see the fine workmanship inside. It is an incredible piece and just beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is fully lined in a black silk chiffon and the skirt is part lined as described above in a black silk. It closes with a hidden set zipper at the front and there are hidden set zippers at each wrist. Light padding in each shoulder. Hand finished throughout. It appears to have been worn very little if at all. The grosgrain ribbon belt is probably not original to the dress but is included. Made to Haute Couture standards with a tremendous amount of detail put into its construction. It might fit a larger size if you are narrow through the shoulders. 

Sleeves: 25"
Slightly inset shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item#

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

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

This is a gorgeous little dress that is even better on the actual body. The top is made of a fine silk netted lace with an open weave. It is backed by a black silk organza so it has just a touch of transparency to it once on the body. The lace is then covered with burst of densely applied sequins that form large flowers over its surface. The shoulders are lightly padded for shape and then the sleeves are cut to be fuller at the top and then they taper down to the wrist. The bodice skims over you to just past the waist to transition into a dropped skirt. The skirt is the perfect contrast to that decadent top. It is a simple black silk taffeta and set into the dropped low seam of the top with a series of soft pleats. This gives the skirt tons of volume. Inside and circling around the hips is a built in inner peplum to help hold the skirt away from the body. If you really wanted to create a very full shape you could easily add a crinoline underneath and really exaggerate the shape that you see. Inside the dress is all made by hand and has the haute couture details we all dream of. It is fabulous. It appears to have been worn very little if at all. Excellent condition 

The top is fully lined in a black silk organza and the skirt is a double layer of the silk taffeta. It closes with a back metal zipper. The interior shoulders are lightly padded and there is a built in inner hip peplum. Each cuff zippers to close. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Sleeves: 23"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Dropped seam at top of skirt: 18"
Hips: open
Bodice: 20" from neck to dropped skirt seam
Skirt: 17.5" from dropped waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3798

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

Alber joined Lanvin in 2001 and served as the labels Creative Director until 2015. His first break as a designer came when he landed the senior assistant role at Geoffrey Beene. He stayed there for seven years until he was recruited to design for the Guy Laroche label in 1996. in 1998 he took over the Rive Gauche ready-to-wear for Yves Saint Laurent for three short seasons. A stint at Krizia and then a break happened before his time with Lanvin. The Alber years for Lanvin are ones that are much loved by all and with his recent passing owning these pieces seems even more poignant. This dress is extra special as it is both a runway pieces and also one of the dress that was featured in the now iconic ad campaign movie featuring Karen Elson & Raquel Zimmerman. 

This dress is exceptional and really represents the best of Alber's work. It is made out of a fabric that is a silk and cotton mix. This allows it to really hold the shape that you see. There is quite a bit of fabric in the dress and it is a decent weight as a result. It feels like couture once on. The design that covers every square inch of fabric is a huge rose print done in a graphic grey scale. This gives it this lovely dark romantic feel. The twin of this dress walked the runway for Look 39 and having all these reference points gives you an amazing idea of how it will look like on. The bodice has a slightly dropped waist and it meant to skim over the body. Each sleeve is cut to just below the elbow and then explodes out into a wide cuff that gets it fullness from built in soft pleat work. The skirt mimics this same volume and there to you see the quirky and irregular pleat work that gives it a sculpted volume all the way around you. It is also gathered in a slight curve under at the hem so that it has some volume there. The shape is reminiscent of a tulip or slight bubble skirt shape. At the back there is one of his signature exposed and chunky zippers that runs right from the hem to the top of the neck. All the elements of this dress taken one by one are a little quirky but together they showcase his genius. It is just fabulous. It looks to have been worn very little if at all. Excellent condition 

Fully lined on a black silk and closes at the back with the exposed zipper that you see. Tagged a 38 but runs generously so please go by the measurements below. Slight padding in the shoulder and top of the sleeve to hold the capped shape you see. This might fit a larger frame as well if you are narrow through the shoulders

Sleeves: 19.5"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist:15 " flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3799

Reference Photos: (1-4) F/W 2011 Lanvin Runway, Look 39. Model: Freja Beha Erichsen.  /  (5) Fall 2011 Lanvin Ad Campaign. Karen Elson & Raquel Zimmerman by Steven Meisel.

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

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

Black is sometimes so hard to photo and I really feel that this set is not being done full justice with these photos. It  is so much better in person and on an actual body. The jacket is just exceptional in real life. It is entirely made by hand and the majority of the jacket is made of a fine silk netted lace with an open weave. It is backed by a black silk organza so it has just a touch of transparency to it. Then onto that it is covered with burst of densely applied sequins that form large flowers. The shoulders are a solid fabric and this extends down into angled panels at the front and the back. Each shoulder is lightly padded for shape and then the sleeve are long and also have that hint of transparency to them. The bodice skims over you with just a suggestion of of shape through the waist. Big glassy faceted buttons close the jacket down the front. The collar is small and neat and set back from the front of the jacket. The skirt is the perfect simple contrast to that decadent jacket. It is a simple black pencil shape and it is also entirely by hand. The more simple and sleek silhouette balances the drama of the jacket. Both piece are made by hand and have all the couture details we all dream of. It is a fabulous suit that can be made to be a very glamorous evening look. I love that you can also mix and match the pieces with things from your own existing wardrobe. It appears to have been worn very little if at all. Excellent condition 

The jacket is fully lined in a black silk organza where the lace parts are and the opaque panels are lined in a fine black silk. The skirt is also lined in a black silk. The jacket buttons to close down the front and the skirt closes with a side set zipper. The interior shoulders are lightly padded. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Jacket
Sleeves: 22.5"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 24.5" from neck to hem

Skirt 
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3800

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

This amazing little dress is from the days when founder Consuelo Castiglioni was the head of the company and acting Creative Director. The brand launched in 1994 and quickly became known for their innovative prints and the way she mixed and matched colors. This is classic Marni from this time period. The twin of this dress walked the runway that season on Kasia Struss. 

This dress is one of her very easy to wear loose and open smock pieces. They are just genius. It has sleeves that run just past the elbow and the cut through the body is loose and full. On the runway it was worn with the V to the back and you can see how this creates an oversized feel to the dress from the front. The neckline is a simple scoop on that side and then at the back it plunges to a deep V. On the skirt under the V the fabric has been gathered and seamed to create an off-set gathered feel. The dress falls in a loose baby doll smock feeling shape around and below that. This one has the added advantage that you can easily flip it around and wear the deep V to the front. It has such a quirky shape that you can totally get away with it. You can also add a belt to give it more shape and an entirely different look. It is like getting four dresses in one as you can wear it both to the back or front and then belted either way as well. It is also very easy to wear and travel with. The fabric is a synthetic crepe and it stays virtually wrinkle free and is just heavy enough to hold the shape. It is a great example of her work during this time period. Plus it has pockets. Excellent condition

Unlined and slips on to wear with no closures. Pockets hidden along the hip seams. It looks to have been worn very little if at all. Tagged a 46. The loose and easy cut should fit a range of sizes

Sleeves: 16"
Shoulders: no defined seam
Bust: to 22" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 38" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3795

Reference Photos: Fall 2007 Marni Runway Collection, Look 55. Model: Kasia Struss.

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

Marc Bohan began his career in 1945 under Robert Piguet and stayed there for four years. He then became an assistant to Edward Molyneux and then went on to design for Madeline de Rauch for a year. In 1953 he produced one single collection under his own name and then was wooed away to design for Jean Patou where he designed their Haute Couture collections. In 1958 he landed at Dior where he designed the Christian Dior London label until September of 1960. It was at this point that he took over from Yves Saint Laurent and remained the Creative Director at Dior until 1989. This coat would be an early piece under his direction and I found two instances of its documentation that I have included here. I have seen one other for sale out there but this one has the lovely added provenance of having the original owners name embroidered into the lining. A small touch that makes it that much more special.

