The beading technique used on this dress is distinctive and it led me to a dress from this the Fall 1974 collection that uses the same beading technique. That one was photoed by Guy Bourdin for Vogue that season.  And a twin of of that dress was auctioned off at Sotherby's with the final hammer reaching 3000 euros. Examples of Karl's work during this time period are held in museums around the world and are rare finds. This is an important piece of fashion history.

In person, this dress is even better then how it photoed. The cut is simple but it is very sexy with a wrapped feel to the bodice and its long silhouette. The dress is made out of a black silk crepe that has a slight bias cut to it that allows it to flow over the body and mold to your shape. Gold glass tube beads are applied in little angled rows over part of the bodice to highlight that feeling that the dress is wrapped around the body. The beads have been hand applied and are set onto the bodice on the one side up and curve up and around the neckline. From there they wrap around the waist and wrap around the hip in a long curve. This amazing design really emphasizes your curves. The neckline is high and the back curves and dips down quite low to leave the back bare. I love the wrapped illusion created by the way the beading is applied over the bodice and how the neckline curves up and around the neck in such a graceful line. The dress skims over the hips and flares out once it reaches the hem with a touch of a fishtail effect at the back and a side vent that really allows it to flare out as you walk. It is magic once on an actual body. Excellent condition

Partially lined on the same silk through the bodice and the skirt is unlined. It closes with a side painted metal zipper. Hand finished interior and beautifully constructed.

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from neck to front hem,  62" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3293

Reference Photos: F/W 1973-74 Chloe by Guy Bourdin for French Vogue.

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 last dress I had by Pierre Cardin in a similar fabric and from this same time period ended up being purchased by a museum and I am very pleased to have such a wonderful example once again in the shop. It is always nice to have that museum validation as a collector to know that you are buying an important and relevant piece. I have included two reference photos. One of from the dress held in the Met Museum that dates to 1959 showing the origins of his idea for the ruffled 'petal' roundel hem> the other is a shot from the March issue of British Vogue showing a model in a dress and hat made of a similar print.

This dress is extraordinary and any collector of Pierre Cardin will instantly recognize it for the every special piece that it is. The dress is made out of a printed silk organza and I love that if you look closely you will see little hearts worked into the design. The dress is sleeveless and is cut to skim over the body with just a suggestion of curves as it works it way over the bust, waist and hips. The skirt is spectacular and the highlight of the dress. In person the movement it has and the volume created when you move are incredible. Long oval roundels are hand stitched down their centers to the skirt. This leaves each side of the oval free and off the dress so that they move freely. They are spaced tightly together all the way around the hem. I love how they are set so that they are higher in the front and then curve gracefully down to the back where they are set to fall longer and to the dresses full length. It is a stunningly beautiful and rare piece that I am very excited to have in the shop. Excellent condition with a minor note below to review.

Fully lined in a turquoise silk and closes with a hidden set back zipper. Hand finished throughout. There is a tiny repair near the zipper and a tiny repair area near the side seam. Please see the two photos after the label shot.

Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18,5" flat across from side seam to side seam
Length: 49" from neck to shortest point of the front hem, 60" to the back

Modern Sizing Equivalent: SML-MED

Item# DD3520

Reference Photos: (1) Model in Pierre Cardin for Vogue UK, March 1971. Photo by Barry Lategan.  /  (2) 1959 Pierre Cardin Dress from The Met Collection Online.

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 dress in a similar cut in a blue metallic was worn by Iman on the Fall 1988 runway. Just behind her shoulder you can see one that was done ina black and gold colorway like this one is. This figure hugging bodice with a low-slung voluminous skirt was a trademark look for Ungar during this time period and this is a stunning example of his work at the time.

This is a dress made to hug and shape your figure into an hourglass. The metallic gold used is fantastic and pops against the black silk. The metallic thread catches the light and intensifies the feel of the gown. The fabric itself is quite light in weight but the construction of the dress is so elaborate that the dress has a decent weight to it on the hanger. Once on the body it feel balanced and light. The inside of the dress is quite structured for support and it is molded and boned to hold the shape that you see. The bodice is a modified strapless sweetheart neckline that curved and dips across the top. Through the body the dress is elaborately gathered with hand placed and gathered folds. These run from the bust right down and over the hips so your shape is very emphasized. Under that, the skirt is set with tiers and panels of a black silk, and each panel is individually set on an angle. This gives the low set skirt a huge amount of volume and movement. This technique also allows each panel that makes up the skirt to move freely so that whenever you move it does as well. A little box at the back is the perfect finishing detail. It is incredible and even more so once on. Excellent condition.

Fully lined in a black silk and zips to close at the back. Tagged a vintage 8. Note that the zipper stops a few inches above the low seam of the hips so there is no give in that part of the measurement. Looks to have been worn very little if at all. Boned through the bodice.

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 26" from top of bodice to low seam below hips
Length: 54" from top of the bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD3509

Reference Photo: Iman on the F/W 1988-89 Emanuel Ungaro 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 perhaps one of the most famous of all the Gucci dresses produced while Tom Ford headed the house. The white version of this one was worn by Georgina Grenville in the Gucci ad campaign of 1996 and the twin of this black version was worn by Tatjana Patitz for the Vogue Australia editorial 'The Lioness' in the May 1997 issue. It was wait-listed world wide and sold out everywhere as it was only produced in very limited quantities. To this day it is one of the most easily recognizable pieces created by Tom Ford from entire body of his work while at Gucci.

These were only ever produced in black or a white. Even when one of these come to market on the very rare occasion they do not always have their original gold metal G-string that sits under the dress and peeks perfectly through the keyhole on the hip. This one not only has that still, but the G-string is still in its original Gucci packaging. The dress is cut to fall in a beautiful sweeping column of slinky black jersey and skims over the body rather than hug your curves. The neckline is cut wide across and the sleeves are long and slim. The sexuality of the piece is in that glimpse of skin at the hip and the flash of gold against the span of bare skin. Carolyn Murphy wore this on the runway with nothing under it but that G-string that its curved gold metal plate and it brought down the house. It is incredible and an extremely well documented piece of fashion history. Excellent condition.

Fully lined in a black jersey rayon. Slips on to wear. Tagged a 40. The G-string that goes under the dress hooks to close on one side with a large lobster claw clasp. The G-string comes in its original Gucci packaging and has stretch and is made to fit the corresponding size to the dress. There is the tinsel of fraying around the seams on it. The dress appears to have been worn very little if at all. The fabric has some stretch.

Sleeves: 25.5"
Shoulders: 14.5"
Bust: 16-18" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Bodice: 59.5" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3505

Reference Photos: (1) F/W 1996 Runway Collection.  /  (2)  Vogue Australia, May 1997.  /  (3) Gucci ad campaign, 1996.

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

This dress is instantly recognizable as 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 dress has the added provenance of being the twin of the one recently worn by Tracee Ellis Ross on a 2020 episode of Blackish where she portrayed Cher. 

This is an amazing dress that is heavily sequinned and extremely sexy and flattering once on. The base of the dress is made of a nude stretch silk netting that has a pattern made up of beautiful curving bands that feel like they are wrapped around you like flames. Mixed into this is an elaborated detailing made of faux pearls that curve down the front of the dress and highlight that very high set slit at the front. The pearl embellishments travel upwards right to the neckline and even run down each sleeve. The designs that you see are made up of ivory colored sequins hand set in curving bands. White and silver tube beads are set vertically to create an edge around each of those curving bands. Additional silver sequins and even some rhinestones are scattered in between. This combination of the glass tube beads and sequins give the dress an extra layer of texture and glamour as every inch of it catches the light and sparkles. As a result the dress has a decent weight to it when it is off of the body because of that extensive bead-work, and yet once on the body it lies and drapes in a way that it is balanced and not at all unwieldy. The bodice is cut to skim over the chest with a high, slightly angled neckline. The sleeves are cut straight and lined with an additional layer of nude silk to really show off the design that trails down and around each sleeve. The waist is brought in just slightly so that there is a bit of shape created but there is no horizontal seam to break the lines of the design. The skirt is incredible and is cut on a curve so the back is longer then the front and it wraps around you to that high, wide slit at the front. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. If you even remotely love it in the photos you will dance when you see it in person as it is so, so, so much better in real life. Extremely well made and made to demi-couture standards. These were sent to the stores with a full lining made of a nude 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 nude silk through the body and the sleeves have a more transparent nude chiffon lining. It closes with a painted metal and nylon back zipper. Hand finished throughout. Slight padding in each shoulder and zippers on each cuff. In person it is a touch more of a cream. It does have some stretch and the measurements below are the comfortable range laying flat. I see a bit of grubbiness to the lining near the arms. 

Sleeves: 23"
Shoulders: 15
Bust: 18-19" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 56" from neck to longest point of back hem
Slit: approx 24" from front hem up

Modern Sizing Equivalent: SML-MED

Item# DD3503

Reference Photo: Tracee Ellis Ross in Bob Mackie for Blackish (from her Instagram and the Blackish Instagram).

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 archive of the Roman couture house Tiziani, which was founded in 1963 by American designer Evans Richards. The label quickly became a favorite among celebrities and socialites including Elizabeth Taylor, who was a regular client; Doris Duke, Gina Lollobrigida, and Principessa Borghese. The label is also famous because of the fact that as a young designer, Karl Lagerfeld accepted a job there. Lagerfeld worked at Tiziani from 1963 to 1969. This piece is unlabeled but has the provenance of being a part of a past auction that featured the sketches and a few select pieces of work from Karl Lagerfeld's time at the label, this dress being one of them. It also does have it couture tape present. 

The dress is constructed from a fine, pale blush pink coloured silk chiffon that in person has a prettier and softer feeling then how it photoed. The colour is even better when you see it in person. The dress is very beautiful and has a very romantic feel to it. The silk it is made out of is extremely light and airy so that it feels like it is floating around you when you move. The work on this dress is meticulously done and I have included a shot of the interior so that you can see the couture workmanship inside. The bodice is cut to skim over the bust with light padding in each shoulder to give it just a touch of structure. At the neckline there is a pretty bow shaped cut out with an open lattice inside of the bows. This has been densely embellished with pink sequins, beads and rhinestones. I love the little flowers formed along the lattice and how Lagerfeld has used this touch of glitz almost like it was an attached piece of jewellery at the neck. The bead work is extremely fine and mixes tiny seed beads, sequins and prong set rhinestones. Being set onto a lattice means that you get just a touch of skin peaking through from underneath. The neckline is softly scooped above that with a ring of the same embellishment circling the neckline. The sleeves are cut to pouf above the buttoned and cuffed wrists. Each sleeve is unlined so that you get a touch of transparency through the silk. The skirt falls from under the bodice and is set along the waist on a curved line and a series of soft gathers. It falls to the floor and gently widens out as it nears the hem. The construction of the dress is entirely by hand and it is done to Haute Couture levels and is stunning. It is extraordinary and an amazing piece of fashion history. Excellent condition

Fully lined in a hand set pale pink silk through bodice and the skirt has an inner skirt that is made of silk satin. It closes with a hand set back zipper. Each cuff buttons to close. Hand work throughout and made to couture standards. Perhaps a touch of grubbiness here and there to the very edges of the hem.

