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

Here we have a piece that dates to the late 1970s or early 1980s. It is absolutely gorgeous and as good as it looks in the photos, it is even better in person. The texture and quality of the fabric is remarkable. The skirt is cut to be one long and lean line. It has a high 19" side slit that allows for a good amount of leg to show and for you to be able to walk. The cut is curved and fitted. The fabric is very unusual. It it is a black silk jersey that has a puffed 3-dimensional quality to it. This unusual finish has been created by hand stitching the top layer into the bottom layer to  create the puffed pattern that you see. This extra volume adds incredible texture to the dress and it contrasts perfectly with the pleated bodice. There the fabric has been seamed with teeny little pleats that are all set on a curve. These are then hand gathered and placed over the inner corseting so that the bodice wraps and curves around you. He then inset a curved panel of black lace into the bodice. The lace is not backed with a lining so that it is transparent and allows your skin to peek through. This curved bit of lace begins just off centre between the breasts, curves under the bust, around your waist and then runs halfway down the low back to expose a sliver of the waist and hip. It is very sexy. Two skinny straps extend out from either side of the lace at the top and curve up and over the shoulder. It appears to have been worn very little it at all. Excellent condition

Fully lined in a black and metallic stretch silk jersey through the bodice and it is lightly boned and formed. The fabric of the skirt is self-lined and the interior seams ribbon and piped finished. It closes with a side zipper. All hand work inside.

Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 59" from top of straps to hem

Modern Sizing Equivalent: SML-MED

Item# DD2510

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 exquisite Christian Dior Couture dress was designed during Yves Saint Laurent tenure at the house. It is from the Fall 1959 collection and comes to me from the grand daughter of the woman who owned it. Prior to her passing she had donated many of her things to one of the major museums in the US but had held this one back. Which to us feels like this one meant something a little extra special to her. This is a couture piece that would have been ordered through I. Magnin's couture salon, made to her measurements at the Dior ateliers and then sent to the US. The theme of the 1959 collection was the 'new woman' to hail in the advent of the new decade. Audrey Hepburn famously sat in the front row of the show. Yves mentioned the skirts in the collection specifically saying 'The secret of my silhouette is on the skirt and the way it is worked'. Many of the evening pieces had this high low cut skirt in several variations so that you get a glimpse of the leg. Vogue said at the time that it was 'the most French collection in Paris'. This dress is a variation on the highly documented strapless version of it that was presented in the show. The model name of the dress is 'Labia' which is scandalous in itself. The dress was photoed on China Machado, appears in the Dior coffee table book published by Assouline. House muse Victoire wore it for Vogue that September. We even found one of the original sketches of the dress and the dress was a part of the 2015 exhibit at the Bowes Museum. The exhibit, Yves Saint Laurent: Style is Eternal, was done in collaboration with the Fondation Pierre Bergé and was the first exhibition in the UK to present a comprehensive display of the French fashion designer's work and life. This version has the identical cut to the strapless one but my client's grandmother ordered hers with the amazing poufed silk taffeta sleeves that set to sit off the shoulder. 

The dress is extraordinary and is a testament to master techniques used in couture construction. It is made out of a black silk taffeta that is feather light yet holds and retains the intended shape. The bodice is fitted and comes up slightly at the front in a soft curving line. Inside the the bodice the work that creates its foundation is exquisite. There is a full boned inner bodice that wraps around the wearer and holds the dress in place. This inner corset hooks into place and then the exterior dress zips over this. The sleeves are attached along the side and each is a work of art on its own. There is hidden netting placed between the layers of the silk that hold the sleeves up and off the body and give them the incredible volume that you see. The sleeves are the only detail that differs from the runway model and I love them. I think they are an extremely clever addition to the dress and add even more drama and balance the skirts better then it is without. I love the gathered silk at the top of each sleeve that add that little extra detail at the top of each shoulder. They are cut to leave the shoulder exposed and bare. The skirt is set to feel full at the front and there is an exaggerated, almost empire feel there with multiple soft gathers that bring the fabric in towards the waist and create the fullness that you see. The skirt is cut to fall shorter at the front and then curves around and down to trail out behind you. The bottom edge is finished with a handmade French Chantilly lace. Under the skirt are multiple layers of silk tulle that are also finished with that same chantilly lace edging. These fall in just slightly different lengths around you and add both volume and also fill the inner space under the skirt. The silk taffeta is so light that when you walk the skirt has a billowing effect behind you that it just magical. Around the waist is a wide flat bow that cinches you in and adds a pretty touch of romance. The matching shawl is long and rectangular in shape with three sides of it edged in the same wide panels of Chantilly lace. All of the work on it is to Haute Couture standards down to the hand finished inner seams. This is truly a once in a life time dress and one of the most well documented pieces of Yves time at Dior. It is extraordinary to have the connection to both China Machado and Victoire Doutreleau along with all of the other documentation on it. Excellent condition  