This is such a lovely piece. It is made out of a coated cotton so that it will apparently withstand the rain but certainly presents itself as a gorgeous light jacket or coat and not a rain specific piece. The cotton is covered in a large rose print that just pops off of the black backdrop. It is in absolutely perfect condition and it looks as fresh as it would have the day out was put onto the rack in 1962. The sleeves are cut to the elbow and each is full above its buttoned cuff. I love the volume that has been added there and the precise tailoring to achieve that effect. The collar uses the same pleating techniques to give it a touch of volume and you can see in the one reference photo how great it will looked flipped up to frame the face. The collar is cut to curve around the back of the neck and then has a notched and angled collar below that at the front. The body of the coat is quite generous and the matching belt can be worn two ways. You can wrap and cinch it for maximum shape or you can slip it through the openings along the seam on either side and run it inside the coat at the back and tie and cinch just the front part. This allows the back to stay loose and very full. I have photoed it both ways for you to see. Pockets run along the front on each hip and the fabric choice has just enough weight to hold the fabric how you wish it to fall once belted. Hand covered silk snaps help to hold everything perfectly in place as well. It is absolutely a little treasure of a piece and I love it. Excellent condition

Fully lined in a black silk and closes with silk covered snaps and the tie belt as descried above. Pockets on each hip and the cuffs each button to close. It appears to have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. 

Sleeves: approx 16.5"
Shoulders: no defined seams
Bust: to 20" flat across from side seam to side seam
Waist: to 22" flat across from side seam to side seam
Hips: open
Length: 39.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3796

Reference Photos: (1) Dior Fashion in The Salem Ohio Newspaper, 1962.  /  (2) Model in Dior, Harper's Bazaar, April 1962.

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

The Fall 2010 Chanel collection is still one of the strongest and most memorable of the Karl Lagerfeld days. Vogue's Sarah Mower said in part of the show: "Freja Beha Erichsen and three bears on an ice floe. This was the arctic scene at Chanel, where giant chunks of bona fide iceberg, specially transported from Scandinavia, formed the frozen landscape around which models solemnly splashed through a sea of 'berg-melt in shaggy snow boots with ice-block heels. The Karl conceit of the season, no surprises, was an in-every-way extravagant play on Coco in cold weather. Using more fur than he'd even flung at Fendi—the twist being that here the fur was fake—Lagerfeld steered this collection nearer to couture than ready-to-wear than ever. Fur was woven into brown tweeds; formed deep pelmets on the lower half of leather jackets; became almost igloo-shaped capes, bonnets, even—for goodness' sake—furry trousers. Meanwhile, the suit and coat combinations also had a level of lavish elaboration usually reserved for haute eveningwear. Fur-fringed embroideries and ice jewelry conspired to create intensely worked ruffled and beaded silhouettes that glinted with rock-crystal neckpieces and fistfuls of rings. Somewhere in there, a flash of translucent silver seemed to be a clutch in which the quilting of the CC classic bag had been frozen into the likeness of a refrigerator ice cube tray." This dress was one of the knit and fringed pieces and was one of the most wearable dresses shown. It's twin was presented on the runway for Look 21 worn by Anna de Rijk.

This is a stunning and easy to wear dress. It is made out of one of the classic Chanel boucle knits and then has thick rows of yarn woven though that. The yarn detailing it was done in a range of colours going from a white to a deep navy to a deep red with variations of each colour running down each. The wool that the dress is made out of is very high end and surprisingly light in weight. These wool pieces are part of the Chanel legacy and Karl's genius in perfecting them and no one does it better. The cut is simple but perfect. It has a slight scooped at the neck and then skims over the bodice. Pockets sit on each side of the front and the sleeves are capped. Each sleeve ends with an edging of black yarn. This same black yarn edging is used at the neckline, the waist, hem and on the pockets. The waist is cinched in with a wide band and then the skirt falls in a pencil shape that has just a touch of as flare as it nears the hem. The neckline has a heavy fringe bib detailing that tied it into the collection perfectly. The fringe is made of yarn and sequins and it appears to be all done by hand. It is just gorgeous and is an amazing example of his work from this time period. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a fine black silk and closes with a hidden set back zipper. Tagged a Chanel 36. If you are narrow through the shoulders it could fit to a Medium 

Shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 36" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3796

Reference Photos: Fall 2010 Chanel Runway Collection, Look 21. Model: Anna de Rijk.

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

Look 29 for the Fall 2004 line-up was shown in a more brown colour for the runway but was also produced in this gorgeous silver grey version. The reviews for this season were stellar. Vogue.com said of this collection: "Audiences always arrive at Prada shows tingling with anticipation, braced for Miuccia Prada's next departure from the last season's plot. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection. That, of course, was famously about the fifties lady tourist, with an overlay of hippie-ish tie-dye among the circle skirts and knits. For winter, she took that same woman into new realms of intellectual exploration on the print front: back to the future, in fact. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection...."It was a dream of extreme romanticism," she said. "The idea of eighteenth-century painting, with video games. A romanticism between past and future."....For colder months, she added more layers, adding in dip-dyed cable knits and buttonless cardigans betwixt tweeds and bejeweled fifties-style couture-like pieces. What held it all together, literally, were the cinched waists, circled in narrow grosgrain ribbon or with tie-on belts encrusted with sparkle. It was that idea of jeweling, on collars, belts, and fabric brooches, that added the news."

This is one of those jewelled pieces and it still feels as special now as it did then. Pieces from this collection sold out worldwide and were waitlisted everywhere. It is an incredible testament to her ability to take the past and make it feel fresh. The skirt is made from a textured silk that has a slight sheen-like finish to it while still holding the feeling of rawness and natural silk. It was then dyed in a horizontal pattern that gives it an almost ombre feel. This one has some weight to it mainly due to the extensive underskirts and the crystal detailing on it. It is more fitted around the waist and then falls outwards to widen out by the time it reaches the hem. There are soft pleats worked around the waist to help give it the volume you see. Underneath the skirt are two layers of a built in organza skirting to help lift and hold its volume. This also gives the skirt lots of movement and shape. It is just gorgeous. Sewn onto the skirt are little butterfly like embellishments that are made from a silver metal thread and crystals. These are scattered over the entire surface of the skirt. As you near the hem there is a wide three inch band of the silver thread and crystal set into a glamorous graphic grid pattern. This runs all the way around the hem and I love how it adds a subtle bit of glamour that contrasts to the silver grey colour of the silk. It is a very easy way to work a metallic into your wardrobe. It would work equally as well for day or the evening. It appears to have been worn very little if at all. Excellent condition

Lined with a grey satin around the interior of the waist and upper hips and then there are the two layers of skirting under that as described above. It closes with a hidden set side zipper. Tagged Prada 014 

Waist: 15" flat across from side seam to side seam
Hips: to 22"
Length: 24" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S951

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

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

This is the twin to the skirt that walked the runway for Look 47 of the Spring 2002 Prada show. Vogue's review of this show said: "Combining '50s notions of jet-set elegance with couturelike fabrics and exquisite ethnic references, Miuccia Prada triumphantly opened Milan fashion week..... Then came an exquisite homage to vintage Chanel, with belted, gold-threaded bouclé dresses—just the kind of stunning little outfits Romy Schneider would have sported in the early '60s.....As usual, Prada saved the best for last. In contrast to the dour palette that many designers have adopted lately, her runway positively dazzled. Nude tops and dresses were layered with lightweight, shimmering knits; paneled, imposing skirts glowed under crinkled gold tops and coppery brocade jackets. The result? A vision of bygone splendor that never devolved into gratuitous flash." This skirt was one of the best pieces in the show and it is still infinitely wearable now. 