Sleeves: 26"
Slightly dropped shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Inner hips: 20" flat across from side seam to side seam
Length: 62" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3501

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

My client purchased this spectacular Vivienne Westwood gown from her mothers shop. She wore it to a friends birthday gala and that was the only time it was ever worn. We narrowed down the date based on that info and also recently found footage of a version of it in the spring 1996 show.

The cut and line of this dress are pure heaven. It is strapless and has that famous dipped and front peaked bodice edging that Vivienne has become famous for. Inside the bodice is one of her boned and shaped corsets. This is constructed to cinch you in at the waist and push up the breasts. Once on an actual body you will get that full Westwood effect from that inner corseting. The large flat bow that sits at the top of bust only emphasizes this. The bow is constructed so that it curves out from the body and this adds more shape to the bust and gives the otherwise simple dress detailing. Below that, the waist curves in with vertical seaming. It then curves over the hips and flares out, widening out as it curves towards the floor. The construction of the skirt has an almost architectural feel to it and it reminds me of that famous Charles James gown in the way that it flares and curves outwards on each side. The fabric is a heavy black silk satin that gives the dress the stability it needs to hold that shape once on the body. It is incredible and a rare find. Excellent condition

Fully lined in a black silk with an inner built in corseted bodice as shown. Inner wired peaks at the side of the bodice The corset zippers to close. The outer dress also zips to close with a hidden set zipper along the seam offset at the back. Tagged a vintage Uk 10

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 51" from top of bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3343

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

This gorgeous little dress is a version of the all pink dress that walked the runway and was featured in the ad campaign that featured Linda Evangelista. The 1987 collection with its pink bows and accents is one of my all time favourites and I am very pleased to have this wonderful example from it in the shop for you.

This gorgeous dress is made from a black silk faille base with a bright shot of the signature pink used throughout the collection that year. The ruffle is in the same fabric that has been specifically dyed to this exact colour of pink. This choice in  fabric gives the dress its structure and shape and also allows for the volume that you see in the ruffle detailing that wraps around the waist and hips. The bodice is strapless and cut to curve in a modified sweetheart neckline. It is lightly boned on the inside for a built in shape that molds your form to it. It then curves in to skim over the waist and curves back out for the hips. From there it falls past the hips and then gently flaring outwards at the hem. The hem is not as dramatically cut as the runway version but also feels more wearable as a result. It is cut slightly longer at the back and I love how there is a matching dip at the back of the bodice so that there is an illusion of added length created. The pink ruffle is the star of the show and makes a wonderful impact. It is attached starting at the back waist and then wraps and dips down and around the lower hip on the other side. It is precisely folded and set so that the ruffles flare outwards from the body. Where it meets at the back hem the fabric on each side extends into two long and wide panels. You can let them hang from a simple knot as I have shown it or create a more elaborate bow. It is fabulous. Excellent condition with a very minor note below.

Fully lined in a black silk and closes with a side set zipper. It has a built in inner bodice that is lightly boned and shaped. Inner waist stay that hooks to close with a flat hook & eye. Tagged a 38 and has no give. There is the teeniest bit of fading to the pink along the fold edge on the one hip. Please review the photo after the label shot.

Bust: 15.5" 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
Length: 47" from top of bodice to front hem, 49.5" to the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3276

Reference Photo: (1-3) S/S 1987 Yves Saint Laurent Runway.  /  (4) Linda Evangelista for Yves Saint Laurent, Vogue, March 1987.  /  (5) Linda Evangelista in Yves Saint Laurent, Vogue UK, March 1987. Photo by Hans Feurer.

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

The twin of this dress was shown as Look 30 for the Fall 2016 Rosie Assoulin show and it was only offered for sale through the trunk show feature at Moda Operandi. Meaning that only the few dresses pre-ordered were produced in this style making it a rare piece of her work. This dress still has both its original Rosie Assoulin tags and the Moda Operandi tags attached and is in unworn condition. 

This dress is amazing and if you are not afraid of a strong colour then you will love the statement it makes. The yellow is incredibly vibrant, it is almost a neon and in real life is even a touch more of an true bright lemon yellow then the tone it photoed. The fabric is light weight, yellow embroidered wool on a crinkled silk chiffon. It is very easy to wear. When the ties are not done up the dress has an almost caftan feel and is cut very loose and easy through the entire body. The design is quite clever. Long ties loop through the plunge at the front neckline and then extend out for several yards. There are little double sided loops that slide and move along the ties that you can adjust to sit where you wish. These help to hold the ties in place and create a halter feel as you wrap them around your body. The front has a little squared off plunge that sits quite deep and the the neckline is cut wide and meant to sit almost off the shoulders. The ties help to suspend and hold it in place as you see it in the reference photo. The dress falls from there in a widening line to the floor and it is cut supermodel long. The sleeves are spectacular and were a cornerstone of this collection. They are each very full and voluminous with ties at their cuffs so you can cinch them in to where you wish. It is a remarkable dress and stunning on. Excellent condition. 

The dress is interlined in a matching yellow silk organza. It slips on over the head and you can adjust the attached ties as you wish. Comes with an additional tie as well. All tags attached as per above description. Tagged a US 8. The easy cut should allow it to fit a range of sizes

Sleeves: 15"
Wise set shoulders: approx 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: open
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3497

Reference Photo: Fall 2016 Rosie Assoulin Collection, Look 30.

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

Renato Balestra launched his couture label in Rome in 1951. His work quickly gained international fame and was one of the cornerstone ateliers of the Italian couture 'Alta Moda' movement. On their website they state: 'The Balestra brand blends the mastery of the artisans and the style of the designer to express its vision to the fullest, thanks to hundreds of hours of craftmanship and the highest attention to details.' This is a beautiful example of his work and is in remarkable condition. This particular piece has the added provenance of having been more for the Ebony Fashion Fair and could very well be the only one ever made exactly like this. 

The jumpsuit is made from a very fine silk satin that uses both a yellow and a purple for an electric clash of colours. The purple silk is used for the halter cut top of the jumpsuit and then a bright clear yellow has been used for the wide cut pants that start just under the high set waist. Under the bust the same purple silk has been individually cut into an intricate design and laid out onto the yellow silk. This was then appliqued onto the silk using a mix of a purple metallic thread embroidery, rhinestones and tiny tube beads to give it a 3D feel. These have all been meticulously laid out and done by hand. This touch of glitter around the waist is what gives the jumpsuit its sparkle and glitz. The bodice is simple and perfect with a deep V front that plunges right to the band under the bust. A sweet little flat bow sits there for detailing. The back secures with a hook and eye at the neck and then is left open in a long slit to the banding at the waist. The pants are cut wide and full so that you have this beautiful long line and a touch of movement when you move. The interior is all done to Haute Couture standards and is beautiful to see. The top is lined in a hand set silk crepe and the pants have been interlined with a yellow silk chiffon. The workmanship and care need to work with these types of fabric when all the work is done by hand cannot be underplayed. This would have taken hours of meticulous hand work to accomplish. The workmanship is exquisite and the liquidity of the fabric and the cut of the jumpsuit once on the body is very sexy. Excellent condition

Fully lined through the bodice in a hand set purple silk and fully interlined through the pants with a yellow silk chiffon. It closes with a hand set zipper starting at the waist and then has a hook & eye at the back of the neck. This leaves an open slit between the two at the back. All hand finished with hand finished interior seams and all the beadwork and embroidery work is done by hand to Haute Couture standards. It appears to have been worn very little if at all. Note that the yellow in person is a slightly lighter shade then how it photoed. It did not quite do up all the way on my mannequin at the back but will close as described above on the proper sized person for its size. 

Bust: to 17" flat across from side seam to side seam
Seam at under-bust: 13" flat across from side seam to side seam
Natural waist: 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 13" from top of bodice to seam under the bust
Pants: 46" from seam under the bust to hem
inseam: 35"

Modern Sizing Equivalent: XS-SML

Item# DD3498

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 near version of this set can be found in the book 'Oscar De La Renta: The Retrospective' by Jennifer Park and Molly Sorkin. This book was done to accompany the 2016 ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco that was curated by André Leon Talley.  

This gorgeous set from Oscar de la Renta has a wonderful high glamour feel to it because of the jewels and gold cording accents. It is made up of two separate pieces. An open jacket and midi length skirt. Having the separate pieces makes it very versatile since you can mix and match them with other pieces in your existing wardrobe. The print use for the silk of both pieces has an intricate designed worked over it and this pattern has been done in a mix of rich jewel tones. The silk used for the set also has a ribbon effect so that parts of the silk have a different finishes and catch the light differently. The silk is light in weight but still structured enough to retain the shape he intended. The skirt is banded at the waist with the fabric set into the waist in a series of soft knife pleats. These then open up and allow for the volume that you see. It is cut loose and easy through the hips and then widens out slightly as it near the hem. The hem is finished with an intricate edging of black velvet, gold cording and paste jewels that are set into the designs that the cording forms. This gives the hem some structure and catches the light fantastically. The matching jacket has a simple cut and slips on to wear with no front closures. It has the same highly detailed embellishment that follows the front edge, curves around the neckline and runs around the entire hem of the jacket. Each sleeve is also finished at the cuff with this same gold, velvet and jewelled detailing and is inset into the shoulder so that they have a slight puffed effect. It is fabulous and looks like it has never been worn or worn very little. Excellent condition

Both pieces are lined in a black silk. The skirt closes with a series of snaps and flat hook & eye at the waist. The jacket has no closures and has padding in each shoulder. Tagged a vintage OLDR 8. Very well made and it looks to have never been worn or worn very little

Jacket
Sleeve: 24"
Shoulders: 15.5"
Bust: 18.5" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 24" from shoulder to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 37" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3496

Reference Photo: Fall 1981 Oscar de la Renta collection photo from the book "Oscar De La Renta: The Retrospective" by Jennifer Park and Molly Sorkin.

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

The Bryce coat from the Fall 2013 Stella McCartney collection quickly sold out worldwide. It was spotted on celebrities like Katy Perry and Nicole Richie as a wonderful alternative to wearing real fur. It is actually made out of thick mohair blend that give it lots of texture. It has the look of fur but it is entirely faux. The cut of the coat is simple with her classic, slightly cocoon silhouette that you see in so much of her work. It has squared off shoulders that are lightly padded and they are cut long and straight. The cut through the body is also fairly straight with just a hint of a curve through the body and a slight narrowing at the hem. Pockets sit on each hip. The coat closes with a series of ivory covered snaps that are hidden in the fabric so that you see nothing to break the line when it is closed or open. It is surprisingly light in weight and yet is is very warm. It appears to have been worn very little if at all. Excellent condition. 

Fully lined in an ivory silk textured fabric and closes with the hidden set snaps at the front. Pockets on each hip. Tagged a modern 44. It appears to have been worn very little if at all.

Sleeves: 27"
Shoulders: 16"
Bust- hem: to 20" flat across from side seam to side seam
Length: 36" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C495

Reference Photos: (1) Katy Perry in London, September 2013.  /  (2) Nicole Richie in Paris, November 2013.