The dress is made to couture standards. The bodice is interlined with a combination of muslin and silk and then there is a full boned and lingerie net corset attached. The corset closes with a series of lingerie hooks and the dress zippers to close over that. Each sleeve has netting between the exterior and the lining. The belt is partially attached and hooks and snaps into place. The inner skirts are made from multiple layers of a netting silk tulle edged with hand made French Chantilly lace. Hand finished inner seams. Appropriate numbered couture label for a couture piece ordered through I Magnin for this time period. I see one small repair to the silk net in one of the inner skirts but otherwise looks to have never been worn or worn very little. There is a panel on either side of the hooks that looks to be a later addition to expand the size of the dress. There is some machine working one side of where the sleeves attach. The family always remembers the sleeves being on the dress that may be a later reinforcement. All the work is otherwise done by hand to Haute Couture standards. Sourced from the grand daughter of the original couture client 

Bust: 17-18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: open
Bodice: 8" from top of bodice to waist
Skirt: 31" from waist to shortness point on the front hem, 58" to the longest point at the back hem
Shawl: 21" x 86" including the lace edging

Modern Sizing Equivalent: SML-MED

Item# DD3638

Reference Photos: (1) China Machado wearing the Labia dress, photographed by Richard Avedon, August 1959.  /  (2) Previous photo as seen in the book "Dior: Yves Saint Laurent. 1958-1960." by Assouline.  /  (3) Victoire in paper-thin silk taffeta gown with raised hem in front with deep lace ruffles and lace stole by Yves Saint Laurent for Dior, photographed by Irving Penn, Vogue, September 15, 1959.  /  (4) Christian Dior, 1959.  /  (5) Bergdorf Goodman Custom Salon sketch of a House of Dior black evening gown, Christian Dior, Inc., 1959, from the FIT Collections.  /  (6) Christian Dior A/W 1959 Labia gown, Bowes museum 'Style is Eternal' exhibition.

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

As a collector it is always nice to have museum validation to know that you are buying an important and relevant piece. For this Pierre Cardin short set I found similar examples that share the same grommet detailing that are held in the Goldstein Museum of Design. I have only seen one other short set like this many years ago and it was in a darker colour. I think that the bright yellow colour of the two pieces make it even more fabulous and collectible. It is a fantastically fun piece to wear.

There are two pieces to this set. The top is cut into a sleeveless tunic and then there is a pair of shorts that are worn underneath the tunic. Both pieces are made out of a textured linen and silk that give is the perfect summer feel. The colour is extraordinary. It is a bright sunny yellow that you cannot miss. The shorts are simple in cut with sleek flat front and easy fit. They simply slip on and zip up the back. They are cut straight and full. Over this goes the tunic and it also slips on and zippers up the back. It is cut to sit loose on the body with just a suggestion of shape through the waist. The neckline is notched at the front and it sits quite low. Huge gold coloured grommets are set all the way around the collar and down each side of the front opening. Each of the grommets has an open centre so that you get a dot of bare skin showing through. A second high notched slit runs up the centre seam from the bottom of the tunic hem. The two slits balance each other out nicely. On each hip there is a big oversized top set pocket that give the set that classic Cardin feel. It's the perfect finish to this spectacular set. Excellent condition with a minor note below.

Both pieces are fully lined in a yellow silk. Each closes at the back with a painted metal zipper. The grommets have mottled as they aged. This patina is a natural occurrence of this age. Please see the photo after the label shot. The colour is a bit more saturated in person. 

