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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3815

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3813

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2901

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

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

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

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

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

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

Modern Sizing equivalent: MED-LRG

Item# DD1089

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2986

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

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

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

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

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

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

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

Item# DD3710

Reference Photo: US Vogue, March 1970.

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

This gorgeous dress would have been designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in his work with colour and cuts. This dress is from the early part of the 1970s and it is incredible. The Lanvin label is numbered and it is one of the best prints I have seen. 

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3709

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3706

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

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD3707

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3708

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

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

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

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

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

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

Modern Sizing Equivalent:  XS-MED

Item# DD3705

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

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

Sant' Angelo was the winner of two Coty Awards and two Council of Fashion Designers of America honors and was known for his innovation and pioneering use of stretch fabrics. He has had an entire museum exhibit dedicated to his work and career and is firmly entrenched as one of the great designers. His work captured a moment in fashion history and his love of color and strong lines will forever be collectible. Pieces reside in museums worldwide including The Met where there is a black sleeved jumpsuit in their collection. This one is actually better and has more impact even!

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3703

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

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

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

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

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

Modern Sizing Equivalent: XXS-SML

Item#  DD3700

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

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

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

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

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

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

Modern Sizing Equivalent: SML-XL

Item# DD3699

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3695

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

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3690

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3354

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD2472

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

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

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

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

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

Modern Sizing Equivalent: OSFA

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

Item# DD3687

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

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

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

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

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

Modern Sizing Equivalent: XS-LRG

Item# DD3686

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

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

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

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

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

Sleeves: 22"
Bust: to 17" flat across from side seam to side seam
Inner waist stay under the bust: 14.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: Approx 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3681

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD3679

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

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

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

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

Unlined and slips on to wear. It is made from 100% cashmere made in Italy. Tagged a size S . Because it is knit it has stretch and will fit a variety of sizes. I have given the comfortable range of stretch while it is lying flat in the measurements below. You could probably go a little beyond that range listed depending on how fitted you wanted it. I see some minor small marks on it here and there. They are faint and light. I also see a few small repairs that you really only see if inspecting from the interior. I took a shot of one on the shoulder so you can see how minor it is from the exterior. Please see the shots after the label shot. 

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

Modern Sizing Equivalent: XS-MED

Item# DD3675

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

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

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

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

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

Modern Sizing Equivalent:  SML-LRG

Item# DD3486

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2702

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD2905

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# C572

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3673

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3672

Reference Photo: Fall 1970 Givenchy.

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

This dress is from the early 1990s and I think it is from around 1992. His 1992 collections featured a ton of dresses with this same boy short finish inside. It is interesting to note that his dresses from this time period were as well known for their prices as they were for their extreme shortness. In a 1992 article in Elle Magazine they reported that his collection was 'extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500' (just under $7,000 in modern dollars). This was in part due to the specialized fabrics that Alaia was developing. In the text found in that same 10 page spread, Azzedine is said to have been 'delighted in the space-age fabric he used for his Spring 1992 collection. He calls the NASA-developed material 'Relax' for its purported ability to act as a screen against microwave emissions'. Azzedine produced two versions of this dress and I have both versions in the shop today. At first glance they look very similar. This version is the more couture of the two and the hem is finished with extensive hand beading and a real metallic thread. There are also hand placed mirrors worked into the hem. As a result this one is to more expensive but also the one that is more rare and harder to find. Less of these more elaborate versions would have been produced. 

The dress is made from one of Alaia's iconic black stretch knits. These were made to hug the body and define every curve while cleverly smoothing out everything underneath. The neckline is set wide across the front and it and scooped on a square off shape at the corners. It is cut low on the bust and it is finished with a touch of scalloping to the edge. This is a detail that he started to use around this time period and that you still see on the house's designs to this day. The way the knit has been made gives it a structure that is built right into it. Once on the body it shapes and molds the body underneath it while never feeling to constrictive. Alaia pieces are remarkably easy to move in and have more ease to them then some of the other 'bandage' dresses from other designers of this time period who were doing similar body conscious dresses. The sleeves and body of the dress are made from a more flat weave knit that is opaque. Under that the skirt starts low on the hip is cut to swing around you as you walk. It is very short and the knit has a more open weave to it that gives it a semi-transparent finish. The edge of the skirt is finished with an amazing combination of hand set glass beads and marquise shaped mirrors. The beads are done in little stacked horizontal rows on top of a raised vertical metal thread. Mirrors are set by hand in between the rows and and each mirror is held in place by metal thread using a North Indian technique called Abla or Shisha. This gives the skirt some weight and I love the fullness of the skirt and the movement it has once it is on. Under the skirt are attached and fitted knit boy shorts that snap into place. So when it is on you see through the skirt but are fully covered with the short shorts underneath. This is a very rare dress from one of the greatest designers of our time. It is entirely original. Excellent condition.

Unlined and closes at the back with a hidden set zipper. The inner boy shorts snap to close. There is the slightest bit of sheen to the fabric near the seam under each arm. The mirrors show some patina which is a natural part of aging with this type of paste mirror. Tagged a small and the fabric has stretch so should fit a range of sizes. The measurements show the comfortable range laying flat. 

Sleeves: 24"
Shoulders: 14"
Bust: 16-20" flat across from side seam to side seam
Waist: 11-14" flat across from side seam to side seam
Hips: 15-20" flat across from side seam to side seam
Length to inner boy short: 27-30" from shoulder to inner snaps of shorts 
Length: 33" from shoulder to bottom hem of skirt

Modern Sizing Equivalent: XS-MED

Item# DD3001

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

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

This dress is spectacular. The fabric is extremely high end and the workmanship is amazing. It is the perfect LBD. The design is very Dior and has the feeling of Dior's earliest work and in particular his last collection of 1957 where he used the shawl collar with a flower to anchor them. The collar is amazing. It is cut to wrap around you and sits high up and above the shoulders to frame the face. It is made out of a matte silk satin and I love the way that it drapes and folds into place. It creates a fabulous 'film noir' feel. At the front where is meets and hooks into place is a removable silk and velvet flower that adds detail and a touch of romance. I love that the flower was kept black so that the eye is not suddenly jarred. The tone on tone feel this creates is wonderfully dark and rich. Underneath is a simple pencil skirted dress that is made out of a moire silk taffeta in black. It skims over the bust, goes in with a seam at the waist and then falls in a sleek pencil to just past the knee. The shoulder have a light padding and you can see the hand done work and silk edging that they have added in the shot I have included here. The dress comes with its original silk covered belt that you can use to really add shape through the waist. Inside it is hand lined in a sensual black matte silk satin. The workmanship is of the highest quality and I had added an interior shot so that you can see how beautiful it is finished. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk satin and closes a back metal zipper. The belt buckles into place and the interior shoulders are lightly padded. It appears to have been for very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 15" from top of bodice to bottom of band at waist
Skirt: 24.5" from bottom of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD

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 early 1990s and I think it is from around 1992. His 1992 collections featured a ton of dresses with this same boy short finish inside. It is interesting to note that his dresses from this time period were as well known for their prices as they were for their extreme shortness.In a 1992 article in Elle Magazine they reported that his collection was 'extraordinarily pricey with cardigans run around $1,400 and dresses between $2,500 and $3,500' (just under $7,000 in modern dollars). This was in part due to the specialized fabrics that Alaia was developing. In the text found in that same 10 page spread, Azzedine is said to have been 'delighted in the space-age fabric he used for his Spring 1992 collection. He calls the NASA-developed material 'Relax' for its purported ability to act as a screen against microwave emissions'. Azzedine produced two versions of this dress and I have both versions in the shop today. At first glance they look very similar. This version is the more subtle of the two and the hem is finished with a grey knit finish and series of diamond shapes that run all the way around. As a result this one is less expensive then the other one I have today but you get the same feel as the more intricate version just not with quite the same level of workmanship at the hem. 

The dress is made from one of Alaia's iconic black stretch knits. These were made to hug the body and define every curve whole cleverly smoothing out everything underneath. The neckline is set wide across the front and it and scooped on a square off shape at the corners. It is cut low on the bust and it is finished with a touch of scalloping to the edge. This is a detail that he started to use around this time period and that you still see on the house's designs to this day. The knit has structure built into it and once on the body, it helps to shape and mold the body underneath it while never feeling to constrictive. Alaia pieces are remarkably easy to move in and have more ease to them then some of the 'bandage' dresses from some of the other designers of this time period who were doing similar body conscious dresses. The sleeves and body of the dress are made from a more flat weave knit that is opaque. Under that the skirt starts low on the hip is cut to swing around you as you walk. It is very short and the knit has a more open weave to it that gives it a semi-transparent finish. The edge of the skirt is finished with vertical rows of a raised silver grey knit that has a boucle feel to it. Little marquis shapes are created by shaping the grey knit around the black base. The knit detailing there gives the skirt some weight and I love the fullness of the skirt and the movement it has once it is on. Under the skirt are attached and fitted knit boy shorts that snap into place. So when it is on you see through the skirt but are fully covered with the short shorts underneath. This is a very rare dress from one of the greatest designers of our time. It is entirely original. Excellent condition.

Unlined and closes at the back with a hidden set zipper. The inner boy shorts snap to close. Tagged a medium and the fabric has stretch so should fit a range of sizes. The measurements show the comfortable range laying flat. 

Sleeves: 22"
Shoulders: 14.5"
Bust: 17-20" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Length to inner boy short: 30-32" from shoulder to inner snaps of shorts 
Length: 33" from shoulder to bottom hem of skirt

Modern Sizing Equivalent: SML-LRG

Item# DD2976

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 Look 68 on the Spring 2015 runway. In 2015 Valentino was headed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. In the Vogue review for this collection they specifically noted the seaside themed dresses: 'The collection was poetic, graceful, and beautiful. Chiuri and Piccioli touched on many of Italy's patrimonies, from its antiquities all the way down to its kitsch... the designers lavished special attention on the seaside, printing some gowns with starfish and snails, and embroidering others with shells, sailing ships, and underwater creatures like the Portuguese man-of-war....as always, it was the workmanship that astounded, be it extravagantly done, as the feather-embroidered numbers were, or more naively wrought, like those sea creatures. "In this moment when everything is synthetic, digital, and flat, you need something more human. To dream, you need to feel something, not just to see," said Piccioli.'  The dress was an instant success and sold out worldwide. It has the added provenance of have been used for the Valentino ad campaign that season and it was featured in the Fed issue of Vogue. 

The dress is made from a fine silk chiffon that is entirely cut on the bias. This is what lets it move so beautifully over the body once it is on. When you walk the fabric catches the air and billows out around you. The design that is screened onto the silk is one of the labels signature coral patterns that was first seen in 1969 for the Haute Couture collection. The silk is a soft off-white and the coral print is finished in a soft neutral palette that plays perfectly against the pale ivory chiffon. It is almost weightless and yet constructed so that it drapes on the body perfectly. The skirt falls to the floor in a sweeping expanse of fabric. The skirt is made up of three layers of silk chiffon. There is the top printed layer and then there are two layers of ivory chiffon underneath that. This is what gives it its lightness and the floating effect it has when you move. The bodice drapes softly over you at the front. The waist is seamed for shape and the back is left bare with a low scoop that sits on an angled curve that swoops down one side. There is a silk covered elastic band that runs across the back to hold the dress in place. If you prefer it to be completely open you could easily remove this so you could get even more of an open and bare feel. At the front the top is cut in a classic one shoulder that curves up and then ties into place with long ties that meet it from the back. It is very beautiful. It looks to have never been worn or worn very little. This would also make a stunning wedding piece for the bride looking for something non-traditional or for an event over a wedding weekend. Excellent condition

Fully lined in an soft ivory coloured silk chiffon that is also cut on the bias. The skirt is made up of three layers of silk chiffon as described above. It closes with a low back hidden set zipper. The strap that goes across the back is attached on one side and hooks to close on the other with a row of four hook & eye. The shoulder ties into place with long attached ties. Inner waist stay hooks to close. Tagged a US8

Bust: to 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist and can be adjusted
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3022

Reference Photos: (1-3) Valentino S/S 2015, Look 68. Model: Irina Liss.  /  (2) Photo by Mario Testino, Vogue US, Feb 2015.  /  (3) S/S 2015 Valentino Ad.  /  (4-5) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Stardust' Headpiece.