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was formally acknowledged as being a true Haute Couturier, he certainly produced clothing that had all of the hallmarks that define couture. This attention to detail and cut gave him the status as being known as one of the 'American Couturiers'. This dress is a fantastic example of his work and its twin is held in the permanent archives of the Goldstein Museum

This dress with its huge bright print that runs down the front is exceptional. I absolutely love the drama and high couture feel of it. The fabric is beautiful. It is a gorgeous black silk crepe that has a good weight to it so that the lines he wished the dress to have stay perfectly in place once it is on the body. The body is cut to skim over you and the neckline is cut in a wide low V. The width of that V leaves just a touch of collar bone exposed. The sleeves end at above the elbow and each puffs out above the piped cuff. The back dips into an even lower V which leaves a large expanse of skin exposed. The skirt falls from under the bodice and it is interesting how it is set on a curve under the bust at the front instead of a more standard straight seam. Tiny soft folds run around this curve and it wraps around the sides and part way at the back. This curve perfectly follows the top of the floral design that has the feel of a piece of art painted into the fabric. The one single huge flower runs the full length of the skirt to the just above the hem where the leaves of the flower peak out. The back is left a solid black so that you get this long unbroken line with just a hint of what is happening on the front from the bits of the print that peek out at the sides. It is amazing. Excellent condition.

Fully lined in a black silk. The inside seams are ribbon edge finished. Hand finished and closes with a hand set, back painted zipper that is offset to follow a seam

Shoulders: approx 16"
Bust: 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 57" from shoulder to hem, with 4" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3489

Reference Photos: (1) Spring 1964 James Galanos Couture Runway.  /  (2) 1965-1975 James Galanos Dress at the Goldstein Museum of Design 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 from John Galliano's own label and is an incredible example of all the elements that his work is known for. Galliano has always been known for his amazing bias cut gowns and this example is a stunning lace version of that. His work, especially the bias cut pieces like this, have a feeling of high decadence mixed with the glamorous luxury of the twenties and thirties. They are always beautifully cut. His work marries the old Hollywood feel of those past eras with the minimalist spirit of the nineties and early aughts and the results are stunning.

This dress is exceptionally beautiful. It is made out of an ultra fine black lace that is cut to follow and mold to the body as it curves down the length of you. It is completely cut on the bias, is miles long and once on the body it skims over your curves and highlights your shape. It is extremely comfortable to wear and the lace drapes over a black silk interior that gives you the barest touch of coverage. The lace is transparent of course and the chiffon semi-transparent so there is the effect that you are seeing the body under the dress. The neckline is incredible. It is cut in a dramatic panel of lace that is caught up on one side. This is angled slightly to the side and is top stitched an gathered to anchor that huge collar. The collar can be worn low or almost as a hood depending on how you wish to have the lace lie and how much you allow the panel to open. The way that lace top sits you get a glimpse of one shoulder that is very sexy.  Under that the dress swoops down tot eh floor with a trained back. There is a little snap at the very end of the train and that snaps into place along the side seam. This allows you to pick the train up off the floor. I took a photo of the skirt both ways so you can see how this change in the skirt transforms the dress. A tightly spaced row of buttons and loops run down the side. This button technique is derived from the gowns of the twenties and thirties and this play a large part in the vintage feel the dress has. It is stunning on. Excellent condition

Fully lined in a bias cut black silk. It closes with a that row of side buttons and loops that you see. It appears to have never been worn or worn very little. The bias cut will allow for a little stretch and a bit of range on sizing. The train snaps into place along the seam if you wish to wear it without the train

Bust: 16" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 64" from shoulder to hem with another 19" for the train

Modern Sizing Equivalent: XS-SML

Item# DD3490

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 Roberto Cavalli dress is from the Spring 2006 collection and is very sexy. It's twin walked the runway that season and was worn by Carmen Kass. I have included that reference photo here so you can see how amazing it is once on the body.

It is an easy to wear piece and very flattering once on the body. It is very short and I think you could easily wear it as a tunic as well if you are not brave enough to go that short for a dress. The crispness of the white cotton and that deep front and back plunge pack a lot of punch into the design. The lines are simple and despite its overt sexiness it is surprisingly comfortable to wear. There are long, long ties that go through the dress under the bust and these can be loosened or tightened as needed. I have tied them into bows so they are like how it was shown on the runway but you could also leave them looser and hanging. There is a wide band of elastic at the hips that stretches for the perfect fit. Each sleeve is very full and cut very long with two bands of elastic. One just above the elbow and one above the huge double layered bell cuffs. This allows you to push them up or down to get the most volume through the sleeve and adjust the length. It is fabulous. Excellent condition.

Unlined and slips over the head to wear with ties at the waist to adjust the fit. Tagged a 40. Appears to have been worn very little if at all.

Sleeves:28"
Shoulders: no defined seam
Bust: 16-18" flat across from side seam to side seam
Waist: ties to adjust from about 12" to probably over 17" flat across from side seam to side seam
Hips: will stretch up to 20" flat across from side seam to side seam
Length: 31" from top of shoulder to hem but will come up when on

Modern Sizing Equivalent: SML-MED

Item# DD3488

Reference Photo: Spring 2006 Roberto Cavalli Runway Collection, Look 2, modeled by Carmen Kass.

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

This is the exact dress that Martha Hunt wore to the Cannes Film Festival in 2018. Amal Clooney also wore a more graphic print version of this dress at one point in a different print and colorway. Hers was more graphic and did not have the same ruffles and softness that this one does. I think this floral one is just the prettiest thing I have ever seen. The dress is spectacular and even landed Martha in the Harper's Bazaar round up of the best looks from Cannes that season.

The dress is a work of art and the silk chiffon used to make it is some of the finest, lightest chiffon I have seen. The fabric is notoriously difficult to work with and with all the intricate pleats and detailing, putting this together would have taken a lot of man hours. The dress is all finished by hand is is just spectacular. The halter top is made of two long panels of fabric that are cut wider where they go over the bust and then narrow a bit to extend into very long ties that tie behind the neck. Each is finished with a ruffled edging and this gives it both a soft and hyper feminine feel and also softens that deep plunge and hides that touch of transparency of each halter a bit. The waist is more structured and is a wide panel of banding that wraps around you. It is top stitched all the way around and has additional layers of fabric built inside to give it more structure. The skirt flows to the floor from there and it is a soft, floating cascade of the silk over an inner silk lining. The skirt is pleated around the hips so that you get a slim feel there and then opens out so it is soft and flowing below that. Excellent condition with two notes to review below

The halter is unlined and semi-transparent. The waist band is lined in a blue silk and has some structure. The skirt is lined in a blue silk crepe. It ties to close at the back neck and has a low painted metal zipper below the waist. There are two tiny well done repairs, one along the zipper and at the base of the zipper, and then another in the skirt at the back above the hem. Some other tiny repaired holes here and there and marks on the inner lining. None detract and once on you don't see any of them. It is fabulous. Hand finished throughout. Note that it does close at the back. It is just a touch small on my dress form. Tagged a vintage Valentino 6

Bust: no true seams and adjustable
Waist: 12" flat across from side seam to side seam
Inner hips: 19.5" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to top of waist band but fully adjustable with the ties
Skirt: "45 from top of waist band under bust to hem. Waist band is 4.5"

Modern Sizing Equivalent: XS-SML

Item# DD3487

Reference Photo: (1) Martha Hunt in Valentino, Cannes, 2018.  /  (2) Martha Hunt featured in Harper's Bazaar.

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

Valentino knows how to cut a dress to perfectly flatter a woman's body. Few designers can come close to the masterful techniques he perfected over the decades of his prolific career. This is an exceptional example of his work and it is very beautiful and striking. It's twin walked the runway for the Spring 2004 show

The dress has that feeling of simplicity that the nineties epitomized and yet, still feels modern and fresh even now. It is made out of layers of a beautiful silk chiffon that is  cut on the bias. The bias cut and soft floating feel of the chiffon are used to create beautiful movement through the skirt when you move. It is draped and molded perfectly over the body, skimming over your curves for the most flattering of fits. The color in person is even better then how it photoed and that soft turquoise is very flattering on most skin tones. The bodice of the dress is fabulous. It is set in a series of hand draped panels that are woven together to softly wrap and hug the bodice and down to the waist. This is suspended from a soft chiffon halter that crosses over at the front and then fastens behind the neck. This leaves the back almost completely open and that expanse of skin that is left bare is stunning. The skirt drapes to the floor from the waist and has two layers that are wrapped over each other and scoop up front the hem on a curve. When you walk or sit it lets some keg peak out. The back is slightly trained. It is just stunning on the body. Excellent condition with a small note below

Fully lined in the same silk chiffon through the bust. The skirt is unlined but the panels are two silk chiffon layers each. It closes with a hidden set side zipper. Hand finishes. One small repair at a seam at the back and a couple of tiny repairs along the hem. Tagged a Valentino 8 but please check the actual measurements.

Bust: 17.5" across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: approx 15.5" from top of the bodice to waist
Skirt: 46" from waist to front hem, 52" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3485

Reference Photos: Spring 2004 Valentino Runway Presentation, Look 63. Model: Eva Riccobono.

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 has appeared in several museum exhibits of his work and Carmen Kass wore one on the red carpet. Barbra Walters was also photoed wearing a version in 1977 and that photo is now in one of the books on his work. This is classic Halston from his main label couture line. It is one of the most instantly recognizable looks that he ever created. I have one of these in my own personal collection and it is one of the stars of my personal archives. I feel very lucky to have found another one that can be loved by someone else too.

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 one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is feather light and you are barely conscious of wearing anything. The fabric is a very fine, light gold silk lame that moves and drapes beautifully. The dress is suspended by one hook at the shoulder and then you wrap and tie the outer layer over that to tie it into place over the hook. An elastic band inside hooks around your waist so that it sits just perfectly. The wrapping of the dress creates a high slit up the side for your leg to show. The entire dress falls from that single shoulder, cascading loosely down for the ultimate Grecian goddess feel. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it is a piece favored by Museums. Excellent condition

Constructed from a single bias cut layer with part of the inner dress closed. The dress slips on with an elastic that wraps and hooks around 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 which should allow for a larger range of sizing. This one is not quite as long as the one Carmen is wearing in the reference photo. They were made to order specifically for the height of the girl buying them though the photos are slightly deceptive as it does fall longer at the back point of the hem.

Bust: 14-18.5" flat across from side seam to side seam
Waist: open with the elastic inside stretching to about 38"
Hips: no true defined seams because of the wrap
Length: 58" from shoulder to very longest point on the hem but will come on once on

Modern Sizing Equivalent: XS-LRG

Item# DD3483

Reference Photos: (1) 1976 Halston Original Gold Lamé Sarong from the Halston Retrospective at Nassau County Museum of Art.  /  (2) Halston Dress at the Studio 54 Exhibition at the Brooklyn Art Museum.  /  (3) Carmen Kass in Halston at "The Michael Awards", November 2000.  /  (4) Barbara Walters in Halston, accompanied by Alan Greenspan, December 1977. 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 knit, bias cut pieces like this one, sometimes feel 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. A similar dress to this example appeared in the book 'Halston' and I also found a similar example from an earlier collection he was doing in cashmere from the 1972. The 1972 dress was actually 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 active wear 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"

The dress is cut to be a full supermodel length with a halter type front from which the dress falls to the floor in a column of pale turquoise cashmere to the floor. The ties are very long and I think you could easily wrap them around the body to emulate the reference piece from the exhibit if you preferred that look. The back drops almost scandalously low depending on how tight you tie the neck. It will also drop along the sides more if you choose to wear it lower. Basically, the ties give you full control on just how much skin you wish to show. In the book 'Halston; An American Original' they talk about Halston's cashmere pieces and quote Polly Mellon 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 color on this one is truly amazing and I have not seen this exact color in one of his pieces before. It is a rich pastel turquoise that is even better in person then how it photoed and has a more dusky tone to it in real life. 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 absolutely wonderful condition. 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. Excellent condition.