Tunic
Bust: 19" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side 
Hips: 20" flat across from side seam to side seam
Length: 28.5" from neck to hem

Shorts
Waist: 13.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 13" from waist to inner seam
Length: 15" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2896

Reference Photos: Pierre Cardin 1958-1962 Dress with Belt & c1960s Pantsuit - both from the Goldstein Museum of Design.  /  1960s Pierre Cardin (credit unknown)

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

In 2005, when this coat came out, it was an instant must have on everyone's wish list and the coat instantly sold out worldwide. Only a limited production was done of the coat and they are virtually impossible to find. They were so scarce and hard to find and so iconic that in 2018 Christopher Bailey was inspired by his own work and sent a tweaked version of the 2005 coat down the runway. For me this collection really marked the point where Christopher Bailey came into his own and really started to push and raise the bar with Burberry as a whole. Vogue's Sarah Mower said in her review; 'Accolades go to Christopher Bailey for being one of those rare young designers who can orchestrate the components of a collection—clothes, accessories, brand identity—and infuse it all with a sense of lightness, as well as originality. At Burberry, he said, "the whole thing is to look as if you've just thrown it on". This coat was mentioned in particular; 'Take Bailey's constant reinvention of the iconic trench: Now, it's a puff-sleeved smock' and on the print; 'Bailey makes sure to add in some Britishness; this season, with Wedgwood blue-and-white and Clarice Cliff Deco ceramics for print inspiration'. On the runway its twin was shown belted on the beautiful Gemma Ward and was presented for look #6 in the show 

The coat is a play on a trench coat. It has some the classic trench coat elements to it but Bailey has played with the proportions and cut the coat to have a far more dramatic smocked baby doll feeling silhouette. It sits across the upper shoulders with no defined seam there so it has a lovely drape. The rest of the coat swings out from there with remarkable fullness. Panels runs across the shoulders at the front and the back for that nod to the trench and they are held in place with big mixed gold metal buttons. More of the same buttons run down the front. The sleeves are cut wide and each ends in a very wide open feel. There is a low dropped seam at about the hip line and the bottom portion of the coat is set into place with series of soft gathers that give it even more volume. Top set pockets sit on either side of the hip. It does all the way up at the front and I think you could have it play double duty as a dress. It could easily be worn closed to pull this off and you could also belt it if you wanted more shape. The fabric is amazing. It is a high end linen that moves very well while still retaining its intended voluminous shape. The print is stunning and covers the entire coat. Scattered in and amongst the flowers is the Burberry name written out in script. It is a gorgeous piece. It looks to have never been worn or worn very little. Excellent condition.

Unlined and made from a logo embossed printed linen. It closes with the buttons at the front as shown. Tagged a size 42. It is meant to be oversized on the body. The loose and easy should fit a range of sizes

Sleeves: 23"
Shoulders: no defined seam
Bust: to23" flat across from side seam to side seam
Waist: open
Hips: open
Length: 43" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C568

Reference Photos: (1-2) S/S 2005 Burberry Runway. Model: Gemma Ward.  /  (3) Karen Elson for S/S 2005 Burberry Ad Campaign.  /  (4) F/W 2018 Burberry Runway, Look 57, Model: Milena Ioanna.  /  (5) F/W 2018 Burberry.

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 absolutely gorgeous and it is very well documented. It was sent to me by someone that worked for Bill Blass. The dress was purchased from the company archives when the original label shuttered in 2012. Which means that this could very well be the same dress that actually walked the runway since it was from the Blass archives. It still has it's original tags from that sale and I have left them in place since they add historical accuracy for the dress's provenance. Kristen McMenamy looked spectacular in it as she walked the runway. I have included the runway footage here so that you can see just how wonderfully this dress moves. The dress was shot for an editorial for Mirabella magazine and it appears twice in the book 'Bill Blass: An American Designer'. It is truly one of the most spectacular dresses I have seen by him and is wonderfully pretty and romantic feeling as well.