These gold pieces from the 2002 show are still instantly recognizable as being Prada. They sold out worldwide and were waitlisted everywhere. It is an incredible testament to her ability to take the past and make it feel fresh. The skirt is made from a silk brocade that is surpassingly light. It looks like it should feel very heavy but it weighs next to nothing. The metallic gold thread is woven through the fabric to create a slightly raised floral design that runs over the entire skirt. It is more fitted around the upper hips and then it is perfectly pleated with very wide pleats that have deep folds between them. This gives the skirt lots of movement and shape. This particular pleating technique helps to hold the shape and volume of the skirt so that is falls perfectly at all times. It is just gorgeous. All of the shape and structure is created by the precise stitching and placement of the fabric. The gold is an almost bronze feeling colour and it is a very easy way to work a metallic into your wardrobe. It would work equally as well for day or the evening.  It appears to have been worn very little if at all. Excellent condition

Unlined with ribbon finished inner seams and closes with a hidden set side zipper. Tagged a Prada 42. 

Waist: 15" flat across from side seam to side seam
Hips: to 19"
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S950

Reference Photos: Spring 2002 Prada Runway Collection, Look 47.

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

The Spring 2005 Prada show is one of the label's most iconic and recognizable. In her review of the show, Vogue's Sarah Mower stated: "Just when the whole fashion world has turned ladylike—thanks, of course, to Miuccia Prada—she's tossed it all in the air, looking for a certain freedom. "A vague idea of birds; birds of vanity, like peacocks, parrots, and swans," was a starting point in her restless search for change, she explained. "I also wanted to move toward something more young and sporty, tall and narrow.... In broad terms, the news from Prada included a different silhouette (short hemlines, worn mostly with flat sandals), a return to one of her favorite palettes (brown-ochre-rust), and as always, lots of artful eccentricity (peacock feathers, flowerpot hats, Bakelite digital watches). There was also a Jamaican dance hall vibe, with reggae on the sound system, Rasta stripes in the knitwear, and Caribbean crochet in the raffia hats and cardigan coats. The birds really took flight for night, in the form of skirts overlaid with peacock feathers, dresses covered with digitalized feather prints, and pretty chiffon gowns whose fan-like pleats hinted subtly at dove's wings." This is one of the printed skirts from that collection and it is wonderful.

This is a fuller skirted version of Look 35 from the runway show and it is instantly recognizable as being Prada. Here we see her masterful hand at mixing colour and print. The colours on the skirt are just extraordinary. They range from a deep navy to brilliant blues and then mix coral, orange and red. The result is this brilliant burst of colour that is just wonderful to see. It is made from a very fine silk with a taffeta finish that gives it a crisp feel. This fabric choice helps to hold the shape and volume. It is more fitted around the upper hips and then it is perfectly pleated with wide knife pleats that have sharply defined edges and deep folds. This gives the skirt lots of movement and shape. It is just gorgeous. The silk is light in weight and all of the shape and structure is created by the precise stitching and placement of the fabric. There is a silk net lining underneath and it gives the fabric just that little extra touch of lift for the perfect amount of volume. It is fabulous. It appears to have been worn very little if at all.  Excellent condition

Fully lined in a black silk netting and closes with a hidden set side zipper and hidden covered snaps all placed under the pleats so their lines are not broken at all. Tagged a Prada 42. The fabric is signed throughout 

Waist: 14" flat across from side seam to side seam
At seam that is 4" under the waist: 18" flat across from side seam to side seam
Natural hips: to 23"
Length: 21.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S949

Reference Photo: Spring 2005 Prada Runway Collection, Look 35.

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

Jean-Louis Scherrer was one of the great French couturiers in the grand Parisian style. He counted Sophia Loren and Jackie Kennedy as fans in his heyday and his work in the 1970s especially was wonderful. Opulence, hand beading and rich passementerie were his trademarks. He launched his own Haute Couture house after working at Christian Dior and by 1977, the year that this dress was made, he was just reaching the top of his game as a couturier. It is an incredible find and even more beautiful in person

I love the soft yellow silk organza that has been used for the skirt and the shawl in this dress. This choice of fabric allows it to have the volume that you see but without adding any weight at all. It also is a soft and romantic contrast to the sequin work on the bodice. The bodice is strapless and cut to be fitted to the bust balancing the volume of the skirt perfectly. Thousand of tiny sequins have been hand applied to create that stunning floral design that you see. As you look closer the work just gets more amazing. The edges of the green sequin leafs fro example are all finished with the tiniest glass tube beads possible. Little glass crystals edge other parts of the design and create a border across the top of the bodice. The workmanship is exquisite and the care and time to have created the design using these very small sequins and beads is astonishing. Under the bodice the skirt is cut to skim over the tops of the hips and than flows outwards with its first ruffle. There are three ruffles in total making up the skirt and each is cut to be very wide and each is made out of several yards of fabric. The skirt under the ruffles gradually widens as it reaches the hem. I photos most of the full length shots here with a light crinoline underneath so you could get an idea of just how full the skirt could be. The final full length shot is without anything underneath and even then it has stunning volume. The movement and airiness the skirt creates in person is amazing. At your smallest movement the ruffles float around you. The dress comes with a matching shawl that is so large it really could be considered to be more of a cape. It is made of the same silk as the skirt and is finished with the same ruffled treatment we see on the skirt. It can be wrapped or just lightly held. The entire dress is finished to Haute Couture standards and it is even more beautiful in person. Excellent condition with a small note to review below

Fully lined in the same silk organza that is used on the exterior. All of the work throughout is done by hand done to the edgings of the inner seams. It zips to close with a painted metal zipper and the exterior skirt snaps to close over the zipper. An inner waist stay hooks to close. The bodice is lightly boned. I see one tiny dot of a mark just under the bodice seam and a tiny repair near the base of the back closure. Numbered tag 002576

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 42" from waist to hem
Shawl: 9 feet long x just over 5 feet wide

Modern Sizing Equivalent: XXS-XS

Item# DD3393

Reference Photos: (1) 1976-1977 Fall-Winter Women's haute couture runway show.  /  (2) Jean Louis Scherrer with model, 1977.

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

The twin of this dress was showcased in a special presentation for the InStyle & "A Diamond is Forever" Sneak Peek at Red Carpet Fashion for the 2004 Awards Season. I have included photos from that so that you can see just how gorgeous this dress is on. This is definitely one of the prettiest Oscar dresses I have ever had in the shop and I love it. The movement it has when it is on and you walk is just incredible. 

This dress is a dream. It is made out of a yellow printed silk chiffon that has a soft green fern print scattered across its surface. The upper bodice has a soft rounded shape to it and the silk is draped over the bust and then down the the body to fall down and around you. This creates a fabulous draping effect that goes right from the top of the bust to just below the hips crating an hourglass feel. The skirt is set in and under the draped bodice and the entire front part of the skirt has been scooped upwards which emphasizes all those ruffles even more. The skirt has a ton of volume to it that shows best when you move. It is made out of four full sets of ruffled tiers that fall softly to the floor. The lightness of the silk causes the ruffles on the skirt to move with the slightest bit of air. When this is on and you are walking the effect that this creates is absolutely gorgeous. The dress is suspended from the neck by the straps that extend out of the middle of the bodice and wrap around and hook behind the beck. These straps have been made out of the same silk as the dress but it has been gathered in a ruffle and the edges were left raw. He then set little hand made flowers all along the straps for the prettiest finishing detail that adds an extra element of romance and femininity. This is Oscar at his very best and it is a tremendously beautiful dress. Excellent condition with a minor note below. 

The bodice and torso are lined in a matching deep yellow silk. The ruffles of the skirt are set on top of the same silk chiffon so you get a touch of transparency as they move. It closes with an inner zipper to close the built in boned inner support and then a second hidden set zipper over that to close the exterior dress. The straps hook to close behind the neck. Lightly boned through the inner bodice. Inner waist stay hooks to close. The lower front lower part of the bodice looks loose when off the body. This is meant to nee like this so when its on the width of the hips stretch out out and make the light gathers. I see one tiny area of thinning to the fabric on one side. 