Unlined and slips on to wear. It is made from 100% cashmere made in Italy. Tagged a size M . 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.

Bust: variable with no true side seams
Waist: 14-17" flat across from side seam to side seam
Hips: 19-21" flat across from side seam to side seam
Length: approx 63" from top of neck to hem and you can adjust that a bit depending on how tight you ties the neck

Modern Sizing Equivalent: SML-LRG

Item# DD3476

Reference Photos: (1-2) Illustration and Model in Pale Blue Cashmere Halston Set, 1974, from the book "Halston" by Rizzoli.  /  (3) 1972 Red Cashmere Halston Dress, from the book "Yves Saint Lauren + Halston: Fashioning the 70s" by Patricia Mears and Emma McClendon.

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

Really great Ossie Clark pieces are becoming increasingly harder to find anymore and this one is amazing. The print that you see on the jumpsuit  is by Celia Birtwell and has a floral print in shades of blue on black. That original Birtwell design is called 'One Step, Two Step' and it covers the jumpsuit from the top of the collar to the bottom of the wide pant legs. It has been printed on a black satin and this fabric choice gives it a bit of an evening feel and also shape and structure. The sleeves are cut fairly straight and long with just a slight tapering in at the wrist from the shoulder.  Each shoulder has tiny gathers at their tops so that they have just a touch of volume. The waist seam is set high to land just under the low dip of the neckline. French pleats are set along that seam adding some detailing. The legs seem even longer because of the way it is cut and I love the deep V plunge at the front. My client purchased this jumpsuit at a past auction of Celia Birtwell's personal collection of Ossie Clark pieces. This is most likely a one-off. It does not have a label but was owned by Celia and came directly from her collection. Excellent condition with a tiny note below to review

Unlined and closes at the front with a hidden set painted metal zipper under the waist seam. Unlabelled. I see some stitch marks where it appears some seams were let out to gain length through the torso. Is is not cut very long through the torso so make sure to check that measurement

Sleeves: 25.5"
Slightly inset shoulders: 13"
Bust: 17" flat across from side seam to side seam
Slight empire waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: approx 12" from top of bodice to waist
Leg: 49" from slight empire waist to hem
Inseam: 34"
From neck to inner leg seam: 27"

Modern Sizing Equivalent: XS-SML

Item# DD2882

Reference Photo: Ossie Clark/Celia Birtwell printed black satin jump-suit, circa 1974, from Live Auctioneers Archive.

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

This was a key piece from the 2015 Balmain Resort collection and its twin was Look 29 on the runway. The skirt has never been worn and it still has all of its original tags. This collection created a frenzy for the pieces offered and this skirt in particular sold out and was wait listed world wide. It has that curved and fitted cut that Balmain is known for and has the added dimension and texture created by what it is made out of. The black and white stripes that you see are a raffia feeling material that is set in horizontal rows. This gives the skirt an extra dimension and depth that it would not have otherwise. It is cut to sit high up on the waist and is fitted to hug your hips. At the back is the signature Balmain chunky zipper. It has all its original tags still attached and has never been worn. Excellent condition.

Fully lined with their signature black ribbed fabric and closes at the back with the zipper you see. Tagged a modern 40. All original tags attached including an attached StyleBop return tag. Unworn.

Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S913

Reference Photos: (1) Resort 2015 Balmain Collection, Look 29.  /  (2-3) Erica Pesolini, Paris Fashion Week, Fall 2015.

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

This dress is Oscar at his very best and really showcases some of his signature design details. When the twin of this dress walked the runway in the fall of 2004 Janet Ozzard of Vogue said of the collection: "Fabulous handiwork; rich, spicy colors; shapes cut to flatter. These are Oscar de la Renta’s calling cards, and his socialite-packed front row is testament to the designer’s mastery of the opulent-meets-elegant genre. For fall, de la Renta played up the curves. ... De la Renta’s evening looks, all garnished with Fred Leighton jewels, hit a series of luxurious highs. A Balenciaga-esque cascade of satin poured down the back of a strict, fitted satin sheath, while a dramatic black-tulle bustier was paired with a swinging beaded skirt. And for those with a fairy-tale ball in their future, any of the designer’s star-spangled tulle gowns will be just the ticket." The dress is amazing and it is even better on an actual body.

The dress is made from a rich black silk taffeta and is almost sculptural in the way that is has been cut to create that hourglass shape that you see. The neckline is a squared off scoop at the front and at the back it dips low scoops to leave a bare expanse of skin. It is cut to mold and curve over the bust and waist and continues down over the tops of the hips. Where the skirt starts there is a wide panel of black feathers that circles all the way around you. It is set in a way that somehow manages to highlight your curves rather then add unwanted ones. The skirt opens out from there and fall is a widening curve to the floor. Underneath are a series of built in underskirts that give it that fantastic volume and shape that you see. Another wide band of feathers finish the bottom hem. As you move the feathers move and the feeling of airiness and lightness that they create is a stunning contrast to the structured shape above. I love the two top set pockets that sit on each hip. Each is finished with a black silk satin bow for the perfect Oscar finishing flare. The dress is magnificent and my clients paid over $10,000 for it. Excellent condition

Fully lined in a black silk with extensive underskirts in the lower skirt as mentioned above. It closes with a back hidden set zipper. Interior waist stay that hooks to close. Tagged a US6.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 60" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD2878

Reference Photos: (1-2) F/W 2004 Oscar de la Renta Collection, Look 49. Model: Nicole Trunfio.  /  (3) Sandra Bullock at the 2004 Oscars.

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 stunning example of the couture work being done by the house of Lanvin during the years that Antonio Castillo headed the atelier. Castillo started off his career at the houses of Paquin and Piquet. He also did a stint designing accessories for Chanel. In 1950 he became the head designer at the House of Lanvin. The press at the time lauded him, along with Balmain, Dior and Balenciaga, as the new generation of the Paris Couture designers. During his time at Lanvin the house was known for the simple and elegant lines of the clothes and his metallic pieces were particularly sought after. This is a rare Haute Couture dress from that period whose label is the one used from 1954 to his departure in 1962. I found a couple of photos of a 'gold organza' dress that has the same pleated metallic skirt treatment that this one does and was able to date it by those. It is very beautiful. 

The fabric of this dress is the undeniable focal point of the dress and it is just wonderful. The bodice is a heavy silk faille dyed to a brilliant emerald green. It is cut to skim over the bodice with a seamed waist that has a matching fabric belt in the same green silk. It is sleeveless and the front is detailed with a cleverly built in pleating effect that gives a nod to the Lanvin bow but without adding bulk to the bust area by adding an actual bow there. Variations of these 'built in' bows were used extensively during the collections of 1954 and I think this is one of the best versions. The skirt is a masterpiece and you can see in the reference photos just how wonderfully it will move. I have photoed it over a light crinoline so that you can get a better idea of the full shape. The top layer is made out of a fine metallic thread silk organza that has a bias cut fine line worked through the fabric. This tiny angled line contrasts with the sharp knife pleats that the skirt has and lets the gold thread catch the light even more then it would otherwise. In person the fabric almost seems to glow. The gold color is not quite captured in these photos and I think it is far better and richer feeling when you have it in hand. Under the top gold layer is an inner silk skirt that has a deep stiffened hem to help give the skirt volume and hold the pleats true. The entire dress is made with masterful seaming and cut. The fabric choices are just extraordinary. It is a stunning and rare example of the Haute Couture pieces the house was producing in this time period. It has its Haute Couture label which is hand numbered on the reverse side. The inner silk is stamped Rhodia along the seam. Excellent condition with a small note below

Fully hand lined in silk and all done and hand stitched on the interior to Haute Couture standards. The dress closes with a side set painted metal zipper and snaps and hooks on the inner layer. Inner waist stay that hooks to close. The matching fabric sash circles the waist and there is a combination of hook & eye and hidden snaps to secure it. The inner skirt shows grubbiness and marks around the hem. Grubbiness along the edge of the hem of the outer skirt here and there and I see one teeny, well done repair on the outer skirt. If not for that it would look unworn. Hand numbered Haute Couture tag

Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam but see above notes
Hips: open
Bodice: 14.5" from shoulder to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3468

Reference Photos: (1) Lena Madsen in evening gown of finely pleated 'opaline' gauze by Lanvin-Castillo, photo by Guy Arsac, 1954.  /  (2) Gold organza gown by Lanvin-Castillo, 1954.

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

For the Vogue review of the Spring 2016 Vetements show, Sarah Mower stated: The entity that goes under the name Vetements has caused quite a quake through fashion—bottom-up, from nowhere. Just when—by looking at mainstream corporate luxury-goods norms—it seemed that cool was dead and buried and nothing “alternative” could ever again survive, along came a couple of brothers, Demna and Guram Gvasalia, and their collective of friends, to prove skeptics wrong....At top speed, Demna Gvasalia and his co-conspirators confirmed everything their following likes about their off-kilter, elegant, giant-jacketed tailoring and clunky romantic dresses, and then bettered it all. ...Then came the dresses, in a stunning number of new, colorful, and punchy-sophisticated ideas....Demna Gvasalia himself learned the ropes at Maison Martin Margiela, before setting up Vetements and getting on with proving that there can be a different way of doing things. Apart from their stylistic insights into what people really want to wear, it feels like the beginning of something else, too—perhaps something like the power of niceness and friendship in an industry that could do with a lot more of that."

This dress was one of the favored among the street style set and was photoed endlessly it seemed for various editorials. It sold out world wide and was wait listed. It is impossible to find even now I am very pleased to have sourced one that has never been worn and is absolutely perfect. It feels as fresh and avant garde as it did then and will absolutely be a future collectible. The black base fabric is covered with a large floral print that runs over the entire dress and the cut is oversized. The body of the dress is made of layers of a chiffon and the sleeves and all the ruffles are made out of a heavier, stiffened fabric that gives them shape and structure. The shoulders are cut wide and are meant to be prominent. You can see the beginning of their signature asymmetrical setting of the skirt that carries through to present collections. It is remarkable and a true piece of fashion history that will only increase in value as time passes. I also have a red version of this same dress that is also new with tags. Original tags attached. Excellent condition.

Lined in the same chiffon and slips on to wear. Tagged an XS but is meant to be worn over-sized. It will fit a range of sizes because of this.

Sleeves: 29"
Shoulders: 17.5"
Bust: 21" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3465

Reference Photo: (1) Spring 2016 Vetements Runway, Look 17.  /  (2) Vetements Outfits Photographed by Inez + Vinoodh, Vogue, March 2016.

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

Andre Odicini was one of the great Italian couturier's, who launched his label out of Genoa and sold his clothes in Paris, Geneva, Rome and Dallas. The early 80s were an especially magical time period for the label. His clothing is very well made and the fabrics he chose were top of the line. 