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

It was during a visit to Tokyo in 1971 that Zandra first started sketching lilies after being sent lilies to her hotel room and the resulting print debuted in her 1972 Spring collection. The Lilly prints have become one of her most iconic and best known prints. Pieces from these original collections are hard to find and they are some of the most sought after of all her vintage pieces. The Lily prints also represent the introduction of handwriting and calligraphy into her textile designs. Another point of significance for Zandra is that the Lily dresses were the first dresses that she started applying beading to, which would become a future trademark. Zandra herself once said that she loved these prints and that they 'represent the best of my work'. I also found a reference to them in notes from the V&A Museum: 'Zandra Rhodes considers the Lily prints to be the best of her work, and particularly significant. It was while developing the Lily textiles that she developed the method of reversing the silkscreen to produce a mirror image of the print and create symmetrical patterns. This went on to influence many of her future significant prints, such as 'Lace Mountain', 'Cactus Volcano' and 'Scribble Turnaround'. This dress is a rare find and it is magnificent. 

This dress is one of the more complicated of her Lily dresses from that season. Versions of it with ruffled detailing at the collar and edging the sleeves were photoed on Twiggy and Anjelica Huston. I have also included two reference photos of the similar dresses from this collection found in her book 'The Art of Zandra Rhodes'. The skirt of this one is cut the same as those but with even more ruffled netting at the bottom. The sleeves have that same tremendously wide cut that you see on both examples and are gorgeous. Pat Cleveland was also captured modelling a version and you really get a sense of just how full the skirt is from that photo. 

The dress is gorgeous. The first thing that you notice is that parts of it are actually the palest mint green that has a touch of blue in it. The colour is brought out in the skirt even more when you wear the matching underskirt that goes with it. This is because the inner part of the underskirt is finished in a pale baby blue silk. When layer over each other you get this amazing depth in textures and colour. To wear the dress you slip on the inner petticoat and then the silk dress is layered over that. The bodice is cut loose and full. The front dips into a low plunge that goes right to the waist. The entire bodice has been hand painted and you can actually feel and see the paint on top of the silk. The front is embellished with her signature flower shaped palettes with a pearl finish. The sleeves are magnificent. They are cut to fall tremendously wide and full. They drop right past the hip at the their longest points and they give the dress that wonderful dramatic feel while playing homage to the trip to Japan that led her to the Lilies print and the culture there that she fell in love with. The waist is a wide gathered elastic band and the skirt below that flows full and soft to the floor. The skirt is a literal work of art. On the upper part of it are her beautiful lilies that have been hand painted onto the silk. Amongst those you see one of her very earliest field of lilies text that she is famous for. Ruffles made of silk netting run down each side and then the entire bottom of the skirt is finished with ruffled ad curved tiers of silk netting. This gives the dress tremendous texture and a sense of romance. The layering and mixing of the ruffles, the netting, the hand painted silk and the play on colours and textures is genius. It is a true work of art. There is some fragility to the silk netting at the hem of the outer layer so please read the condition report below carefully. It is still wearable with care. This is a very rare and special piece. It is a true piece of fashion history. This would be an incredible choice for a bride who does not want a traditional wedding dress or as part of a wedding event. Presents as excellent condition with notes to review below.

The petticoat is made from a blue silk that has layers of soft tulle attached over it. The top layer of tulle on the underskirt has a ruffled silk net lace at the edge of the hem. It closes with hook & eye at the waist. The outer silk chiffon dress slips over the head to wear with elastic running through the waist. I see repairs and changes to the weave in the silk netting all through and around the bottom hems and I would rate some parts of the netting as very fragile and the netting is fragile overall. The silk netting is almost gossamer to start out and it is very delicate. There is so much volume through the skirt that the repairs get lost in the folds and netting. I see one small hole on the top of the front near the shoulder. The decision was made to just steam it out and not have it cleaned to not do anymore damage to the silk netting. It is wearable with care as it is and is in clean sound condition otherwise. Please see the photos after the label shots for the shoulder flaw and examples of the netting. 

Note that the size is based on the outer dress. The inner petticoat is currently a XS-SML in size but could be adjusted so I deferred in some to the outer dress. 

Outer Dress
Shoulders: no defined seam
Sleeves: approx 39" to longest points
Bust: no trued defined side seams
Waist: 15-17" across
Hips: open
Bodice: 13: from neck to top of elastic at waist
Skirt: 51" from top of elastic at waist to longest point at the back hem

Petticoat/Inner crinoline
Waist: 11-12" flat across from side seam to side seam depending on how you hook it to close. You could easily add some fabric to the waist band to expand this if needed
Hips: Open
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3655

Reference Photos: (1) Anjelica Huston in Zandra Rhodes, Shot by David Bailey, Vogue UK, September 1973.  /  (2) Butterfly Dress no. 67, in 'Reverse Lily' print on silk chiffon; ruffles and frills on skirt in net; and satin sash.  /  (3) Twiggy on the cover of Vogue (top) and photograph for Harpers Bazaar (in Butterfly no. 67) (bottom).  /  (4) Butterfly Dress no. 70 - Off shoulder crinoline, in 'Reverse Lily' print on silk chiffon; net curtain ruching and frills in skirt.  /  (5) Pat Cleveland modelling Butterfly no. 70.  (Last four photos from the book "The Art of Zandra Rhodes").

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

Jacques Fath showed his first collection of just twenty garments in the spring of 1937. It was received well and he steadily built a strong clientele and became of of the busiest ateliers in Paris. He eventually expanded into the America through the American manufacturer Joseph Halpert. In 1949, Fath signed an agreement to produce two ready-to-wear collections a year with Halpert. This dress is from that early label and it has some extra historical significance since this agreement was one of the first of its kind between a couturier and a RTW company. The Fath label was shuttered in 1957 after Fath's death three years earlier. One of his signature looks was a low plunging neckline and this dress has just that. 