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 59" from top of neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD5556

Reference Photos: Model wearing Oscar de la Renta for the InStyle & "A Diamond is Forever" Sneak Peek at Red Carpet Fashion for the 2004 Awards Season, January 2004.

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. I have dated this to the Spring 1980 collection based particularly on the sleeves which were a highlight of the collections in and around this time period. The dress is exceptionally well made and of course being Haute Couture was entirely made by hand. It is beautiful. 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. 

This exceptional and rare Haute Couture dress from Valentino Haute Couture is wonderful. The dress has a deceptively simple cut but the closer you look at it the more of the numerous couture details become apparent. It is a very easy dress to wear with its simple shift feeling shape but at the same time it is cut to drape over you perfectly. The neckline is a simple and wide scoop at both the front and the back. It runs down and over the body and is meant to skim over your curves. The waist is cut with a generous feel and if you wanted to add shape you could easily add a belt to cinch it in and give the dress an entirely different feel. Under the generous waist seam the skirt falls in a series of small knife pleats, each set precisely beside its neighbour at exactly the same distance apart. These pleats give the skirt lots of movement. Inside and underneath is a second layer to the skirt and it is also finished with the same pleating. That inner layer has a double panel of the pleats so that you actually see the edges of three full layers when wearing the dress. These layers swing over each other and when you move they move to create a stunning effect. The sleeves are the perfect finish and balance out the pleat work on the skirt.  Each is three tiers of ruffled pleats and they also give movement when you move. The perfect finishing detail is the subtle black on black floral print that is woven through the silk. The dress is soft and fluid and it falls beautifully once on an actual body. This is Haute Couture under the masterful hand of Mr Valentino himself and is an exceptional example of his work. Excellent condition.

Fully lined in handset, very high quality black silk chiffon through the bodice and the skirt is lined in a black silk. All couture construction and it closes with a hand set, fine metal zipper at the back. Made by hand to haute Couture standards

Slightly inset shoulders: 14.5"
Bust: 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 14" from shoulder to waist
Skirt: 27: from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3788

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 one of my all time favourite Yves Saint Laurent pieces. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is a version of the dress that was photoed for the ad campaign for YSL that season that ran in the September issue of Vogue. I love this dress so much and it is extremely flattering once on. 

This is a fabulous Yves Saint Laurent dress that is made of a classic black silk crepe. The cut has a definitive nod to the forties with its strong shoulder and cut. Every detail on it is perfection and it is a dress that you will reach for again and again. The sleeves and shoulders are a moment on their own. There is padding inside to help support and shape them. The sleeves are shorter and each wraps around the arm and overlaps over itself. This creates a very pretty curving shape and I love this tiny detail. Across the tops of the shoulders the fabric is gathered and this creates soft folds that run over the bust. Again this a very forties detail. The front neckline plunges into a V and then under that a series of glossy black sequin bands start. The bands of sequins are set over top of elastic that is built into the dress. These start just under the bust and run over to the top of the hips, wrapping all the way around you. This makes the entire middle part of the dress elasticized and very easy to wear. It is very comfortable on while at the same time the rows of elastic molds and shapes you into an hourglass. This bandage effect also gives the bodice above and the skirt below the illusion of more volume and that just adds to the hourglass feel as well. Below the last row of sequins the skirt flares outs and it is quite jaunty. It is a dress that really needs a body in it to truly come to life and it is gorgeous on. Excellent condition

The fabric is self backed in a satin. Well finished inside. It slips on and the gathered area between the sequins is elastic for an easy fit. Light padding in each shoulder. Tagged a vintage YSL 38 but the easy cut and elastic should allow it to fit a range of sizes. It looks to have been worn very little if at all

Shoulders: 15"
Bust: 15-20" flat across from side seam to side seam
Waist: 10-16" flat across from side seam to side seam with stretch
Hips: 14-20" flat across from side seam to side seam
Bodice: 10" from neck to first sequin band
Banding: 15" from first sequin band to last
Skirt: 19" from last sequin band to hem

Modern Sizing Equivalent: XS-MED

Item# DD3786

Reference Photos: (1) Reference Photo: Fall 1983 Yves Saint Laurent Runway.  /  (2) Yves Saint Laurent Rive Gauche, Vogue, September 1983.

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

Christian LaCroix launched his Haute Couture house in 1987 and was an instant success on the worldwide stage. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always exotic, lavish affairs and his designs seemed to span the decades with their eccentric glamour pulled from multiple sources of inspiration. This dress is from the Spring 2008 collection and is from one of his last collections since the atelier closed the following year. On the runway it was shown as a more cocktail length but I love the ease and simplicity of this full length version.

I actually own the twin of this dress and have had it in my personal archives for many years. I was so happy to have my client send its twin to me so that I have another one for someone else to love it as much as I love mine. I love this dress and how it showcases LaCroix's love of print. The bodice has an almost halter feel to it created by the straps that extend down from the shoulders and into a deep curve at the front that scoops down and under the bust. At the back it is scooped even lower to leave your back bare. The fabric of the bodice wraps around you and is more fitted. Nestled within the scoop at the front there is a dense application of beadwork, crystals and embroidery. This adds a subtle yet beautiful touch of glamour to the dress. The waist is cut generously but there is a matching tie belt in the same fabric that you can use to cinch it in as much as you wish. The tie is long so you can create a gorgeous bow like I have, wrap it around yourself for a more clean and simple look, or simply let it trail down the skirt. Under the waist the skirt falls in a sweeping cut that widens out as it nears the hem. The skirt is made up of yards and yards of silk organza and he has set the hem so that it has a bit of a pouf to it that gives it even more volume and movement. The back is cut slightly longer then the front and it has a wonderful lightness to it. And it has pockets. The entire dress weighs very little because of the fabric choice and this adds to the high fantasy feel that it has. I love the exuberant and joyful print that runs over the organza. It is bright and happy and feels oh so very Lacroix. It is magnificent. It appears to have been worn very little if at all. Excellent condition

Fully lined in an ivory silk and closes with a hidden set side zipper. Tagged a size 40. It appears to have been worn very little if at all.

Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to top seam at the waist
Skirt: 41" from top seam at the waist to front hem, 47" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3791

Reference Photos: Spring 2008 Christian Lacroix Runway Collection, Look 45.

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

This is a gorgeous dress. It is from the 2009 Resort collection and was Look 12 of the presentation. In 2009 Valentino was headed by Alessandra Facchinetti. Vogue's Laird Borrelli-Perrson said of the show; 'In her third collection for Valentino, Alessandra Facchinetti sketched a portrait of a lady in soft hues—pearl gray, icy white, and blush pink—punctuated with pops of chartreuse and rich fuchsia. The chic yet restrained suits she showed for day had soldier jackets with peplumed backs and rows of tiny covered buttons. Release came in the form of ruffles, which fluttered throughout the collection but found their most elegant expression in organza gowns. Smartly paired with metallic flats, these embraced the bodice before wafting to the floor.' This is one of the three stand out organza dresses shown in this collection and I think it was the best one of the three.