This is a gorgeous dress and its unusual lines and cut feel very avant-garde while still remaining pretty and feminine feeling. It is made of a beautiful silk cotton mix fabric done in a red hued bright coral mixed with big pink flowers scattered over the surface. There is also a floral print woven directly into the fabric which gives it an added texture. The bodice has wide straps that curve over each shoulder and then plunge down to the banded waist at both the front and the back. Flat pleats set at the top of each shoulder allow them to open up enough to give you coverage over the bust. The waist is wide and cinches you in. The skirt is incredible. It extends out and is draped down each of the sides. The draping starts at each hip and then simply folds over and into itself. If you pull the fabric outwards, there is actually a cut out on each hip that is hidden once it is on by the fabric simply draping over itself and into place. The skirt under that is cut to narrow down to the hem. The skirt wraps over itself so that you can actually walk with the way that it narrows inwards so much. This wrapped effect means that when you sit or move, you get an unexpected flash of leg. It is incredible and being on a mere dress form doesn't do it justice at all. Its amazing on an actual body. I love it. Excellent condition

Unlined and closes with back zipper. The zipper sticks just a bit but is original so has been left as found.

Bust: to 18" flat across from side seam to side seam
Seam under bust: 14.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist seam
Skirt: 24" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3461

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

I am always very pleased to be able to document any pieces coming into the shop and it is a thrill to show you the version of this suit shot for the November 2003 issue of Vogue magazine. Anna Wintour also owns this suit and wore the pieces together or mixed with other pieces several times over the course of the 2003-2004 season. This gives you a great idea of how versatile the suit is and how it can be mixed and matched with pieces from your own wardrobe.

The suit is constructed from an absolutely stunning mint green and white version of the Chanel signature boucle fabric. The color is just exceptional and it is easy to see why it is such a well documented piece. It is absolutely beautiful. I love the mix of the boucle and silk chiffon. On the jacket the chiffon is inset down the front edges with a soft silk tie at the neck. The edging is composed of three layers of the silk and the effect of these over top each other is very soft and romantic. The silk continues all the way around the hem and then peeks out from the cuffs of each sleeve. A little green Chanel buttons sits at the top of the neck and acts like a modified french cuff on each of those elaborate cuffs. The skirt is cut with a slight flare is it nears the hem and has more of the silk chiffon technique applied and inset at the front of the skirt. Here is is done in a soft closed pleat at the top so you get the perfect fit around the hips and then opens up to create the beautiful lines that you see. The entire suit is then lined in the highest quality camellia flower embossed white silk. This is classic Chanel right down to the chain stitched by hand into the hem of the jacket. It is exceptional. Excellent condition.

Both pieces are fully lined in a fine, white silk embossed with the Chanel camellia flower print. The interior hem of the jacket is finished with their signature metal chain. The skirt closes with a hidden set zipper. The jacket buttons with a single button at the neck. Hand finishes throughout and working buttonholes on each sleeve. The pockets are still hand stitched shut. Appears worn very little if at all. The color and texture are even better in person. Both pieces are tagged a Chanel 42

The Chanel boucle is created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Jacket
Sleeve: 25.5"
Slightly dropped shoulders: 16"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 23.5" from neck to hem

Skirt
Waist: 15.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3456

Reference Photos: (1) Photographed by Arthur Elgort, Vogue, November 2003.  /  (2) Anna Wintour at a Manolo Blahnik Exhibition, September 2003.  /  (3-5) Anna Wintour at the Kenneth Cole Spring 2004 Collection Show, September 2003.  /  (6) Bernard Arnault and Anna Wintour at Donna Karan Show Spring 2004, September 2003.

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

In the Vogue review of the Fall 2009 collection they noted that Karl Lagerfeld titled the Fall 2009 collection Belle Brummell (inspired by Beau Brummell) ... 'a gender-reassigned quip referring to the British Regency dandy who dictated men's fashion by tying his cravats in ever more elaborate configurations. The pun also gave full permission to bring the classic Chanel white georgette blouse into play, a perfect device for subtracting the austerity from black in a distinctly Rue Cambon manner. Lagerfeld worked it every which way, in bouclé, lace, knit, satin, and paillettes.."

This jacket embodies that feel with its high glamour and decidedly elaborate configuration. It is made out of a pale putty colored mohair that is a fine and light as gossamer. It seems to weigh mere ounces when you hold it and yet it somehow manages to retain the structure and volume he intended it to have. The body of the jacket is more loosely woven and finished with a fine scattering of fringed detailing. This gives it texture and dimension but without any weight added. The sleeves are incredible and each is a cascade of ruffles overlapping each other. These are even more incredible when you realize that the ruffles are formed from one long swath of knit that has been hand set onto each sleeve in a curving design that wraps down the arm. I have lifted one part of the ruffle and photoed it for you to be able to see just how incredible the workmanship is to achieve this final look. On addition there is silk tulle inset into each sleeve to help retain the shape and volume you see. At the neck is a long black silk satin tie that gives it that perfect Chanel finish and contrast. It is magical and looks to have never been worn or worn very little. Excellent condition

Unlined and slips on the wear. Ties at the neck. Tulle inset into teach sleeve so hold the shape and volume. Hand finished throughout and hand knit. Tagged a Chanel 38. It appears to have never been worm or worn very little. The easy cut should allow it to fit a range of sizes.

Sleeves: 20" to the cuff and 25" to the longest point of the overlapping ruffle
Shoulders: 15"
Bust: to 22" flat across from side seam to side seam
Waist: to 23" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 20" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3457

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 used for the 1991 ad campaign shot by Arthur Elgort that featured the stunning Yasmin Le Bon. Two shots were used from that shoot so Yves must have especially loved this dress. It was also presented on the 1991 runway as seen on the beautiful Amalia Vairelli. This was one of the iconic pieces of that season and I am very pleased to have found this example.

The dress is made from a slinky silk jersey that has enough weight and drape to it to perfectly fall into the lovely draped lines that Yves desired it to have. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s. The vivid color and touch of excess from the 1980s is still there and present, but the shape is softening. It skims over the body and the skirt is made to look like it has been wrapped into place. A intricate series of hooks and snaps hold that lovely draping perfectly in place and it is these interior details that really showcase the high quality that Yves put into his designs. The neckline is slightly scooped and set in a wide crew neck. The gathers at its base and the masterful cut keep it firmly and remarkably in place. The waist is gathered across and a panel of draped silk jersey hang down over one leg. This sits over a high slit underneath that  is created by the wrap over shows off some leg when you walk, sit or move. It is amazing on the body and a rare find. Excellent condition with a small note to review below

Unlined but with a inner silk inset that is about 5" wide and circles the low waist so that the skirt sits perfectly. This inset is attached to the side zipper and hooks with a flat hook as well. The dress then closes above and below this on that same side with a series of hook & eye and snaps. Tagged a vintage YSL 42. There is a small scattering of marks on one shoulder which I have photoed and shown after the label photo. It gets lost in the print but mentioned for accuracy and priced accordingly

Modern Sizing Equivalent: SML-MED

Item# DD3136

Reference Photo: (1) S/S 1991 Yves Saint Laurent Ad featuring Yasmin Le Bon.  /  (2) S/S 1991 Yves Saint Laurent Ad from Vogue US, March 1991. (Both photos by Arthur Elgort.)  /  (3) Amalia Vairelli for S/S 1991 Yves Saint Laurent Rive Gauche.

Reference Video (below): S/S 1991 Yves Saint Laurent Runway Show from Fashion Channel.

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

I am always very pleased to be able to document any pieces coming into the shop and it is a thrill to show you the version of this suit worn on the 1994 runway by none other than supermodel Cindy Crawford. There is even a clip of her walking in the show which will give you an idea of how wonderful this suit is once on the body.

The suit is constructed from a dark navy version of the Chanel signature boucle fabric. Their boucle is created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look. The jacket has a nautical l feel to it with the addition of the red and white ribbon that is woven through the edges of the jacket and highlight the cut. The collar is notched and two pockets sit on each hip. I love how the jacket has that double row of buttons at the front and the buttons themselves are a sharp little design feature. Each is a white and black combination with the famous double C logo in their centers. The skirt is cut to just above the knee and has that same ribbon technique applied to it at the waist and hem. This is classic Chanel right down to the gold chain stitched by hand into the hem of the jacket. Excellent condition.

Both pieces are fully lined in a fine, deep navy silk. The interior hem of the jacket is finished with a gold toned chain. The skirt closes with a hidden set zipper. The jacket buttons to close at the front. Hand finishes throughout and working buttonholes on each sleeve. Appears worn very little if at all. Both pieces are tagged a Chanel 42

Jacket
Sleeve: 23"
Slightly dropped shoulders: 16.5"
Bust: 19" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 29" from neck to \hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 20" from waist to hem

Modern Sizing Equivalent:MED-LRG

Item# DD3451

Reference Photos: Cindy Crawford on the Chanel Spring 1994 Runway.

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

I love finding such a well documented piece. A version of this jacket was not only shown on the runway for the Spring 1992 season, but it was also featured in the Lookbook and the ad campaign that year. In addition, we found a photo of Claudia Schiffer wearing a version of the jacket with Karl Lagerfeld himself at the Vogue 100th part in April of that year.

This version is a more cropped one and I think I actually love it more. It feels more of the moment for what is happening in fashion right now and the shape is very flattering once on. The color of the jacket is a deep navy and this allows the white parts of it to pop off the blue but without the starkness that it would have if it was done in a black. The ribbon trim that you see is woven through the trim and it is a soft white patent fabric so it has a slight bit of a sheen to it that is really pretty. This runs all the way around the edges. The buttons are gorgeous  Each is a clear disc that has a little 3 dimensional, signature Camellia flower attached to its top. It is like having little bits of jewelry already in place on your jacket. Each sleeve ends in a flared cuff and two more of those gorgeous buttons finish each sleeve. I love it. Excellent condition.

Fully lined in a fine navy silk and closes with the buttons you see at the front. Each cuff has functional buttonholes. Light padding in each shoulder. Hand finishes throughout. This one has no size tag but I would guess it to be approximately a Chanel 42. Please check the actual measurements below. It appears to have been worn very little if at all.

Sleeves: 23.5"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Bottom edge: 17.5" flat across from side seam to side seam
Length: 18" from to shortest point of hem, 20" to the the longest

Modern Sizing Equivalent: SML-MED

Item# DD3450

Reference Photos: (1-2) Chanel Spring 1992 Runway and Lookbook. /  (3) Claudia Schiffer and Karl Lagerfeld at the Vogue Magazine 100th Party, April 1992.

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

This dress came with an old hang tag that was dated as being from the 1974 season and that makes sense given his heavy use of sequins for that years collections. It is a stunning piece and a wonderful example of his work during this time period.