The dress is made out of a combination of a pretty floral and a checked gingham. The floral part makes up the main body of the dress. It is a warp printed silk taffeta chine that is finished in a soft peach blush. This then has romantic bouquets of pretty spring florals trailing across its entire surface. The silk has the feel of an antique 18th century gown and I love this reference back to the past. The top is a fitted slip style bodice and the dress is suspended from the shoulder by thin silk straps that curve up and over and then inwards towards the centre. The beck is set very low so that you get a wide expanse of bare skin. The waist is set to have a slight drape to it as it wraps around you. The silk curves around you down the front of the skirt and then curves back up to meet the waist at the back. This gives the front of the dress a more long and lean feel but with a hint that something special might happen as you turn. The back is the star of the show. A checked underskirt flares out and back in a tremendous sweep of fabric. The underskirt is made out of a slightly heavier weighted silk faille in a yellow and white gingham check. The heavier fabric and sheer volume of fabric used causes the back to have a full beautiful feel to it. Many yards of silk have been used its construction and it designed to have massive volume at the back. From every angle of the dress you get these wondrous sweeping views. The combination of the two prints is just amazing. It is one of the most beautiful dresses I have seen. Excellent condition with some a small note below.  

The bodice is lined an a blush silk and the gingham part of the skirt is interlined with silk in some parts and backed with a second layer of the silk gingham in others. It closes with a hidden set zipper at the back and then the skirt snaps into place over that. Hand finished throughout. Original atelier tags attached. The straps have been hand tacked at their base to shorten them and could be let out. The tops of each strap is delicate and shows some shattering but they are wearable as is. Slight grubbiness to the edges the hem and to the straps. There is a piece of fabric missing from the underside of a seam on the floral layer that does not show but that I am mention it for accuracy. The slightest of wear to the silk near the top of the zipper where it looks like someone pinned something there art some point perhaps. Please see the photos provided after the label shot.  

Bust: approx 16" flat across but there are no true side seams
Waist: 13-14" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: approx 60" from top of shoulders to front hem, 65" to the longest point of the back hem

Modern Sizing Equivalent: XS-MED

Item# DD3635

Reference Photos: (1-3) Spring 1995 Bill Blass Runway. Model: Kristen McMenamy.  /  (4) Sheila Metzner for Mirabella magazine, May 1995. Dress by Bill Blass.  /  (5-6) From the book "Bill Blass: An American Designer". 

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 wonderful dress is a beautiful example of Gianfranco Ferre's work during his time as Creative Director for Christian Dior. The near twin of this piece walked the Spring 1996 runway and I have included the runway video as well as still from the runway for you here so that you can see how it moves once it is on. On the runway is was worn by Shalom Harlow and it was the closing look of the show. Shalom also appeared in it for an editorial for Vogue Magazine that season and it also appeared in British Vogue. It's modern provenance is equally exciting. Emily Deschanel wore this exact dress to the 91st Academy Awards where she walked the Oscar's red carpet with her sister Zoe to support their father, Caleb for his nomination for Best Cinematography for Never Look Away. It is an amazing piece of fashion history and the dress is absolutely stunning.

The dress is a beautiful example of Ferre's work during his time as Creative Director for Christian Dior. The dress is fitted through the bodice with a neckline that curves down in a slight scoop. This version has little straps that the dress is suspended from but if you prefer the strapless look of the runway you could easily tuck them in or remove them. I am not 100% sure that they are original to the dress. It is very heavy because of the extensive underskirts and they may have been added for additional support. I have included a photo where I tucked them in so that you can see how close the neckline is to the runway dress without them in place. The neckline curves wide and flat across the bust with two peaks set on either side nearer to the arms. There is no waist seam to break the line of the dress. It is shaped by long vertical seaming that curves over the body to the hem of the skirt. Hidden inside the dress is a built in corset that is boned and adds more shaping. Slanted and curved faux pockets sit on each hip to add a little extra shaping there. The skirt flares out dramatically with a bit of a Spanish feel to it and there is an elaborate set of built in underskirts to help achieve the flare and volume there. The underskirts are made with a netted silk with lace finished edges and there are multiple layers of these ruffles attached to the inner skirts. The skirt is cut shorter at the front and then flares out dramatically back and away to make a trained effect. The inner underskirts are all attached to the inner corset so essentially there is a full built in structured dress inside and then the top black layer is cut to lie perfectly over that. I love the hidden bow at the back of the underskirt. It is a sweet little detail that you just catch a glimpse of when it is on but you will know it is there. The length it will fall on you is dependent on your height. If you are shorter you will get that same feel as the runway video and the editorial photos where it touches the ground, or sits just above it, at the front and then trains out behind you. If you are very tall it will sit more like how it did on Emily. Emily is quite tall at just over 5'7" and with heels on top of her own height the skirts lifted off of the ground more like you see in the photos. Excellent condition with a small note below