This is the kind of dress that you see in real life and it makes you swoon. As good as it looks in the photos it really comes to life on the body. When you move in it the air around you picks uo the silk and organza and it really has beautiful movement. It is made out of a combination of a black silk organza and black silk chiffon. This is layered over inner layers of more silk chiffon. On the skirt there is a doubled inner silk lining topped by two layers of chiffon and then the ruffles are all made from the silk organza. The bodice is made out of the silk chiffon and I love the intricate pleat work that covers it and draws your eye inwards to the detailing. Down the centre front the dress is cut to be fairly sleek in feel with a v cut neckline and nipped in waist. It flows to the floor in a long column and there are ruffles that run down either side of the skirt. These ruffled panels run from the waist all the way down to curve out and around each side to the hem. The effect this creates is wonderful. The back is cut to be longer then the front so you get just the hint of a trained effect. Both the front and back plunge to the inner straight cut bodice and the straps are wide. They curve up and around the shoulder and then angle gracefully in towards the centre of the low back. The entire front is finished with a heavy application of little round glossy black circle paillettes that give the dress a subtle bit of embellishments and glitz. These are denser under the waist line of the dress and take on an almost chain mail feel yet they are very light in weight. The entire dress weighs ounces. It is so pretty and even better in person. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in silk and constructed as described above. It closes with a hidden set side zipper. No size tag present. It appears to have been worn very little if at all. It retailed for over $6000 in 2009. Maybe a paillette missing here and there but nothing obvious. 

Bust: 17.5 " flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 15" from top of shoulders to seam under bust
Skirt: 45" from was it to front hem, 50" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3783

Reference Photo: Resort 2009 Valentino Collection. Look 12.

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

Jean Louis is the designer who created the dress that Marilyn Monroe was sewn into when she sang Happy Birthday to President John F Kennedy. Louis worked in the movies and headed the costume department at Columbia Pictures before starting his own label in 1961. Once he began designing under his own label he concentrated on suits and evening wear and was known for his beautiful fabric choices. This is an exceptional example of his work and it is absolutely gorgeous. 

This is a truly beautiful cocktail dress that has the lines and cut that were so suggestive of the work being done in this time period. It is a very beautiful dress and I am very pleased to have it in the shop. It is impeccably constructed with lots of hand finishes and details. You get the feeling that no expenses were spared in the construction of it. The cut follows and emphasizes your curves. The bodice is cut too be more fitted and I love how the straps that suspend the dress from the shoulders are set so wide across the top. This leaves the collar bones bare and open. It scoops down at the front and the back dips even lower. The waist nips in and there is a panel of the same fabric the bust is made out of under the waist seam that skims over the tops of the hips. The entire upper portion of the dress is covered in a black netting. What is remarkable is that the netting has been pleated into perfect little knife pleats and then placed over the inner fabric. This gives the dress an extra added level to detailing that is remarkable. I love the very subtle striping effect it creates while still giving it a soft and slightly transparent feel. The skirt is spectacular. It is made up of three layers. There is an inner silk net layer for volume and then a silk organza covered layer over that and finally the top netting. The very top layer was then detailed with feathers. The feathers hang down past the hem and the slightest bit of air it create a tremendous movement around you. It is all hand finished and just an exceptional example of dresses from this period. I love it. Excellent condition.

Fully lined in a black silky rayon and the skirt is constructed as described above. It closes with a back painted metal zipper. It looks like there is a feather missing but there are so many it is inconsequential. Please see the shot after the label shot for the little spot on the netting it left. Otherwise it looks to have been worn very little if at all. 

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist 42.5
Skirt: 24" from waist to hem, 28 to end of the feathers that extend past the hem

Modern Sizing Equivalent: SML-MED

Item# DD3579

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 the 1980s and 1990s Gianni Versace ruled the catwalks. He was the favourite of the Supermodels and they were featured predominately in his runway shows and his ad campaigns. Versace launched his label in 1978 and by 1989 he presented a couture collection. The days that Gianni headed the label were heady, glamourous ones and set the tone for the label as we know it today. He remained at the helm of the brand until his death by assassination in 1997. This is from those years in the 1990s when the label was everywhere and everyone wanted to own and wear a Versace. While researching this piece I found several photo references of different variations of the dress from both the catwalk and ad campaigns. I have included those here. I love this chic graphic version in the black and white. It is an exceptional example of his work from this time period.

The dress is exactly what you think of when you think Versace from this time period and it is instantly recognizable as his because of that famous ad shot. The dress is made from a very fine wool and it is the kind of dress that instantly demands your full attention. The dress is almost weightless once on the body, an effect achieved by the use of the finest, lightest wool that there was at the time. The shape is as simple as you can get. It is a simple shift that is meant to hang suspended over the body underneath. The simplicity of it perfectly captures the mood of 1995 and it allows that little check pattern to take the spotlight. The pattern is a series of small 1/2" squares and I love the care and attention to line the pattern up at the seams and back zipper. It is truly spectacular and that perfect combination of sexy and yet still innocent because of the easy to wear shape. If there was ever a dress proven to be supermodel worthy this one is it. This is a rare and very collectible Versace. Excellent condition

Fully lined in a black silky rayon and closes with a hidden set back zipper. I see a tiny run on the fabric near the side at the front and an even smaller one a little ways up from that. You would never see these once on. Please see the shots after the label shot. Otherwise it looks to have been worn very little if at all. The easy cut should allow it to fit a variety of sizes

Bust: 18.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 33" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3578

Reference Photos: (1-3) Fall 1995 Versace Runway Collection (Look 46-Claudia Schiffer, Look 47-Nadja Auermann, Look 48-Naomi Campbell)  /  (4) Shalom Harlow by Richard Avedon for Versace Fall 1995.  /  (5) Stephanie Seymour by Richard Avedon for Versace Couture Fall 1994.

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

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

The dress is made from a beautiful silk chiffon that is completely covered with an oversized flower print. The colour combination of the deep rich purple with the pop of deep green for the leaves in the print is just gorgeous. The skirt is cut to suggest that it is simply wrapped around you and could be unwrapped at any moment. It is attached most of the way around and then it simply hooks into place at the side of the waist. This clever little way to set it into the seam is what gives it that lovely curved line at the front. All of the excess fabric has been gathered along that side so that the silk cascades down in a lovely draped manner. The skirt is made up of thee full layers of silk chiffon. This is an important point in itself. Silk chiffon is notoriously difficult to wrk with and he was a master at this layering technique. The draped front lets you see all three layers and the edges of the three lates become their own design element. There is the top floral printed layer, a middle layer that is a solid purple in the same tone, and then the innermost layer that gives you that unexpected bright shot of green. When you move you get flashes of that green and the effect is fantastic. The bodice is simple and perfect. It has a slightly scooped neck and it cut into an say to wear tank that dips low at both the front and back. The dress comes with its long matching silk sash that you can wrap around the waist as I have done for these shots, or you could tie it at the neck or use as a head scarf. A stunning example of his work and beautifully finished. Excellent condition

Fully lined in a bright green silk chiffon. It closes with a hand set painted metal zipper. Bias cut so there is a little  with the measurements which I have given below. Ribbon edge finshes and hand done throughout. It appears to have never been worn or worn very little. The bias cut and easy fit combined with the sash to bring in the waist mean it should fit a range of sizes 

Bust: to 20" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seamed can be cinched in with the sash
Hips: open
Bodice: 16" from shoulder to waist
Skirt: 46" from waist to hem
Scarf: 15" x approx 140"

Modern Sizing equivalent: SML-LRG

Item# DD3576

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

This gorgeous little Oscar de la Renta dress is most likely from around 1968. Variations of these highly detailed dresses were made in both long and short lengths and in a several different colour ways. The label in the dress identifies it as being a part of his earliest main line. When Oscar De la Renta first started his career he began a partnership with the fashion house of Jane Derby in 1965. Jane Derby died shortly after and in 1966 the first labels that bore only the Oscar de la Renta name appeared. That makes this a very early example of his higher end work. The dress is gorgeous and a definite favourite from all the pieces of his that I have had over the years. 