This beautiful sequin covered dress is absolutely stunning. It is also insanely sexy once on the body and beautifully made. It is entirely covered with glossy black sequins that give the dress an almost liquid feel once it is on the body. Not a single inch of it is left uncovered. Thousands of hand applied, glossy black sequins have been tightly placed side by side to completely cover the surface of the fabric. This gives the fabric the suggestion of liquid and when you move the light catches the sequins and creates the most sensual and magical effect. It curves up and over one shoulder and leaves the other completely bare. It is cut to curve over the body with no seam at the waist to break the line. The bottom follows the same angle as the neckline so that one side is longer then the other. He then finished the entire hem with fringe so that when you move this creates beautiful movement around you. It is extraordinary and really wonderful once on the body. A superb and early Bill Blass that packs a tremendous impact once on. Excellent condition

Fully lined in a black silky rayon and closes with an offset back zipper. Hand set sequins and hand finishes. Maybe the occasional sequin missing. It appears to have been worn very little if at all.

Bust: to 16.6" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 56" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3444

Reference Photo: Fall 1974 Bill Blass Runway.

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

Halston used this sequin technique predominantly between about 1973 to 1978. Instead of layering and overlapping the sequins, they were laid out flat, side by side, to cover every inch of the fabric. The Fall 1976 collection featured this asymmetrical neckline heavily and I have included reference photos of jersey versions of the dress from both The Met and the Boston Museum of Fine Arts. In December of 1976 the New York Times wrote that: 'This season there are three things that the ladies must wear: Adolfo's taffeta skirt, Halston's asymmetrical neckline and Mollie Parnis's tunic and satin pants.... Babe bought the first asymmetrical neckline dress and Jackie bought the second. If you do not know their last names you do not know the ladies.' This is a stunning and rare version that is full sequinned and could not be more of an impact once it is on.

The dress is made from a black stretch jersey for the inner layer, which also acts as the lining, and then the outer layer is made out of the same fabric but in a lighter, thinner weight than the inner layer. That outer layer is what the sequins are attached to. The sequins have all been placed and attached by hand and completely cover the dress from shoulder to hem. The sequins are a deep gunmetal grey/black and depending on the light they can reflect back as a true black, a deep grey, a lighter grey or even have a touch of a blue grey tone to them. This makes the dress absolutely incredible to see in person. The technique used of placing the sequins flat and side by side also allow the light reflecting off the sequins make it seem like you have been poured into a liquid metal. The sleeves end just about the elbow and the bust is cut to mold to your curves. It skims over the waist, hugs the hips and then flares out slightly as it reaches it's supermodel length hem. That signature neckline dips deeply to one side to expose the upper chest and this is mirrored at the back. It is amazingly comfortable to wear because of the stretch of the jersey. Excellent condition with a note below.

It closes with a hidden set, side zipper and the fabric has stretch. Fully lined in a black stretch jersey as described above. Hand set sequins and wide ribbon, hand set inner hem. There is the occasional sequin missing but there are sequins in the inner seams that could be used if this bothered you. It is so densely covered that its somewhat irrelevant. Some of the sequins show a little patina on their finish. The one shoulder above the dipped side felt slightly stretch on me, though I think that on a taller girl it would be fine. It would be an easy adjustment if needed at all. The stretch of the fabric should allow it to fit a range of sizes and the measurements below are the comfortable range when lying flat.

Sleeves: 14"
Shoulders: no defined seams
Bust: 16-19" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 19-23" flat across from side seam to side seam
Length: 62" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3243

Reference Photos: (1) 1976 Halston Evening Dress from The MET Online Collection.  /  (2) 1977 Halston Dress from the Museum of Fine Arts Boston Collection.  /  (3-5) Cherie, Owner of Shrimpton Couture.

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

Throughout various collections during the eighties Yves did several variations  of these draped wrap dresses. They were made in a variety of vibrant beautiful colors and different fabrications. The best ones had the deep plunging front that you see on this one. This particular design also has amazing sleeves that are very full just above their cuffs. This gives the dress a bit of a forties feel to it that I love. For this one he used a red crushed velvet hat has a wonderful drape and feels very sensual once it is on. It also has a beautiful texture to it that really adds to the impact the dress has. So wear it, you simply slip it on and it wraps around you at the front where it hooks into place to close. It come with its original matching fabric sash that ties at the waist so that you can cinch it in as much as you wish. The nod to the 1940s is self-evident, a theme that you see so often in pieces designed by Yves, yet it does not feel dated, even now. The details are gorgeous. There is light padding inside the shoulders, the cuffs are full and the front curves up slightly at the hem. I love the front plunge and how the light catches the velvet with your slightest movement. Excellent condition.

Unlined and wraps to close with a large flat hook on the interior waist and one on the exterior. Each shoulder is lightly padded and the fabric tie belt is original. Pockets on each hip. There is elastic in each cuff. Tagged a vintage YSL 36.

Sleeves: 25"
Slightly extended shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam where the hooks are set now - you could adjust/move these by at least 2 inches up or down.
Hips: 19" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 40" from waist to back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3442

Reference Photos: (1-2) YSL Rive Gauche Ad by Helmut Newton, Vogue UK, October 1985.  /  (3) Dalma Callado for Yves Saint Laurent, 1985.  /  (4) Model in Yves Saint Laurent, Vogue, September 1985.

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

For the April issue of Vogue in 1973, Lauren Hutton was photographed in a similar jersey dress by Bill Blass. The one that she wore was done in a black rather then the red that this one is. By 1973, Blass was only three years into running his own company after buying Maurice Rentner Ltd in 1970 and re-labelling it under his own name, making this a wonderful example of his earlier work

The choice of a silk jersey gives the dress a wonderful drape. It also keeps it remarkably light in weight so it is very comfortable to wear once it is on the body. There is a definitive Grecian feel to it created by the addition of that long piped tie. The ties are made from the same fabric as the dress and are meant to be wrapped around the upper body and waist. They are long enough that you could extend that down and over the hips if you wished. The neckline is high and the bodice is seamed horizontally so that you don't get any bunching of the fabric when you tie the ties over it. The waist is defined by a seam and the skirt flows to the floor in a cascade of jersey. I love the sleeves in particular. Each is cut extra long and with a tremendous fullness at the cuff. This gives them a bit of an Old Hollywood feel. It will fully zip up at the back - it is just a little small on my dress form. Excellent condition overall with one small note to review below.

Unlined and closes with a back set zipper. The waist stay inside the waist closes with hook & eye. Elastic at the end of each cuff. The ties can be tied as you wish. There is a faint watermark at the hem and it has photoed darker then it is in real life. Once on this does not detract at all. Hand finished, rolled edges. The red has a slightly more blue undertone in person. The fabric has stretch but the waist measurement is firm

Sleeves: 28"
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist:  to 12.5" flat across from side seam to side seam
Hips: to 23" 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: XS-SML

Item# DD2991

Reference Photo: Lauren Hutton in Bill Blass. Photo by Richard Avedon. Vogue US, April 1973.

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

Voguepedia says of Gilbert Adrian: "In the hands of the legendary Hollywood designer Gilbert Adrian, clothes could do and say magical things. From the flower-festooned munchkin costumes in The Wizard of Oz to the elegance-defining “Gowns by Adrian” worn by screen stars like Norma Shearer, Barbara Stanwyck, and Joan Crawford—and copied by the hundreds of thousands for the humbler masses—Adrian was the definition of cinematic invention for more than a decade.....Adrian’s signature custom-retail label, founded in 1942, was wildly popular. His gowns bore distinctive names like “Dinner with a Dash of Gold” and “Shades of Picasso,” and he catered to an elite set of style mavens in Hollywood."

After some extensive research I believe this gown is from from Gilbert Adrian's 1945 collection. It was sold to my client and dated as being from a few seasons later, but I feel that the advertisement that I found is too much of a coincidence with its similar feeling pattern worked through the design. The gown is absolutely outstanding and in a world where Adrian Gilbert pieces are already rare, this particular gown is even more special, even if you simply based it on how utterly beautiful it is. It is made of a stunning black silk that has a metallic lame thread woven through it to create the design work that you see. The metallic parts are done in a gold  mixed with a bright, true green and a deeper olive. The addition of the metal thread gives the entire ensemble a subtle glow. The fabric has a good weight to it that helps it to hold the shape and also adds to it rich and luxurious feel. This is fabric that you would simply not be able to even have made anymore. The Grecian inspired pattern is woven through the entire fabric. The addition of this metallic thread highlights the design that runs all the way around the skirt and the top. The top is a simple halter bodice with straps that curve up and around the shoulders. It curves in towards the waist through vertical seaming and is cut to end exactly on top of where the skirt flares out. Once on it gives the illusion of a true gown. The top is entirely finished with the metallic thread, allowing us to see the full beauty of it. The skirt sits under this and the upper portion of the waist is fitted and set high so that it creates no break or lines when it is worn under the top. From under that, a magnificent ball gown skirt cascades to the floor in a sweep of silk. The construction of this is wonderful and it is gathered all the way around the dropped hip seam and set into that seam with a series of tiny, perfectly spaced knife pleats that open up to the fullness you see. I styled this over a light, full length crinoline to really give it the proper shape it would have had been meant to be worn as when it was made. The shape that this creates is amazing. The dress is entirely hand made to Haute Couture standards. This is a rare opportunity to own an original Gilbert Adrian that is not only in wonderful condition but is also heart breakingly beautiful and still to this day, feels modern and wearable. Excellent condition.

Both piece are unlined with hand finished inner seams and the inner construction is done to Couture standards. The skirt closes with a painted metal zipper and hook & eye on the inner waist band. The top closes with a back painted metal zipper. The skirt was photoed over a full length crinoline that is not included. I have included detail photos of both the fabric and the inner hand done seams. The top looks like it has been out along the side seams from the waist up on both sides and one seam on the fitted part of the inner top skirt was also opened at some point. The work is well done and it could easily be made smaller again if needed.

Top
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 25" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips at lower seam of skirt: 18.5" flat across from side seam to side seam
Length: 44" from waist to hem with a 3.5" hem turned up

Modern Sizing Equivalent: SML-MED

Item# DD3242

Reference Photo: Gown by Gilbert Adrian, available at the William H. Block Co., Indianapolis, 1945.

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

Guy Laroche began working for Jean Desses in 1949 and eventually launches his own Haute Couture label in 1957 at 37 Avenue Franklin Roosevelt in Paris. He was known for being gracious and humble and eventually ventured into ready to wear in 1961. This dress is from his Haute Couture label and is even though it is not perfect, it is a beautiful example of the work he was doing in Paris at the height of his career. Laroche once was quoted as saying "“It is my intention to try and adapt haute couture to modern requirements: to make dresses that are simple and chic.” 

The dress is very beautiful and of course made to exquisite standards. It is entirely hand made and bears the Haute Couture label. It is made out of a heavy ivory silk. The cut of the dress is simple. The neckline is cut wide across so that you get just a glimpse of the top of the collarbones. The sleeves are to the elbow and are cut wide and straight. There is just the suggestion of shape through the waist and then it falls to the floor in a gently widening curve. Inside the hem the skirt is weighted so that it always falls perfectly and this also helps to hold the intended shape that you see. The entire bodice is densely covered in a combination of tiny black seed beads and large black paillettes. These are set on 3 dimensional loops that cover the upper shoulders and sleeves and then gradually become more of a flat embellishment and are spaced out more as they reach the waist area. Because of the way they are set onto the silk these have a ton of movement so when it is on and you move they have a real tactile quality to them. At first glance the dress seems to be in great condition and it is structurally sound but it does have scuffing and light marks throughout. I have included lots of photos after the label shot. Even with the small flaws it is an incredible example of couture being produced at this time period. Good overall condition

Fully lined in a white silk organza through the bodice and a silk through the skirt. It closes at the back with a hand set fine painted metal zipper. Weighted hem and completely made by hand. Haute Couture label preset. Scuffing, light foxing and small water marks throughout. Please review the photos after the label shot and read the description above.