The dress is not perfect bit it is still so beautiful that I hope that someone can love it for its history and beautiful lines. The fabric that it is made out of is incredible. It is a silk organza and it feels like it has been treated with something that has added a touch of stiffening to it. Silk organza already has an incredible ability to hold its shape while being virtually weightless and this fabric seems to have just a touch more hold then usual. The silk has been dyed to the perfect nude blush pink. The fabric is semi-transparent and but there is so much of it that there is a real illusion effect created. A modern woman could wear this with a full structured underdress, choose a simple light slip or even just wear only nude undergarments under it if she dared. The dress curves over the shoulder with wide straps and then crosses over itself at the front. There are tiny pleats that you see as it gets closer to the waist. The waist is cinched for shape and then more of those tiny and perfect pleats circle the hips and open to the extraordinary skirt. There are yards and yards of fabric in the skirt and it is cut to perfection. The hem is cut so that the sides are slightly longer then the front and I love how it has volume even without anything underneath. There is so much fabric in there that you could easily add a crinoline if you really wanted it to be very full. The dress does have some flaws. It is sound and wearable but please review the full condition report below.  

The dress closes with a side painted metal zipper and is unlined. I see a small tear in the fabric near the waist and another near the base of the arm opening. There are stains throughout the skirt that are primarily near the hem but there are some higher up as well. I see a couple of small well done repairs. Please see the photos after the label shot. There looks to be older repairs to parts of the seams on the bodice and a repair beside the zipper at the back. It is sound and wearable as is with care. It could be easily worn as is for a shabby chic feel or perhaps dyed to hide some of the discolourations.

Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 57" from waist to longest point of hem

Modern Sizing Equivalent: XS-SML

Item# DD3656

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 red checked set by this same label in the shop and that one ended up going to museum. It's very exciting to have a second set in the shop so soon. This is a very rare example of the work of Marion Foale and Sally Tuffin. The two young women were staunch feminists and they were determined to launch a label without having to have a male name on the masthead. They quickly became known for their tailoring, lean cuts and outerwear. In 1962 Vogue featured one of their pieces and their customer base instantly expanded outside of London. Their work was featured regularly in the 'Young Ideas' section of British Vogue. The label closed in 1972 and pieces from the label are a very rare find. This is a highly documented set from 1971. The V&A holds an example in a similar fabric and we found photos of both a skirted version with the same jacket and a dress/pant set done in the same fabrics. British Vogue also ran a story that season using pieces from the collection. 

This was a key label from the British Fashion movement and this is a rare example of their work from right before they stopped producing the label. In the September British Vogue editorial on their work these sets were described as 'Pajama' sets that were meant to be worn outdoors. The first thing that strikes you about this is that it was made by hand and has an arts and crafts feel to it. You can easily imagine the young pair of designers making it themselves in their studio for some client. The pants have a flat front and zipper and are cut straight and wide all the way down to the hem. They will be cropped depending on your height. The jacket slips on and ties to close at the front. It is cut straight through the body and the sleeves are the cropped to just above the elbow. A large front pocket sits on either side. The fabric used for both pieces is a royal blue that has a bright floral print. Their signature red and off-white check has been used on the interior of the jacket, for the tie at the front and as edging. The top of the pants have a bit of a different red pattern to edge the waistband. All of the fabric has been top stitched into big quilted diamonds. The fabric gives it a touch of structure so that it sits on the body in a very straight and angular way yet the fabric itself is still soft and pliable. This set is extra special because it comes with its original hat. The hat is made from the red checked fabric on the crown and top brim. The blue floral fabric was then used underneath. It is seriously the cutest thing I have ever seen. Great condition  

The interior of the pants are finished in a black cotton and the jacket is finished in the red checked fabric. The top slips on to the wear and ties at the front. The pants have a front zipper.  It looks to have been worn very little if at all but still has a slight soft patina feel to it that I suspect was purposeful from day one. Some small areas of the quilting top-stitching has come off here and there on the interior. 

Top
Shoulders: 14"
Bust: 16" flat across from side seam to side seam
Waist-hips: widens out to 20" flat across from side seam to side seam
Length: 23" from neck to hem

Pants
Waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 35" from waist to hem
Inseam: 25"

Hat
21.5" around with a rounded crown to 5" and the brim is 4" 

Modern Sizing Equivalent: XS-SML

Item# DD3652

Reference Photos: (1) 1971 Trouser Suit & Blouse by Foale and Tuffin from The V&A Collection.  /  (2-3) Credit Unknown.  / (4-6) British Vogue, Sept 15 1971.

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

This gorgeous set would have been designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in his work with colour and cuts. This set is from the early part of the  1970s and it is incredible. 

This Lanvin set is utterly fantastic. It looks like it could have been pulled from a collection this very season it is in such remarkable condition. I am in absolute love with it. The colour, the design, the workmanship; everything about it is perfection. The fabric that has been used to create both pieces is a fine silk twill on par in quality to the silk twill that you would see used to make Hermes scarves. It has a hand screened with a gorgeous and vibrant print that was applied and pre-planned for panel before piecing it together. Anywhere a seam is necessary, the pattern has been lined up along them so they are barely seen at first glance. The beauty and brilliance of the colour is equaled by the fine workmanship that has gone into constructing it. The top has a loose and easy shape that has been created by a straight cut through the body. The neckline is high and has attached ties that extend out from the neckline that you can then wrap and tie as you wish. The pants are more fitted around the waist and hips and then flare out to be incredibly wide. By the time they reach the hem they are a full 46" around. When you are standing still you get the feel of a skirt and then when you move you have the ease of wearing a pant. They are gorgeous. The choice of fabric has allowed it to retained the crispness of the colour even after all of these years making it feel  new. At the same time it is feather light so once on the body it is is easy to wear and it moves beautifully with you. It is far better on person then how it photoed and like the best of all high quality vintage and couture pieces, it will only really come to life once on an actual body. It appears to have never been worn or worn very little. This is a set that is really like wearing a work of art. Excellent condition

The pants are unlined and close with a back zipper. The top closes with painted metal zipper that runs part way down the back. The top is lined in a bright yellow silk. All the inner seams are hand finished. Hand finished throughout. Made to couture standards. It appears to have never been worn or worn very little.

Top
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 24.5" from neck to hem

Pants
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 41" from waist to hem
Inseam: 29"

Modern Sizing Equivalent: SMl-MED

Item# DD3654

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. This dress is from the Fall 1984 collection and we found an amazing editorial photo of it in the September issue of Vogue that year. It is one of my favourite things in the shop and it is even better in person. 