The dress is very beautiful and is an absolute knock out once on. It is also very representative of his work during this time period. The fabric is quite exceptional and the silk threads that are woven through the deep red silk form a stunning design that runs from shoulder to hem. The fabric is lighter in weight then you would think at first glance. It is heavy enough to hold and retain the shape that he desired the dress to have but is still light enough so that it feels easy and comfortable to wear. It has a very refined feel to it but it feels youthful and fresh at the same time. It perfectly sums up Oscar's love of opulence mixed with the exuberance of the decade. The cut is kept simple to allow that stunning fabric to take centre stage. The skirt falls from the waist and widens out slightly as it nears the hem. I love the way the skirt has those deep pleats at either side. It adds a little extra volume and also some visual interest when you turn to the side. The waist is seamed but left more on the open and easy feeling side rather than being severely cinched in. The bodice has simple cut with no sleeves and is cut to skim over the body. The fabric is a rich silk in a deep red that has a touch of coral colour to it. Woven through that are little floral feeling medallions in a mix of silver and gold metallic thread. These have an slight 3D feel to them and add a soft metallic shimmer over the entire dress. The detailing on the bodice is spectacular. It is all edged with an elaborate gold braiding. Large crystal rhinestones are set into the coils of the braiding and little gold studs are spaced evenly along its length. The braiding runs around the neck, each arm and then details the top and bottom edge of the attached belt that gives you shape at the waist. It is gorgeous. Excellent condition

Fully lined in a red silk chiffon with additional strips of silk the inner edges. It closes at the back with a painted metal zipper. The belt is attached. Hand finished throughout 

Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam, with extra room created by the folds on each side
Length: 35" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3753

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 pair behind the La Mendola label met in Rome in 1960 and started their business making dresses and selling them one by one, piece by piece. In 1967 they opened a shop. They soon had a Hollywood following and mega stars like Elizabeth Taylor and Rita Hayworth become regular clients who were buying and even wait-listing for pieces as they were produced. They made all of the pieces in their ateliers and designed their own prints. Clients would be sent swatches of the season's available prints and then they would place their orders. They were beloved and sought after by the jet set travel crowd as their pieces travelled extremely well and the colours used were beautiful. Their atelier closed in 1974 and I am always happy to have their pieces in the shop.

In the past I had one of their dresses come into the shop and the original owner of that dress had kept the fabric swatch options for the 1972 season along with her correspondence with the atelier. They named all of their prints and using that information that I kept a digital copy of, I know that this dress is a version of their Paridiso print. The fabric that they used for their pieces were very high end chiffons and jerseys. This dress uses both to great advantage. The actual dress is made from a beautiful light and fine silk jersey. This exceptional fabric takes colour and print very well and it is as bright and vibrant as when it was first made. Layered over this is a panelled wrap skirt  made from a silk chiffon. This top skirt layer is made of a two panels. Each is a single layer of silk chiffon and they are attached along a waist band with a bit of spacing between the two panels. This leaves a long slit on each side for the dress underneath to show through. You can tie it with the splits towards the side or the front and I have shown both ways here. You can even get clever with the styling and use it as a cape that sits lower across the shoulder. The wrap skirt layer has the same peacock feather print that the dress underneath has. This allows the two prints on each layer to be slightly offset giving the print an extra dimension of depth. The pinks used in the print are gorgeous and it is even better in person then how it photoed. The dress has a high neck and a simple cut through the bodice and sleeves. It skims over the waist and then widens out just a touch as it nears the hem. At the back it closes with a row of tightly spaced silk jersey covered buttons, a finish that was a signature of the house. The jersey has some stretch and is very light in weight so wearing this is a dream. You can wear it on its own or layer the skirt over it for added movement and completely change the look and feel of the dress. It is stunning. Excellent condition

Unlined and closes at the back with that row of tightly spaced silk jersey covered buttons. The over-skirt ties into place. The fabric the dress has stretch and this combined with the easy design of the dress should allow it to work on a variety of sizes. Hand finished throughout. The measurements given are the comfortable stretch when laid out flat. The over-skirt waist is adjustable with the ties. The photo of the swatches is from that previous dress. The actual swatch card is not included. I see one small hole in the chiffon of the skirt that gets lost in the folds once on. Please see the last shot here

Sleeves: 22.5"
Shoulders: 15.5"
Bust: 16.5-19" flat across from side seam to side seam
Waist: 15.5-17" flat across from side seam to side seam
Hips: 15.5-20" flat across from side seam to side seam
Dress length: 60" from neck to hem with just under 2" turned up 
Over-skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3389

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

Norman Norell was one of the great American designers. His clothes were wildly expensive and he was credited for the unique ability to translate Paris couture into American ready-to-wear.  He started in the film industry and then was hired by Hattie Carnegie. In 1941 he left and and joined Anthony Traina where the Traina-Norell label soon appeared. Upon Traina's retirement in 1960 he launched his own self-named label. He won the very first Coty American Fashion Critics' award ever given in 1943 and then won it again in 1951 and by 1956 was the first designer to earn a place in the Coty Hall of Fame. His signature styles for day ran the gamut from shirtwaists, suits, beautifully tailored coats, and clothes that featured polka dots, checks, gingham and of course, the huge oversize bow. Norma himself once said 'To qualify as a designer one should not be afraid to repeat a good design, and certainly must have his own signature'. He did that and more and I think every serious vintage collector should have a piece of his work in their archives. 

I absolutely love this dress. The lines and cut are somewhat similar to a dress I have had in the shop previously that was dated to 1963. This one, with its bright and cheerful pink gingham print, is just spectacular to see. The silk is a very high end and I love the colour. It is cut with a masters hand and the workmanship that is put into it is beautiful to see. The bodice is cut to be more fitted and follow the lines of your body. It cinches in at the waist and to add even more shape there is a wide matching belt that acts like a corset to really bring the waist in and make the skirt under it seem even fuller. I took the first set of the photos here with a crinoline under it and then the last three full length shots are of the dress without the added underskirts. You can see how this really changes the lines and the volume of fabric in the skirt. Even without the underskirt the skirt is full and this volume has been achieved by the way it is set into the bodice. Inside at the waist there is a full ruffle of silk that sits above the interior seam. I took a photo of the inside so you can see how it is gathered up and through the waist. It is just incredible. To wear the dress you slip it on and button it down the front. It has the most incredible buttons. Hand carved, thick mother-of-pearl buttons run down the front. The same buttons in a smaller size have been used on the cuffs of each amazing sleeve. Each of the sleeves are cut on a curve to follow the natural shape of the arm. This is a couture technique that you rarely see anymore and it is just executed to perfection here. They pouf up at the shoulders and are set into the bodice with a series of high gathers. The sleeves are full at the tops and then narrow down to the wide cuffs at each wrist. Each cuff is a full 4" long and closes with four of the mother-of-pearl buttons. The interior of each sleeve is finished in a silk organza so that the sleeves keep that volume that you see. The finishing touch is one of his wide over-sized bows that you tie at the neck with the long attached ties that extend out from the collar. One side is even cut a little longer then the other so that it ties to a perfect length every time. The workmanship on this dress is incredible. This is an amazing example of the work that he was doing during this time period and one of the prettiest Norells' I have seen. Excellent condition with one small note below

Fully lined in a hand set white silk through the bodice and ivory silk organza through the sleeves. The skirt is unlined. Closes down the front with a series of hand carved mother-of-pearl buttons. Each sleeve has four more of the buttons in a smaller size. The only thing I see is that part of the silk on the belt has darkened a touch and there is a bit of grubbiness under the arms on the inside lining. The back of the belt is stamped Norman Norell. Hand finished throughout. The crinoline used on some photos is not included

Sleeves: 26"
Slightly inset shoulders: 13"
Bust: 17" flat across from side seam to side seam
Waist: 11.5-12" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to bottom of the waist banding
Skirt: 35" from waist to hem with a 5" hem turned under

Modern Sizing Equivalent: XXS-XS

Item# DD3318

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

This dress is from the Resort 2015 collection from the house of Valentino. During this time period both Maria Grazia Chiuri and Pierpaolo Piccioli were acting Creative Directors. Several variations of it were shown for the presentation and I an happy to have these as reference photos because it shows you how the lace looks on an actual body. Vogue's Nicole Phelps reviewed the collection and said in part: "Monastic, artistocratic, modest, and even prim have been terms applied to Maria Grazia Chiuri and Pierpaolo Piccioli's Valentino almost since they took over in 2009" and indeed that feel is what gives this set its beauty. There is a starkness to it offset but the romance of the lace and the sexiness of it being transparent though the black parts. I love it. 