Sleeves: 15"
Slightly dropped shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 54.5" from top of shoulder to front hem, 56" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD3432

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 his Spring 1969 label and is very well documented. Versions of it were photoed with Beene himself and a variation of it was featured in a Harper's Bazaar editorial that season. A variation in the same print is also held at the Bullock Museum

This dress is a wonderful representation of just how wonderful his work could get. In the Harper's caption for the dress in a different print, it was referred to as a 'long silk redingote dress, proud as a robe fit for an empress. The elegant proportions and billowing skirt, emphasized by taut lines of banding and billowing sleeves'. I could not describe it better. The color is a brilliant blend of a bright spring green with those wonderful bands in a deep navy that run down the front of the dress. The bodice is plunged and fitted, while the sleeves long and slim. The waist is set high and it hooks to close there with a zipper hidden in the folds under the seam. Below the waist the printed silk continues and falls to the floor in a cascade of green and navy banding. It is incredibly full with yards of fabric are used in the skirt. When you move you really get a sense of its fullness. I love that how those front bands curve inwards and the waist and flare out to follow the widening line of the skirt. It is incredibly chic and a very collectible piece of his work from this time period. Excellent condition with a note to review below

The skirt is fully lined in a white silk organza  with an edging of white lace at the hem to finish. The bodice is lined in a layer of the same fabric as the exterior. It close with low zipper at the front waist and hook & eye above that. Each sleeve has a zipper set at its cuff. The inner skirts lining has many small holes and deterioration. It is still sound and this of course makes no impact when on. The blue banding has spots where the top shiny layer has rubbed off. The dress looks unworn so I think these are storage issue sand natural degradation of the fabrics chosen from time.

Note that the upper bodice is very tiny fitting despite the measurements below due to how it is cut. This is on a dress form that is a size 0-2, it might work on a narrow bodice 4

Sleeves: 22"
Shoulders: inset seams 14.75
Bust: 16" flat across the back from side seam to side seam
Empire Waist: 13" flat across the back from side seam to side seam
Hips: open
Bodice: 11" from shoulder to high waist seam
Skirt: 44" from waist seam to bottom hem

Modern Sizing equivalent: XS-SML

Item# DD3431

Reference Photos: (1-2) Geoffrey Beene with models, March 24 1969.  /  (3) Geoffrey Beene Hostess Ensemble, 1969 from the Bullock Museum Collection.  /  (4) Photo by Bill Silano for Harper's Bazaar, May 1969.

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

George Halley started at Charles James who said of the young designer that he 'was a genius at draping'. By the time Halley opened his own atelier in 1966 he was well on his way to fame. He won the Coty Award in 1968 and his work is on par with couture. He is one of my personal favorite designers. In 2015 I included him in my list of: The 10 Designers to Add to Your Vintage Collection' for Harper's Bazaar, saying; 'If you want old school glamour and to feel like Hollywood royalty, look to this under-the-radar label outside of vintage circles... A Coty Award winner in 1968, Halley was one of the great American Couturiers and his work always feels grand and elegant. Think polished silk and fused velvet's and embellishments that have a touch of the Grand Old South to them. Silhouettes to look for are his sweeping ball gowns and hostess gowns. Rich fabrics and rich colors are used with a master's hand. Feathers, crystals, hand painted fabrics and fine workmanship are all things to expect from a George Halley gown. Slipping one on instantly makes a girl feel special and important. These are the showpieces and while you should expect to pay for the quality and beauty of what you get they are absolute jewels'. The best of his work are the pieces that show his love for Old Hollywood glamour combined with his love for over-the-top opulence. Women's Wear Daily called him 'a designer in a lovely world of his own'.

This dress is very pretty in person and the camera does not capture the depth created by that the gold thread woven into the fabric. A George Halley design always starts with his the fabric that he has chosen. For this one he has used a stunning silk brocade that uses real metal thread in a gold tone that is densely woven through the silk. The color is a soft pastel teal blue green through the body and then the collar, waist and down the sides of the skirt are highlighted with a panel of the same type of fabric in a soft dusty pink. The bodice is cut to be more fitted and has a high neckline and narrows down into the cinched on waist. Each sleeve is long with a wide cuff on that pink fabric. The skirt falls to the floor and there is a surprising amount of volume in it. It widens out gradually as it falls from the waist and is set into the waist with a series of soft folds. This is an attached band of matching fabric in the pink that wraps and hooks to close around the waist. The hidden details are exquisite with each snap covered in silk and set into place by hand. It is made to couture standards. In person the gold has a bit more of an impact and catches the light when you move.  This is a remarkable dress that would be impossible to replicate in our modern work. This is almost certainly a one-off and a wonderful find. Excellent condition with a small note to review below.

Fully lined in a hand set turquoise blue silk. It closes with a hand set back zipper, The waist sash and hooks to close. Each sleeve has hidden, hand covered silk snaps. There are some breaks along the edge of the hem, please see photo after the label photo. There is also minor fraying to the edge of the collar . Neither of these notes detract and the gown is extraordinary and very beautiful.

Sleeves: 14"
Shoulders: 24"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3430

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

In the review for this Spring 2016 show, Vogue noted that this season show was a nod to many cutures around the globe and that for the dresses that were based on volume and color, the inspiration 'recalled traditional Salvadoran dress—Salvador is commonly called Bahia—and the spot where immigrants historically entered Brazil'. The presentation was as statement on migration and a celebration of various traditions, all intertwined with Stella's love of vibrant color. 

The twin of this dress was Look 29 from the show and on the runway it was shown under a vibrant coral tunic dress. This one was purchased through Moda Operandi and has never been worn. It still has all its tags attached. These were among the higher priced pieces from that show and were made in very limited production. The dress has a elastic through the neckline which makes it very easy and comfortable to wear. It falls to the floor and beyond from there, widening out to an immense volume. I think that pretty much any size could wear this one. There are crisp white straps that tie at the top of each shoulder. The fabric has a hand painted feel and I shot just a few of the beautiful vignettes that are found all around the dress. In between the painted panels are panels of a white lace that give it a touch of sexiness since none of the lace parts are backed on the other side. It is cut super model long in length and is a dramatic statement piece. I love it. Excellent condition

Unlined and slips on to wear. Elastic through the top edge of the bodice. The shoulder straps tie and are adjustable in length as a result. You could also tuck them in and wear this as a strapless piece. Tagged a modern 46

Elastic at top of bust: 12-20" flat across from side seam to side seam
Bust: to 21" flat across from side seam to side seam
Waist - hips: open
Length: approx " from top of shoulder to hem

Modern Sizing Equivalent: OSFA

Item# DD3429

Reference Photo: (1) Spring 2016 Stella Jean Collection, Look 29.  /  (2-3) Cherie, Owner of Shrimpton Couture.

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

This is such a pretty and romantic piece by Rosie Assoulin. It is from the Resort 2018 collection and was look 32 in the presentation. The original price on this was was just under 3k. This one has never been worn and still has its original sales tags. It would make a love garden party dress or even a wedding dress for a bride who does not want to go the traditional route.

The dress has an asymmetrical feel and is cut to spiral down and around the body. It shows Rosie's quirky sense of design that still manages to be refined and elegant. There is a reason why the top stylists in the world source from Rosie's work on a regular basis for their clients red carpet appearances. The bright flowers that cover the entire dress were inspired by bodega flowers—specifically, the paper wrappers that come with the blooms. Hence the 'Say it with flowers' slogan found at so many New York bodegas and now printed onto the dress. I love that it is printed in several ways. It runs over the straps that curve around the shoulders and throughout the base satin finish fabric. More flowers and that same slogan are printed across the silk chiffon panels that flutter over one shoulder and then down and around the body to the hem. The flowers that you see are a combination of direct printing onto the fabric and velvet flocked parts to give a touch of texture and an extra tactile sense. It is an easy to wear dress and makes the prettiest statement. I love it. Excellent condition

Fully self-lined in white through the entire dress. It closes with a hidden set zipper. Light boning on the sides of the bodice. Pockets hidden along the side seams. The shoulder straps seemed to be cut a little long on  my dress form but they could easily be adjusted if you found that on you as well. Original price/hang tag attached and it has not been worn. Tagged a modern US10

Bust: 18.5" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 13.5" from top of shoulder to seam under the bust
Skirt: 46" from seam under the bust to longest point of the hem

Modern Sizing Equivalent: MED-LRG

Item# DD3428

Reference Photo: Resort 2018 Rosie Assoulin Collection, Look 32.

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 and rare Donald Brooks Boutique set has the added provenance of its twin being photoed on Marisa Berenson for the May 1970 issue of Vogue. From my understanding the Boutique label was launched in 1971 and I wonder if this was an early forerunner for that label and perhaps Vogue was given the inside scoop on it. Or perhaps Brooks did some pieces for his soon-to-launch label on a small scale that year before launching the full label for the more general public. Either way it is an exceptional set with a fabulous provenance.

These cropped pant and top sets are the absolute epitome of that early seventies flower power hippie movement. The pants have an extra wide legged cut and they have a slightly cropped feel to them depending on your height. The waist on them is elastic and this allows you to wear it either higher up or low slung on the hips. The top is cropped and it is cut to be fitted to the bust. Its short length shows off a taut, tanned stomach. The front buttons with little round buttons and silk loops. Four at the bottom and one at the top with a slit opening below. There is also a little tie above the top button. The sleeves are cut wide and full above the buttoned cuffs.  I love the edging of bright flowers that adorn the waistline and hem of the skirt as well as run around the bottom, top and sides of that sexy little top. The fabric is a beautiful silk twill and I love the contrasting pattern between the top and pants. The pants are finished on a abstract stripe and the top is done in a floral and geometric feeling print. The combination of the bright turquoise, white, purple and pink is killer. Excellent condition

Both the top and skirt are lined in a bright matching turquoise silk. The top closes with a series of buttons at the front and the pants have elastic at the waist

Top
Sleeves: 24"
Shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Under bust at seam: 14" flat across from side seam to side seam
Length: 12" from shoulder to hem

Pants
Elastic waist: will stretch from 11"-18" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 37.5" from waist to hem with 3.5" turned under the hem
Inseam: 23.5"

Modern Sizing Equivalent: SML-MED

Item# DD3421

Reference Photo: Marisa Berenson, in Donald Brooks, by Irving Penn for Vogue, May 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.

I actually already own the twin of this dress and I love it. It is a gorgeous dress to wear in the warmer months. It is well made and has beautiful lines. When it came out it was sold out everywhere after it as featured in the ad campaign and being seen on the runway. Style icon Erica Pelosini had one as well and you can see just how gorgeous the dress is on an actual body in the several reference photos attached.