The dress has a fully built in structural inner dress. The bodice is boned all around and the inner skirts extend to lie past the top black layer. These are finished with tiers of tightly pleated netting that is edged in lace. The inner portion of the skirt is finished with stiffening to give it structure and help to keep the volume. There is a wide inner waist stay that hooks to close and the inner dress zips to close. A hidden set zipper then closes the top layer. The dress was temporarily tacked to have a more open back for when it was worn by Emily to the Oscars. There is the very slightest of stitch marks on either side of the zipper. There is a tiny bit of greying feel to the underskirts that I feel is just a natural effect of this fabric and how it is aging.

Bust: 15.5-16" flat across from side seam to side seam
Inner waist: 12.75" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 51" from top of the shoulder straps to front hem, 60" to the longest point of the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3155

Reference Photos: (1-4) Emily Deschanel at the 91st Academy Awards, Styled by Penny Lovell / (5) Shalom Harlow for Vogue, 1996 / (6) Dior SS 1996 Runway  /  (7) Photo by Jacques Olivar for British Vogue, 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.

Paco Rabanne was a Spanish designer who became known as "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. Dating his pieces can be incredibly difficult but I did find a 1967 photo of Actress Noele Noblecourt wearing a dress that used strips of mirrors and a similar bead technique where they linked. Based on the information given to me by my client I believe that this dress was made in and around this time period. 

The dress is absolutely incredible. The main part of the dress is made up of mirrored triangles. These are hand linked together one by one to create the shape and form that you see. The work and hours that would have went into pre-planning thee shape and figuring out how to lay out the pieces, drilling each hole and linking them together, is mind boggling. As you look closer you realize that the dress is made out of grouping of the triangles and that there is a pattern within the pattern. Each of these shaped sections are made from six triangles that have been linked together. At the centre where they all meet there is a huge crystal tear drop that has been suspended from a metal loop. He then took one of the triangles within each these six triangle clusters and wrapped a length of clear faceted beads over it. The beads have been twisted and curved over the top of that single triangle so gives the dress an even greater 3D feel that is already has. You can see on the back of the triangles that that beadwork was added with silver wire that was hand wrapped around its triangle to secure it into place. The six triangle cluster were then all linked together to form the shape of the dress that you see. To create the shoulder straps he used a linked metal chain set with large glass rhinestones. Each one is prong set within its own casement and then these are linked together by wire. The rhinestone straps are set so that they lie across the top of the front bodice, curve over the shoulders and then lie across the back. The dress skims over the body and ends in an ultra short mini length that shows miles of legs. At the back it closes with Rabanne's signature metal clips that are set to organically down the back, hidden between the triangle clusters, so that there is no apparent line down the back to break the eye. The dress comes with a matching bag that is made out of the exact same technique and has a matching rhinestone chain as its strap. Both piece are very heavy. The dress and bag combined weigh just over ten pounds. The way that this dress catches the light and the soft sound it makes when you move is extraordinary. With your slightest movement the tears drop beads move and the mirrors reflect the light. Most examples from this time period are a monochromatic silver chainmail and it is unusual and rare to find such an ornate example like this, never mind one that still has its matching bag. It is incredible and easily one of the best pieces I have ever seen in all my years doing vintage. Early examples of Rabanne's work are held mainly in museums around the globe and really ornate pieces like this rarely come to market. It is exceptional and appears to have been worn very little if at all. Excellent condition

Slips on to wear with metal clamping hinge hooks at the back. The linked together pieces give it an almost bias cut feel as far as the way it sits on the body. It is in incredible condition and appears to have never been worn or worn very little. Completely assembled by hand. Note that this dress is a final sale due to the value and shipping considerations

Dress
Bust: approx 15-16.5" flat across from side to side
Waist: approx to 15" flat across from side to side
Hip: approx 16-18" flat across from side to side
Length: 31" from shoulder to hem

Bag
6"H x 9"W and linked flat together, It expands out because of the links. The rhinestone strap adds another 6.5" to the height of the bag

Modern Sizing Equivalent: XXS-SML

Item# DD3630

Reference Photo: Noele Noblecourt in Paco Rabanne, February 1967.