I am completely in love with this dress. It is so representative of his work and is just a gorgeous little dress in its own right. The silk that he chose for the dress is a fine silk taffeta that holds the volume and shape that he wanted while still keeping the dress light and airy feeling once on the body. The colour are a blend of a silver toned grey with a large black floral print over it. The sleeves are puffed and they have lots of volume built into them. The neckline is high and the bodice is cut to to be more fitted. Into the silver silk taffeta below the neckline there is an inset made out of a semi-transparent silk that has a metallic lame finish. This angles up into a peak at the front and then wraps around the sides. It goes from the top of the peak in height right down to the waist seam. Set along the angle of the front peak is a long panel of the same metallic silk chiffon. These extend out into extra extra long ties. You cross them over each other and then you can wrap them around your body. For the shots here I have tied them at the back but they are long enough that you could wrap them around you and tie at the front as well. Depending on how you tie them you will get a glimpse of skin through the inner front panel. You can style the ties to take advantage of that and show more of the transparent panel or tie them so that it completely covers it for a fully opaque feel. This play on transparent cut-outs is a staple of Beene's work as he progressed into the nineties and I love seeing it in this earlier piece. Below the waist the skirt falls to the floor in a cascade of silver and black. There are many yards of silk that have been used to construct the skirt so when you move you can really get a sense of its fullness. You could probably add an underskirt if you wanted it to be even fuller. Underneath the top layer of the skirt is built in silk chiffon underskirt that is edged  in a wide panel of black lace. The lace is finished with a curving scalloped edge and when you move or sit you get just a peek of it from underneath. Square polished buttons down the back are the perfect finishing touch. It is gorgeous. Appears to have never been worn or worn very little. Excellent condition.

The skirt is fully lined in a black silk chiffon that is edged with a wide panel of scalloped black lace at the hem. The bodice is also lined in a black silk chiffon. It close with a series of buttons down the back and a low back zipper at the waist. The inner waist hooks to close. Each sleeve has elastic in its cuff and they are cut wide and easy. The ties are attached at the front as described above. It appears to have never been worn or worn very little.

Shoulders: no defined seam
Bust: 18" flat across the back from side seam to side seam
Seam at low waist: 13.5" flat across the back from side seam to side seam
Hips: open
Bodice: 16" from shoulder to low waist seam
Skirt: 40" from waist seam to bottom hem

Modern Sizing equivalent: SML-MED

Item# DD1904

Reference Photo: Vogue, September 1984.

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 Balmain transformation from what it was originally to what it is today began when they hired Christophe Decarnin. He was the designer that gave it its edgy feel that has continued to the present day under Olivier Rousteing, the label's current Creative Director. When the Fall 2008 collection showed Vogue's Nicole Phelps said in part: 'And as promised, Spring's haute hippie feathers, fringe, and tie-dye were replaced by an all-Billy Idol soundtrack and enough leopard-print chain mail, python-pattern denim, and crystal-embroidered lightning bolts to make you wonder if there was anything at all left on the shelves at Trash and Vaudeville. To be fair, Decarnin's creations are much finer than the East Village emporium's, but they appeal to a similar kind of chick, one with a killer body and an active nightlife.' The twin of this dress closed the show and it is perhaps one of the most memorable and significant pieces that Decarnin designed for the label. It was produced in very limited quantities and instantly sold out world wide despite a very hefty retail price. 

The dress is incredible and the skirts are all still their original lengths. I note that as I have only ever seen one other of these for sale and it had its skirts shortened at some point. The length is integral to the design in many ways. The skirt panels are incredibly long and light in weight so that when you move they float and billow around you as you can see in the runway footage. Above the skirts it is extremely fitted long curving bodice that is constructed to highlight your every curve. On the interior of the bodice there is a full boned corset with built in cups. The corset is cut to run from the bust to the top of the hips so that you are molded and shaped into place. On the outside the silk is hand draped and placed into position to form soft gathers that run around you. A huge zig zag bolt runs down the front. It is densely covered in crystals and it separates the prints on either side of you. The silk on one side is zebra and the silk used for this is a light scarf weight silk. The other side is finished in a black and white leopard print. On that side the silk is more of a silk faille and slightly heavier in weight then the zebra printed silk is. This change in weights of the silk is genius because it means that the way the silk moves in the skirts changes and you get more movement. The crystal covered panel that divides the two printed sides curves over just one shoulder and then runs down the front in the dramatic zig zag that you see. At the back it extends just past the shoulder and curves to the side. To close the dress Decarnin  has used one of the signature chunky Balmain zippers to divide the two prints. The zipper is set on a curve that follows the curve of your body and it becomes an incredible design detail in itself. The dress is fitted to the top of the hips and then the skirts flare out into long trains of fabric. The predominant part of the skirt is made from the leopard print and this is set on a curve at the hem that extends out to the side and to the back. There is a smaller panel at the front that is made out of the zebra print silk that also extends out and back. Where the two fabrics meet at the front side, they are only attached at the to and not together. This means that an opening is created that goes right up to the top of the thigh. When you move your entire legs shows. We have included the runway footage for reference so that you can see just how incredible it is when it is on and you walk. Excellent condition with a minor note below.

The inner bodice has a fully built in boned corset made from a nude colored lingerie stretch corseting nylon fabric that has built in cups and is finished by hand. The fabric is hand draped over this and the crystals and lightening bolt have been attached by hand. It closes with a curved set zipper that allows the form fitting construction of the dress. Tagged a 40. There are a couple of small repairs along the hem of the trained skirts. Some tiny pulls in the silk of the bodice. Please see the photos after the label shot. Hand finished throughout. The inner foundation garment does have some stretch. You might be able to squeeze out a bit more room when on a real body.

Bust: 15-17" flat across from side seam to side seam
Waist: 11.5-12.5" flat across from side seam to side seam
Hips: 16.5-17.5" flat across from side seam to side seam
Bodice: 33" from top of shoulder to bottom of inner foundation garment
Skirt: 28.5" from bottom of inner foundation garment to shortest hem, 53" to the longest hem

Modern Sizing Equivalent: XS-MED

Item# DD3115

Reference Photos: (1-2) F/W 2008 Balmain Runway, Final Look.  /  (3) Iman in Balmain, photographed by Steven Meisel, for Vogue Italia, July 2008.