The set is made up of two pieces. A longer top that could potentially double as a mini dress and then a matching full length skirt. Whether you choose to wear them together or as separates they are gorgeous. Both pieces are made from the very distinctive cotton lace that Valentino used during this time period and still do use now. The lace parts are all set onto a black silk netting so that in between the lace you get a see-through effect. You can see how fine the netting is in my close ups and I love the nude effect that it gives. If you are brave you can wear it with just undergarments underneath for a really nude effect or layer it over opaque pieces. The top is cut in a simple T with wide straight sleeves cropped to above the elbows. It skims over the body and then flares out slightly as it nears the hem. The skirt is maxi length and widens out as it nears the floor. I laid it out flat so that you can see its beautiful lines. The mix of the lace on the netting helps it to hold its shape wonderfully. I love how all of the edges are done to follow the beautiful curving pattern of the lace. Both pieces are in like new condition and look to have never been worn. Excellent condition

Unlined. The top slips on the wear with a zipper at the back and the skirt zips to close with a hidden set zipper at the side. Tagged a Valentino 42

Top
Sleeves: 10"
Slightly dropped shoulders: 16"
Bust: 18" 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: 30" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 45" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3750

Reference Photos: Resort 2015 Valentino Collection, Looks 33-35. (Models: Harleth Kuusik & Maartje Verhoef).

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

This dress is from the time period when Karl Lagerfeld was the designer for the Chloe label. I love that this one even has its original hand written label that outlines the fabric and style. Examples of Karl's work during this time period are held in museums around the world and are rare finds. Their place in fashion history is even more entrenched with his recent passing.

This dress is wonderful. In person it is even better then how it photoed. It is always a struggle to show you how perfect a simple back dress is and it is really when it is on an actual body that it will transform and really be showcased. The lower part of the dress that falls from the empire bodice really has tremendous movement that is not conveyed in a still photograph. The actual cut of the dress is kept simple and perfect. It is made out of a fine black silk chiffon that is as light as air. The bodice is a cut in a simple scoop across both the front and the back. The dress is suspended from tiny straps that curve up and around each shoulder. The waist is seamed and set a little higher up to give the dress an empire feel. The skirt falls to the floor from there. The pleats that it is made out of allow it to skim over the hips and then it gently widens out as it reached the hem. The entire skirt is made out of a series of precise, perfectly exact knife pleats. They are what gives it some volume and a ton of movement when you move. The pleats are the only embellishment and it is the starkness and simplicity of this dress that make the statement. The inner skirt is finished in a nude chiffon and all of the work is done by hand and to couture standards. I love it so much and it is pure magic once on an actual body. Excellent overall condition with a note to review below

The bodice is a double layer of the silk chiffon and the skirt is lined in a nude silk chiffon. It closes at the back with a snap and hooks. Hand finished interior to couture standards. Some of the pleats have softened towards the bottom of the skirt. Please see the two photos after the label shot. I think you could move the hooks and snaps at the back to get another inch or so if needed

Bust: 16" flat across from side seam to side seam
High set waist seam: 14" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 14" from neck to high set waist
Skirt: 45" from high set waist to hem

Modern Sizing Equivalent:  XS-SML

Item# DD3749

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

Halston used this 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 inch of the fabric. This is a stunning and rare version that is full sequinned and could not have more of an impact once it is on. 

The dress is made from a red silk chiffon for the inner layer, which also acts as the lining, and then the outer layer is made out of the same fabric but in a lighter, thinner weight than the inner layer. That outer layer is what the sequins are attached to. The sequins have all been placed and attached by hand and completely cover the dress from shoulder to hem. The sequins are a glossy true red and they reflect the light beautifully. This makes the dress absolutely incredible to see in person. The technique used of placing the sequins flat and side by side allow the sequins to catch as much light as possible so it gives the fabric a molten, liquid metal feel. The bust is cut to skim over your curves. It has a pointed collar and the front wraps and snaps to close with silk covered snaps at the waist. This creates a deep front plunge but with that chic little collar that you can flip up if you want. There is elastic all around the waist so it is super comfortable when on. It skims over the hips and then flares out slightly as it reaches the hem. Because it wraps and is held in place only by the snaps at the waist you get a long overlapping opening down the front so you see lots of leg when you move or sit. It is amazingly comfortable to wear because of the stretch at the waist. Which was what he was all about - high glamour cobbled with ease. Excellent condition with a note below.

It closes with a hooks at the waist. Elastic through the waist. Fully lined in a red silk chiffon. Hand set sequins. There is the occasional sequin missing but there are sequins in the inner seams that could be used if this bothered you. Some missing sequins on the inside seams mostly on the inside panel near the waist. Obviously not seen once it is on. Minor shattering to the lining near the arm opening and a repair near the seam on the other side. Please see the photo after the label shot. 

Shoulders: no defined seams
Bust: to 17" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from neck to waist
Skirt: 43" from waist to hem with 2.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3747

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

This is a gorgeous dress by Pierre Cardin and I absolutely love it. There is a certain silhouette that is closely associated with Pierre Cardin but he was actually a designer that had a huge range. At times some of his other silhouettes get overlooked and they should not be. This wonderful Haute Couture example that I believe dates to the late seventies or early eighties. It is a beautiful and elegant piece that may not be as 'mod' in feel as some of Cardin's other pieces during this time period but shows the breadth of his talent and the high level of glamour that he was capable of.

The dress is made from a silk that has a dense application of hand placed sequins running over its entire surface. The colour of the sequins is a red that has a touch of an orange undertone to them. They are laid out flat side by side to catch maximum light. This gives the dress an almost molten feel that is stunning from every angle. The shape is kept very simple so that those spectacular sequins take centre stage. The front is cut onto a peak and then from that peak straps extend out, cross over themselves and then curve over each shoulder to meet the fabric at the back. The back is cut low and deep to leave a wide expanse of bare skin. It falls in a sleek column over the body and is brought in with seaming to shape it through the waist. It curves over the hips and stays fairly snug to the legs and then the bottom skirting flares out. That bottom skirt is a full 14" high and if you lay it out flat it is a true circle. The way it is set into the skirt lets it fall in soft curving ruffles all around you. When you walk it kicks out and has beautiful movement to it. The dress is very chic and very femme fatale. It is a dress that may seem unremarkable on a hanger but transforms into an insanely good piece once on the body. It appears to have been worn very little if at all. Excellent condition

Fully lined in a red silk and closes with a hand set back painted metal zipper. Hand set lining. It is cut on the bias so has some play in the measurements. The comfortable range is noted below. A tiny bit of patina on the back of sequins near the neck and at the very edges here and there. Very minor  

Bust: 15-18" flat across from side seam to side seam
Waist: 15-16.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 7" from top of shoulder to hem with 1.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3748

Reference photo: L’Officiel 1976

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

Patrick Kelly is a celebrated African American designer and his work will be seen in the planned exhibit 'Patrick Kelly: Runway of Love' this October at San Francisco’s de Young Museum. It is an expanded version of the original 2014 exhibit that showed at the Philadelphia Museum of Art. Kelly opened his atelier in 1988 in Paris and quickly became an sensation. Laura Camerlengo, the associate curator of costume and textile arts at the Fine Arts Museums of San Francisco, said of his work in an interview; 'He was a trailblazer. He was born during the time of the segregated south, grew out of that most racist violent environment, and worked his way to Atlanta, to New York and to become the toast of Paris who had a successful multimillion-dollar company when he died. And remarkably, he was lauded with accolades while being and remaining one of the few designers of any colour to directly address race in his work. Kelly was a pioneer of the “black camp” aesthetic.' His runway shows triggered a wide range of emotions and often made people justifiably uncomfortable. Which was exactly what he intended. Kelly was the first black American designer to be voted into the governing body of the French fashion industry, Fédération Française de la Couture. This is a dress that is instantly recognizable as being one of his pieces. He did series of leopard dresses for the 1989 season and this off shoulder version is one of my absolute favourites. Its twin waked the runway so you can see just how amazing it is in the reference photos. Versions were all over the editorials that year as well. It is a very rare piece and with the attention on American fashion because of the Met exhibit theme this year, it is an even more exciting find. 