The dress has a simple design that has a bit of a vintage feel that I love. It is strapless and the top portion of the dress is very fitted to the body. This is achieved by seaming that curves to fit the bust and by light boning that runs down each side. The skirt is set in at the waist with a series of soft gathers that go all the way around the waist. This gives it some fullness and makes the waist look tiny. It billows out from there with quite a bit of volume, widening out as it nears the  hem. At the bottom of the skirt is a wide panel of the same fabric that is also attached with soft gathers so that you get an incredible amount of volume  and fullness. This perfectly balances out the more bare top and creates a beautiful silhouette. The fabric is a crisp, high end  cotton that almost has a starched feel to it. Excellent condition

The top is lined in the same fabric and the skirt is unlined. Closes with a hidden set side belt. Has inner bust and waist stays to help support and keep the dress. This one did not have the sash shown on the reference photos and priced accordingly. Was just under 3k new. Appears to have been worn very little if at all. Tagged modern 42

Bust: 17.5-18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3420

Reference Photos: (1) S/S 2016 Salvatore Ferragamo, Look 36, Model: Julia Nobis.  /  (2) Maartje Verhoef for Salvatore Ferragamo Ad Campaign, S/S 2016.  /  (3) Backstage at S/S 2016 Salvatore Ferragamo Runway Show.  /   (4) Erica Pelosini in Ferragamo, Spring 2016, from her Instagram.

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

Paco Rabanne was a Spanish designer who became known as the "l'enfant terrible" (unruly child) of the 1960s French fashion world. He began making jewellery in unusual materials for many of the French couturiers and in 1964 at the age of 30 presented his first collection. In 1966 he had his breakout show: “Twelve Unwearable Dresses in Contemporary Materials.” and it was with this show that he found his calling. He was quoted as saying “sewing is a bondage,” and made his dresses out of paper, plastic and metal, which were pieced together with wire and glue. By 1968 some of the most famous women in the world were wearing his pieces and along with André Courrèges and Pierre Cardin, he helped to create the 1960s Space Age movement.

The Paco Rabanne pieces made from a fine Oroton metal mesh were a spring board from the earlier chain mail examples and were heavily sought after and collected - then and now. It is very rare to find a dress from this time period and I am very pleased to have this one as it is really exceptional. It is completely made from a gold metal mesh. The mesh has a good weight to it but settles onto the body wonderfully and feels spectacular once on. The metal is very cool at first but once your body heat warms it up, it stays at your body temperature and feels quite sensual. The dress is a fairly simple cut that skims over your curves and leaves little to the imagination. It snaps to close at the top of the side of each waist. The top is squared off and with a series of cut out that follow the neckline. At the back it dips into a low cowl that leaves the entire back above that bare except for the chain that runs across the upper back to holds the dress in place. The mesh creates an almost bias cut effect so that is follows the movement of your body. It has just a touch of transparency to it that you can see in the photos. This was made to go dancing. Exceptional. Excellent condition

It slips on and there are snaps on each side of the waist and clasps to close at the back. The original metal Paco Rabanne tag is attached on the main clasp. There are a couple of hooks undone where the straps meet the body of the dress. Minor. It appears to have been worn very little if at all.

Bust: 15.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 32.5" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3416

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 Thea Porter caftan was made in 1977 and I was pleased to find a copy of Thea's original sketch for this style of caftan worn over a pair of wide legged pants. That sketch also appears in the 2015 book "Thea Porter: Bohemian Chic". 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 ere made by hand and no two are 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. Green 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, worthy of its book noted provenance. Excellent condition with a minor note below

Unlined and slips on to wear. Its easy and open shape should allow it to fit just about any size. There is one small darkening on the back silk. Please see the photo after the label shot. Some of the silk has worn a touch on the ends of the tassels here and there

Width: 37" side to side at widest point
Length: 48" from neck to hem

Modern Sizing Equivalent: OSFA

Item# DD3415

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.

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

Pauline Trigere launched her label in 1942. She had moved to the US from Paris in 1937 and her designs always have that bit of a French feel to them. By 1949 she had been awarded a Coty and won one again in both 1951 and 1959. The 1959 win coincided with being inducted into the Coty Fashion Hall of Fame. She as a pioneer in the use of cottons and wool for evening. In 1961 she made headlines for being the first major fashion house to use amply an African American model. The twin of this 1971 piece is held in the Met Museums permanent archives. There is is referred to as being a dress but you would easily wear this as a coat as well

The dress, or coat, depending on how you decide to wear it, is made out a black knit jersey that is then edged in a sweeping panel of back dyed fox fur. It is very reminiscent of pieces that you would have seen being produced in the 1920s. It draws heavily on that silhouette but without feeling like a copy with the use of the modern jersey for the fabric choice. The sleeves are cut long so that you can wear them down over the wrist or push them up. The body of the coat is slim cut but not overtly fitted. It wraps and buttons to close and has that famous cocoon shape of the roaring twenties. The fur panel is wide and follows the curves of the piece as it wraps around the back, down the front and curves around the hem. It is cut so very simply but yet is so very dramatic one on an actual body. It is a wonderful example of her work and the time period. The fact that the Met Museum holds the exact twin of it should give you an idea of just how collectible it is. It really is one of the best cut pieces I have ever had in the shop. Excellent condition.

Fully lined in a second layer of the same fabric. Beautifully finished inside. It closes with buttons that follow the curve you see at the front. Each sleeve has a zipper at its cuff. It appears to have been worn very little if at all. Beautifully made. The jersey does have some stretch. The easy cut should allow it to fit a range of sizes

Sleeves: 24"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3412

Reference Photo: (1) 1971 Trigere Evening Dress/coat from The MET Online Collection.  /  (2) Cherie, Owner of Shrimpton Couture.  /  (3) Model in Trigere, Vogue UK, 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.

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

Jean-Louis Scherrer started off working for Dior in 1955, leaving there 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. He was known for his evening wear and soon had a loyal following. In 1971 he launched his ready-to-wear line. The earlier pieces especially were extremely well made and often had many hand finises throughout like this dress does. The construction of this dress in particularly is closer to demi-couture then RTW.

This is the dress you want when you really need to make an entrance and take center stage. It is completely covered in sequins. Every square inch of the exterior of the dress is covered in tiny hand placed and applied sequins. The main color is a pale silvery-gold and then there are copper sequins mixed in to give it that flame effect that you see. The combination of these form an incredible design that covers the entire dress. I call if the 'flame' dress because the shapes at the hem and the way the copper sequins are done, suggest flames scattered over the dress. The bodice is cut into a halter style and the straps curve up and behind the neck. This leaves the back completely bare and open. The dress skims over the waist and hips and then falls to about the ankles depending on how tall you are. The jagged hem lets you see a touch of skin underneath and this is deliberate so that there is no missing out on the incredible way the hem is finished with it jagged little ends. Even these have each been covered in sequins by hand. It is an incredible piece and looks to have been worn very little if at all. Excellent condition

Fully lined in an ivory silk and closes at the back with a metal and nylon zipper. It hooks to close at the back of the neck. It appears to have been worn very little if at all. Hand finishes throughout

Bust: 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: approx 58" from top of neck to longest point at the hem

Modern Sizing Equivalent: SML-MED

Item# DD3411

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

This is one of those instantly recognizable dresses from the time period when Karl Lagerfeld was the designer for the Chloe label. The twin of this dress was photoed by Tony Kent for the March issue of Vogue Paris on Sylvie Vartan and that same shot was also featured in the 60th anniversary exhibit ‘Chloe: Attitudes’ in 2012. It is also an important collection in that 1974 marked the year when Mr. Lagerfeld took over exclusively as designer. Examples of Karl's work during this time period are held in museums around the world and are rare finds. Their place in fashion history is even more entrenched with his recent passing.

This dress is wonderful. In person it is even better then how it photoed, if that is possible. The skirt really has tremendous movement that is not conveyed in a still photograph. It is actually two separate pieces. A slim cut inner dress and a skirt overlay. The cut of the inner dress is kept simple. The dress is made out of a fine black silk crepe. The bodice is a cut straight across and the dress is suspended from tiny straps that curve up and around each shoulder. The waist is seamed and fitted and the skirt falls to the floor. It skims over the hips and flares out as it reached the hem. Over this is a silk organza over-skirt that has yards and yards of fabric in it. This makes it very full and when you move it is wonderful. You get an idea of the fullness that it has in the reference photo. Onto the silk of the bodice and completely covering the over skirt are hand applied silver sequins and glass tube beads. These are set in little abstract geometric designs around the top of the bodice and all the way around all of that fabric of the skirt. More sequins are scattered between and when the pieces are worn together the effect is fabulous. The inside is all finished by hand and to couture standards.  I love it so much and it is pure magic once on an actual body. Excellent overall condition with a note to review below

The dress fabric is self backed in sating and the bodice is additionally lined in a black silk. It closes with a side set fine painted metal zipper. Hand finished interior to couture standards and all hand work for the beads and sequins that is clearly seen on the back of the fabric. There are some small holes along the waistband of the inner dress. These are covered completely when the skirt is in place. I suspect they are from the hook snagging on the fabric when it was worn over the years. Perhaps the occasional sequin missing. 

Dress
Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 17" from neck to waist
Skirt: 42" from waist to hem

Overskirt
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3409

Reference Photos: (1) Spring 1974 Chloe Runway.  /  (2) Sylvie Vartan in Chloe by Tony Kent, Vogue Paris, March, 1974

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

John Galliano was moved from Givenchy to Christian Dior in October of 1996 and stayed there until he was dismissed in February of 2011. The collection from about 2000 to 2011 are covered in full and I was able to spot the runway version of this dress in look 49 from Spring 2007. Women's Wear Daily said of the collection; "His spring message was concise: a smart, discreet suit for day and a beautifully draped dress for night." The collection is also noted as being highly successful at a retail level that season.

The dress is made from a feather light silk that has been dyed to the palest icy blue. The fabric and the way it is cut and draped allows it to hug the bust and then it balloons out in that massive volume that you get just a bit of a feel for on the dress form. On an actual body, once you start to move, the dress really billows and moves around you. The lightness and masterful draping of the fabric comes into play to give it the incredible, voluminous draping that you see. The dress is cut to fit and mold around the bust area on the interiors even though it appears from the outside to be simply draped over you. In reality there is a built in inner structure that hooks to close along the back inside and firmly keeps the dress and that extra low plunge in place. Over the bust area the fabric is pleated and hand placed draped. These eventually expands out into the skirt. The skirt has yards and yards of fabric in it and I love how it is draped around the sides for shape and volume. Once it is on, the innermost part of the skirt falls to the floor and just beyond, and it feels like it is a more true fitted skirt. It is hard to describe but once it is on, it just all falls into place perfectly and is unlike any other dress. It is really extraordinary and very beautiful. Excellent condition with a minor note below

The dress is unlined with a built in inner bodice that hooks to close with a series of lingerie hooks at the back. A panel of fabric snaps over this to hide the hooks and make it appear that there is no seam at the back once it is on. I see one tiny watermark and a small repair to the skirt. These are lost in the folds of the skirt and only seen if you lay it out flat and look for them. You might be able to get another inch or so out of the bust if you did not do up the inner hooks

Bust: 14-14.5" flat across from side seam to side seam
Waist-hips: open
Length: 65" from top of shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3405

Reference Photo: Spring 2007 Dior, Look 49. Model Kamila W.

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