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 rare example of Hanae Mori Haute Couture from the Spring 2000 collection. This dress is an especially  interesting couture example because it illustrates how couture pieces are made specifically for the client when they are produced and are not always an exact copy of what was shown on the runway. The dress itself is a sleeveless version of Look 7 from the Spring 2000 runway but the print on the silk was shown in the Fall 1990 Haute Couture collection. I have included a reference photo of both of those for you. I love the idea that the client had this dress made but somehow saw or remembered the print from a full ten years before this and asked to have it made in that earlier print. It just shows how much love and care goes into couture and how it is truly made for each individual client. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Haute Couture examples by her are a rare find and this one is exceptionally beautiful. With its level of customization it is most certainly the only one that would have ever been made. 

The dress is entirely made by hand and is stunning. It is suspended from the shoulder by two tiny silk straps. These curve over your shoulders and meet the peaked bodice at the front and the dropped edge at the back. The bodice is hand draped to create soft folds that follow the curving angle of the panels. I love how she has mixed two shades of silvery greys there. The front is set in high peaks above the breasts and it dips at the front into a V. It then curves around the back to leave the upper back exposed. The silk hugs in and around the lower back. The skirt is set into that structured bodice giving it a touch of an empire feel. It has one of her custom designed prints screened onto feather light silk layers on both the exterior layer and on the inner dress. The print is a beautiful forested mountain scene that is done in grey-scale. This runs from the hem to to about the hips all around the dress. In the ivory above the forest print you see her signature butterflies floating on the imagined air currents. Some of the butterflies are almost ghostly in the way that they are printed onto the silk and they are incredibly beautiful. The scene is printed on both the silk chiffon top layer and the silk twill inner layer. This allows the two prints on each layer to be slightly offset as they float over each other giving the print an extra dimension of depth. Doing this layered technique is one of her signatures. By using a slightly transparent silk chiffon for the top layer she also builds in that sense of lightness that the dress has. The skirt widens out as it nears the hem as the front and has a softness to it as the chiffon floats over the inner layer. At the back it is cut longer then the front and flows down and past the ground beautifully. The movement and drama this creates is extraordinary. This dress came with a huge single layer silk chiffon shawl that has that same forest and butterfly print screened onto it. It is so large that it creates a caped effect if you decide to wear it simple draped over the shoulders. You could wrap and style it many different ways for different styling effects. It just adds to the air floating feel the dress has and it is wonderful to have this little extra bit of romance. The dress is a stunning example of her work and beautifully made. Finding her true couture pieces is rare. This would even make a beautiful wedding dress for someone looking for something non-traditional. Excellent condition

Fully lined in a hand set cream silk. It has a fully built in inner boned bodice that closes with its own independent zipper. A second hidden set zipper closes the exterior. The top silk chiffon layer of the skirt hides the zipper below it and closes over the zipper with her signature teeny tiny fabric covered snaps. An inner waist stay hooks to close. Hand finished throughout to Haute Couture standards. The proper Haute Couture label is present and it has its hand written couture tape underneath marked #C 1109 5.4.2000. There is the very faintest of tiny marks to the silk just below the waist line. Perhaps the tiniest of pulls to the fabric here and there and a small bit of scuffing to the inner lining of the train. Please see the photo after the label shot for the exterior mark noted here. All minor and other wise is appears to have been worn very little if at all unworn.

Bust: 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 44" from waist to shortest point of front hem, 59" to the back hem
Shawl: 36" x 124"

Modern Sizing Equivalent: MED-LRG

Item# DD3020

Reference Photo: (1) Hanae Mori F/W 1990 Haute Couture Collection.  /  (2) Hanae Mori S/S 2000 Haute Couture Collection. (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Shooting Stars' Headpiece - available on the site here >

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

This coat would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites and in particular his pieces that utilize quilting and patchwork are truly iconic. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland.

This is a wonderful piece that can be worn as either a coat or a dress thanks to the zip front that completely opens. It has the added provenance of being the twin to the one featured in the ad campaign for 1970. The base of the coat is a black fabric that feels like a light wool that has a slight ribbed texture in it. The entire coat is detailed with a combination of a red braiding and red ric rac that follows the lines of the coat to emphasize the pattern and cut. Elaborate designs run over the body of the piece and all around the hem. Pops of a white cotton are used to  create even more drama. A floral patchwork is set into all of this on big curving and angular cuts. This anchor all the various parts of the design and give a pop of contrast to the the starkness of the red, black and white colour combination. The collar has a beautifully curved cut out to it and it flares out dramatically at the bottom. The sleeves are deliberately kept simple so that all you see is that spectacular design through the body of the coat. It is so dramatic and like wearing art. I love it. Excellent condition

Fully lined in a hand set red silk and closes down the front with an unpainted silver zipper. It appears to have been worn very little if at all. Tagged a vintage 8

Sleeves: 22"
Slightly dropped shoulders: 16.5"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C536

Reference Photo: "The Malcolm Starr All Starrs" Ad, 1970.

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

The twin of this dress in a red colour is held in the permanent archives of The Metropolitan Museum of Art and that red version was exhibited in the 'The Model as Muse: Embodying Fashion' Exhibit in 2009. The dress also has the added provenance of being the twin to the metallic version that Halston custom made for Bianca Jagger. I have included several photos of her for reference. Photos of her in the dress also appear in two of my Halston books and it is fabulous to have found this very versatile solid navy version. This is classic Halston from his main label couture line. It is one of the most instantly recognizable looks that he ever created because of the Bianca connection. It is an incredible example of his work from this time period. 