This super sexy leopard print stretch velour velvet Patrick Kelly dress is wonderful. The fabric is fantastic and will stretch to hug your curves and show off every bit of the body. That said the velvet keeps it flattering and easy to wear as it gives support at the same time it mold to the body. Kelly cut this one so that is can be worn on or off the shoulder while keeping the sleeves long and lean. On the runway it was shown off the shoulder and that is how I prefer it too. That bare expanse of skin is the perfect contrast to the coverage of the dress. The cut through the body hugs your every curve and the dress is molded to your frame all the way down to the hem. The stretch the fabric has is what allows you to walk as there are no slits or vents in the skirt. The cut is super fitted through the body and that leopard print just makes it completely fantastic. It is a showstopper and an amazing example of this time period and of his work. I love everything about this dress and that it is a true piece of fashion history that is extremely well documented. Excellent condition.

Unlined and slips on to wear with no closures. The printed velour finish velvet has stretch. Elastic through the neckline. The dress appears to have never been worn. The measurements provided are the comfortable range of stretch when laying flat. The stretch fabric should allow it to fit a range of sizes. 

Sleeves: 21" but sit off the shoulder so sit longer on the arm 
Bust: 17-21" flat across from side seam to side seam
Waist:14-18" flat across from side seam to side seam
Hips: 16-21" flat across from side seam to side seam
Length: 52" from top of the neckline to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3742

Reference Photos: (1-2) F/W 1989 Patrick Kelly Runway Collection.  /  (3) Iman in Patrick Kelly, 1989.  /  (4) Model in Patrick Kelly. Photographed by Rico Puhlmann for Harper’s Bazaar, August 1989.

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3738

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3737

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3735

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

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

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

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

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

Modern Sizing Equivalent: OSFA

Item# DD3734

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

This Chanel hat is from the Fall of 1996 and it is gorgeous. I found a editorial shot of Stella Tenant wearing a version of it that was shot by Karl himself. The hat is so dramatic and easy to wear. It is meant to sit lightly on the top of the head and then you can play with which direction you want the feathers to face. It can be worn with the feathers towards the front, either side, or to the back and sit as high or low as you want. This gives it so much versatility in styling it and the feel of it completely changes depends on how you place it on your head. It has its original attached comb in place. The feathers are full and glossy. It is stunning. Excellent condition

Secures to the head with a comb. The base is a black felt wool. Because of the half hat / cap design is should fit any size head. Each side of the triangle shape measures about 8" long.

Item# A339

Reference Photo: Stella Tennant by Karl Lagerfeld for Chanel Fall 1996.

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

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3344

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3732

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3728

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

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

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

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

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

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

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

Modern Sizing equivalent: XS-SML

Item# DD3729

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

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

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

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

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

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

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

Cardigan
Sleeves: 23"
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3730

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

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3727

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3725

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

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

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

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

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

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

Modern Sizing equivalent: XXS-XS

Item# DD3722

Reference Photo: Fall 1974 Bill Blass Runway.

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

This is one the last of this batch of amazing pieces from my client whose aunt had most of her clothes made. This one, like several others already in the shop, was made by Ady Couture and the story behind this label is fascinating. This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway. Both the skirt and jacket in this set have been completely made by hand to Haute Couture standards. I am sure that this one is based off of a YSL suit as it has all the hallmarks of his work during this time period.

I love this more formal full length skirt and the fact that you can mix and match the pieces of this suit with other things already in your closet. The jacket is tailored with strong shaped and padded shoulders. It is box cut through the body and meant to be slightly over-sized in the way it sits through the shoulders. It has a belt that came with it and that is used to cinch in the waist and create shape. The collar is angled and strong. Large red buttons with a stripe of gold metal run down the front. More of these same buttons run down each cuff and all of the buttonholes on the sleeves are functional. Pockets are top set on the hips and a third pocket sits on the breast of the jacket. The color is a strong bright red and the fabric is ribbed which gives it a wonderful texture. The skirt is cut in a long column of a fine black wool that falls to the floor. There is a black, flat braided detailing that runs down each side to give the suit a subtle nod to a tuxedo. High slits run up each side of the leg so when you walk or sit you get a glimpse of leg. It is very striking and strong silhouette. And it is completely made to Haute Couture standards. Excellent condition with a small note below.

The skirt is hand lined in a black silk and the jacket is hand lined in a red silk. The jacket buttons to close down the front. The skirt has a zipper and hook & eye at the waist. Hand made padding in each shoulder. Couture finished inner seaming. I see a faint spot near the pocket of the jacket and the fabric behind the belt at the front shows faint rubbing. Please see the photos after the label shot. The skirt appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Jacket
Sleeves: 22"
Padded shoulders: 18"
Bust: to 21" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 25" from neck to hem

Skirt
Waist: 14.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41" from waist to hem
Slits: 19.5" from hem up

Modern Sizing Equivalent: MED-LRG

Item# DD3721

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3719

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

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress is from the Fall 1994 collection and I have included the runway reference photo here. In an interview with WWD in 1995, Pipart was asked about the state of couture upon his arrival to Nina Ricci and I love his reply; 'When I arrived everyone was predicting the death of couture, so I was keen to get in for what were meant to be the final few years. And despite what people like Pierre Bergé and many others predicted, couture has lasted a lot longer than anyone ever thought.' Pipart's designs for the Couture collections often combined high fantasy elements and this dress with its ultra long back is an amazing example of his work during this time period. 

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute Couture

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks with his use of ornate beading, sequins, unusual detailing, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. This is an extraordinary dress that is stunning in its own right and could be a fantastic option for a bride or as part of a more extensive wedding event. It is even more special by the fact that Sophia Loren wore the black version. I have included that photo here so you can see how fantastic the dress is on. 

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3720

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

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

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

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

Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3716

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3717

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3718

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

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

The notes for the 1972 collection in the book 'Dior, The Catwalk' tell us that The New York Times declared Marc Bohan's collection for Dior as 'the best of the season in Paris'  that year. There was also the information that of all the Dior collections, the full records for this particular one did not survive the passages of time so finding a piece that is so well documented is a bit of a miracle. The version of this dress that has a higher neck line and tie bow was photoed by Richard Avedon that year. It was also shot for the September issue of Vogue and one is held in the V&A collection. When I found these photos I also found the caption that went with the Vogie shot and I lovedhow it described the dress: "Pretty. That's really the word for it - the softness of everything at Dior. So feminine at night especially...The flirt of the sleeves on a short dress for evening...black mousseline, covered at the neck and yet...revealing lots of skin beneath and lots of leg below". During this time period Bohan often made a series of couture dresses that had different necklines so that his client could choose their level of modesty that they were comfortable with. I love both versions but I think I prefer this lower V neckline when it comes to actually wearing it. It allows those spectacular sleeves to take full centre stage and that little extra skin gives it a more modern twist. You can also wear a wide variety of jewels with this neckline and I think that gives you more styling opportunities. The dress is exceptional.

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3031

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

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