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. The fabric is a beautiful deep navy silk jersey that moves and drapes beautifully. The dress is made to be one long tube with two extra, extra long ties that extend out from one end. At the front the fabric divides into two pieces to create the ties and this leaves a low V there. At the back the fabric dips in a graceful curve and the entire back is exposed to leave it bare. You can then wrap and tie those long ties in a variety of ways. I have shown a few ways to wear it on the dress form and I bet you could come up with more. Those ties make it incredible versatile and really it is like buying several dresses in one. They allow you to control how low the back dips and the the plunge at the front and this also allows you to control the overall length of the dress. You have the versatility to wear it with the ties wrapped around you for more shape through the waist or you can let the ties fall down the back so the the dress simply skims over the body instead of hugging your curves. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it would be favoured as a piece worthy of being in The Met. I would not be surprised to see the red version showcased in the upcoming Met Gala themed exhibit on American fashion. Excellent condition

Constructed from a single bias cut layer with the ties extending out from one end. The dress slips on to wear with no closures. It can be wrapped and tied several ways as shown. Hand finished. It is all bias cut which should allow for a larger range of sizing. I see a couple of tiny marks where the fabric has darkened a touch but nothing that would photo or that you see unless super looking. The fabric has stretch and I have put the comfortable range of measurements laying flat. You could probably get a little more if needed

Bust: the fabric is approx 16" flat across but there are no side seams so it will fit a large variety of bust sizes
Waist: 12.5-17"
Hips: 17-22" flat across from side seam to side seam
Length: approx 58-59" from shoulder to hem but you can adjust it up or down depending on how you choose to wear it 

Modern Sizing Equivalent: XS-LRG

Item# DD3651

Reference Photos: (1) c.1977 Halston Dress from The MET Collection Online.  /  (2-6) Bianca Jagger and Halston at The MET Costume Institute Dinner, December 12, 1977.  (5) From the book "Halston" by Phaidon. (6) From the book "Halston: An American Original" by Elaine Gross and Fred Rottman.

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

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

This particular dress has the added provenance that its twin was worn by Nancy Reagan on two separate occasions. The first time was at a party in London where she was photoed with Douglas Fairbanks Jr and Princess Grace of Monaco. She then wore it again to the premiere of Annie in 1982. It was obviously a favourite and for good reason. The dress is absolutely gorgeous. It has a long slim cut with just a suggestion of shape through the waist. As it nears the hem it widens out just a touch and there is a high slit on the side that the shoulder is bare on. This allows you to walk and also lets a flash of leg show when you move or sit. It is lined with a very fine, high end red silk that feels like heaven over your skin. The top is angled up and over the shoulder. It is cut wide at the top of the shoulder and this curves over you and then dips down to follow the same angle at the back. The edge of the neckline and the arm are both finished in a small ruffle of the same silk faille that the rest of the dress is made out of. For detail he has added a gorgeous design that follows the angle of the angled front and back. The design is done to suggest leaves and grapes perhaps. It was created by utilizing a trapunto quilting effect where two layers of fabric are used, the underside of which is slit and padded, to produce a raised pouf effect on the top layer. It is a tedious method that would have added several hours to the dress to do this by hand. The dress is stunning on and the reference photos of Nancy included here give you an idea of how much it transforms once on an actual body. Excellent condition 

Fully lined in a red silk and closes with a zipper at the side. Ribbon edge inter seams. It appears to have been worn very little if at all. The colour in person is a little darker then how it photoed. In person it is between the colour of the shots here and the pics of Nancy in the reference photos 

Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56.5" from top of shoulder to hem with approx 2" turned under
Slit: 26.5 from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3649

Reference Photos: (1) Nancy Reagan with Douglas Fairbanks Jr and Princess Grace of Monaco at a party in London, 1981.  /  (2-4) Nancy Reagan at the premiere of 'Annie' at Radio City Music Hall in 1982.

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 2011 Resort collection and was Look 29 of the presentation. In 2011 Valentino was headed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. Vogue's Nicole Phelps said of the show; 'Maria Grazia Chiuri and Pier Paolo Piccioli have won the hearts of the Hollywood and social sets. For proof, one only need look at the red carpet—Sarah Jessica Parker and Dree Hemingway wore Valentino couture to the New York premiere of Sex and the City 2 and the Cannes amfAR gala, respectively.....Taking cues from both the late sixties (when Valentino Garavani was one of the first couturiers to use logos on ready-to-wear) and the current runways...for the eveningwear, in which cheery garden party florals slowly fade to black on the hems of sleeveless dresses and strapless gowns. Well, most of the eveningwear. There were a few perfectly pretty flower-strewn frocks for occasions when edge is out of the question.' This is one of those flower strewn dresses and it was an instant success selling out worldwide. It has the added provenance of Michelle Williams choosing its twin for the Golden Globes Red Carpet. 

This is the kind dress that you see in real life and it makes you swoon. As good as it looks on the red carpet you can also imagine it working as a wedding dress or part of a wedding event for a bride looking for something not quite as traditional. It is made out of a silk organza that is a light nude cafe au lait colour. This is layered over multiple layers of silk. There is an inner silk lining topped by two layers of chiffon and then a layer of solid silk organza between those and the very top layer. The detail and care put into it is just incredible. The very top layer of silk has been printed with that gorgeous daisy print that you see. It has been printed onto the fabric so that it appears to have been hand painted. These bright pops of white are fantastic against the nude silk and give the dress its fresh and romantic feel. At the front the dress is cut to be fairly sleek in feel with a v cut neckline and high waist seam. It flows to the floor in a long column and you get just a suggestion of the ruffles that you will see when you turn around. The back skirt is cut to be far more full then the front. It is finished with a double layered of ruffles that start at the base of the low back and then curve out on each side all the way 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. The back is cut right down to the waist to leave a bare expanse of skin showing. The straps are the perfect finish. They curve up and around the shoulder and then angle gracefully in towards the centre of the low back. Each is finished with a combination of 3D embroidered and white leather flower embellishments. 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 an off-set back zipper that is hidden along a side seam. No size tag present. It appears to have been worn very little if at all. It retailed for $7900 in 2011

Bust: approx 18 " flat across from side seam to side seam
Seam under bust: 15" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Bodice: 14" from top of shoulders to seam under bust
Skirt: 48" from seam under bust to front, 50" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3648

Reference Photos: (1) Resort 2011 Valentino Collection Presentation, Look 29. Model: Tati Cotliar.  /  (2-4) Michelle Williams in Valentino at the 2011 Golden Globes.  /  (5) Resort 2011 Valentino Dress. Photo: netaporter.

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

Fashion journalist Alexander Fury saw this on my Instagram when it first landed and helped me to identify this jumpsuit as being from the very first show that John Galliano designed for Dior. He designed the pre-fall ready to wear collection just before he presented his first couture show. Fury told me that the show was not actually shown publicly since they were in the middle of the switch over and they wanted the Couture show to be his debut to the public. He also pointed out that many of the elements in this show are seen in the next two couture collections that he did as well as the next few RTW shows. This makes this a significantly important piece that is very special and a rare and interesting piece on terms of the history of Dior and Galliano. This was sold but did not fit my client and is currently on the ay back so if you are interested in purchasing it please contact me. 

The jumpsuit is made out of a black crepe that is slightly textured. It is cut to skim over the body and feel easy to wear. It's easy through the waist and then the pants skim down from there. Each leg is shaped into the perfect boot cut with just a hint of a flare by the time they reach the hem. Depending on how tall you are they will sit slightly cropped. Slung on each hip is a flap of fabric that gives the look of a peplum or perhaps a flap pocket but this is actually a design element that wraps all the way around the back and runs hip to hip. I love that this leaves the front sleek and flat so there is no bulk added yet at the same time it gives a bit of shape through the hips. It is like a design detail all on its own and makes wearing a belt optional. The bodice is cut to be fitted and hugs the body with a slight sweetheart shape at the top edge. There is a double strap that curves up and over each shoulder and these are made with a series of glossy black, faceted beads for the subtlest touch of high glamour. The cut of this is perfection and the fabric is exquisite. I love how it looks like you are wearing a chic little top and pants but being a jumpsuit makes it effortless to wear. It is so versatile and chic. It can be worn with flats for lunch or heels for evening. It looks to have never been worn or worn very little. Excellent condition 

Fully lined in a black silk and closes at the side with a hidden interior zipper and a second exterior zipper on the top part over that. Tagged a Dior FR38 or US6 and looks to have been worn very little if at all. 

Bust: to 16.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 54" from top of shoulder to the hem of the pants 
Inseam: 28" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3545

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 a great little black dress by Yves Saint Laurent. It is strapless and cut to hug your curves. The fabric is a black cotton that is heavy enough to give the dress some structure. To put it on you first do up the bandeau that is inside the dress. This is made from a black muslin and this inside piece zips into place so that the dress is held securely around you. Then you simply button it up down the front. I love the flap finish that runs all the way around the top of the dress. There are two big pockets on each hip that are finished with that same exaggerated flap. They not only add detailing but also add the illusion of more shape. The flap at the top adds shape to the bust and the ones on the pockets help to give the hips a flare out for an hourglass feel. The hem is cut short to that you get miles of legs showing. Everything about the cut of the dress is done to highlight the curves of the body. It is wonderful. Excellent condition

Unlined with an attached interior bandeau as described above. Buttons to close. Pockets are functional. The fabric has a very very slight fade feel to it at some or the edges that is a natural component of this fabric as it ages. 

Bust: to 17" flat across from side seam to side seam
Waist at inner waist stay: 14.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 26.5" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3641

Reference Photos: S/S 1985 Yves Saint Laurent Rive Gauche Runway.

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

The twin of this dress walked the 1997 runway. It looked amazing on the runway that season and I am so pleased to have this one in the shop. Finding runway references for Mugler's work is not always easy as he would often change designs for production and produced many pieces that were not shown on the runway. It's an extraordinary find and a gorgeous dress.

I love the sharp fitted lines of the dress and how the lingerie feeling ruffles on the bodice give the dress an almost scandalous feel. This is classic Mugler and the ruffles gives the dress that overt sensuality that he so often worked into his creations. The dress is made out of a black jersey that is a touch thicker then normal so really molds and accentuates your curves. It is then seamed to further create that fitted shape that you see. The seams are all set into curving lines that curve down the body to create an hourglass shape. The seams also help to give the dress structure, shape and support. The waist nips in and the hips curve out following the lines of the body. Pockets are set to curve around each hip, which is a brilliant way to give the hips more shape. The skirt is cut above the knee and curves in slightly at the hem for a more fitted silhouette. The bust is spectacular. It is seamed and molded like a bra cup and then little ruffles in an ivory silk are applied to the edge at the front. The tops of the ruffle is jagged and finished with an embroidered edging. So you are completely covered but at the same time it has that French maid, lingerie feel to it. You only have to look at the runway photos included to know how wonderful this one is. Excellent condition

Fully lined in a black silk and closes with a back zipper. Tagged a vintage Mugler 38. The cups will probably fit up to a small B

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 34" from top of straps to hem

Modern Sizing Equivalent: XS-SML

Item# DD3518

Reference Photos: Spring 1997 Couture Thierry Mugler Runway Collection, Look 15.

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

Many people do not know that Emanuel Ungaro took a position with Balenciaga in 1958 and in 1960 he became the chief designer of the house, staying there until 1964 before he briefly went on to Courreges before opening his own couture atelier in 1965. The Ungaro label has fallen from its former glory of the sixties through to the eighties, but in its heyday, the label was a force in the world of Haute Couture.

This dress is a wonderful example of the range that Ungaro had. He had a brilliant way of using of print and colour that he combined with soft fluid tailoring. This gorgeous little day dress is simple in cut but it is gorgeous once on an actual body. These little day dresses are often underrated when it comes to Haute Couture but they should not be. They are beautifully made and the quality is beyond anything you will find in modern RTW. The dress is made out of a fine high end silk that has a lattice and floral print covering its surface. Pastel peaches and taupes cover a white backdrop for a pretty and refined feel. I love the very full balloon cut sleeves. Each billows out above the cuffed wrists and takes the dress a step up from the classic day dress. The neckline is high and yoked across the shoulders with soft gathers. It skims over the bust and then a silk tie runs around and through the waist. This allows you to wear the dress with a loose and easy shift dress feel or you can cinch it in for added shape. The skirt has two little slant pockets that sit on each hip. The fabric is very light in weight and backed in a fine silk. It is made by hand to Haute Couture standards and is even better in person and on an actual body. Excellent condition with one small note below

Fully lined in a hand set silk of very high quality. It closes with a hand set, painted metal zipper and hook and eye at the back. Each cuff has a fine hand set zipper and hook & eye. The belt is partially attached and snaps into place to close. There is a small amount of shattering under each arm of the inner lining. It appears to be stable and does not affect the exterior. Please see the shot after the label shot. Done by hand to Haute Couture standards. Proper Haute Couture label present and the tape is numbered under label #H205-5-74

Sleeves: 25" approx.
Shoulders: no defined seam
Bust: to 20" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 14.5" from shoulder to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item#DD2522

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