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

Yves play on the tuxedo and 'Le Smoking' suit is one of his most famous hallmarks. He first presented the now famous suit in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. This is a stunning example from the Rive Gauche collection of 1992. It was captured on Beverly Peele backstage at the show and you can see in that photo how stunning this is on.

This one has a full length skirt in a rich silk that beautifully balances the cut of the jacket. Yves did variations of this suit every season for both his Couture and Rive Gauche presentations and mixed the play on a men's tuxedo jacket with skirts and pants of varying lengths and cuts. They were shaped and tweaked by Yves to be immensely flattering on the female body. I love this more formal full length skirt version and the fact that you can mix and match the pieces. That combined with the sequins on the jacket make the suit feel so bold and yet still elegant and refined in feel. The jacket is tailored with a sleek cut that follows the curves of the body. It has his signature matte satin tuxedo collar. Yves produced many versions of this suit over the years but what I find remarkable is that each version is distinct in how it closes at the front and the way that the collar is shaped. This one has one over-sized faceted and glossy jet button below that amazing collar. Two flap pockets are top set on the hips and the shoulders are sharp and perfectly padded. The entire jacket except for the collar was then covered in a dense application of glossy black sequins. This catches the light and is fabulous in person. The skirt is cut in a long column of the same silk used for the collar of the jacket. It falls to the floor in a long and lean line and there are pockets hidden on each hip. His suits change the way we approach woman's wear and any example of the Le Smoking version is collectible. They are a particularly wonderful example of how strong his tailoring was and vision for a woman's place in the world. This is an important piece of fashion history. Excellent condition

Both pieces are lined in a black silk. The jacket has a single button at the front to close. The skirt has a zipper and hook & eye at the waist with pockets on each hip. Two pockets on the jacket that still have most of their original tacking to keep them closed. Padding in each shoulder It looks to have been worn very little if at all. The jacket is tagged a 36 and the skirt has no size tag present.

Jacket
Sleeves: 24"
Padded shoulders: 16"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: open
Length: 43.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3624

Reference Photo: Beverly Peele wearing Yves Saint Laurent. Photo by Roxanne Lowit, 1992. (As seen in the book "Roxanne Lowit Photographs Yves Saint Laurent".

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

The 2008 Oscar de la Renta Bridal collection was amazing and this was one of the stars of the show. One of my clients recognized the fabric on the skirt when I posted a preview photo of this dress in my instagram stories and she actually got married in the twin of this gown. She shared with me that the dress was just under $20,000 USD when she purchased it. Oscar launched his first bridal collection in October of 2002 and his wedding pieces have been worn by some of the most famous women in the world. He once said 'In the same manner that she fell in love with that man, I hope she's going to fall in love with that dress.' Countless brides have done just that and I think this may be one of the most beautiful wedding dresses I have ever seen from him. It literally takes you breathe away when you see and hold it in person.

The dress is strapless and cut to hug your curves from the bust to below the hips. From there is flows into a stunning skirt that sweeps around you and trains outwards at the back. Inside is an intricately constructed corset with boning andand built in cups to shape and hold you and the dress in place. The fabric on this one is just extraordinary. The base is an ivory silk organza that has just a touch of transparency to it so it feels light and feminine. Onto this is a complex design that is made up of stiffen silk ribbon folded into flower like designs that run over the entirety of the dress. These are all placed so that they sit up and off the fabric so that it has this wonderful 3D feel to it. Interspersed around these are white thread embroidery and then more embroidery is done in the same ivory tone as the silk base. The ivory embroidered parts are a combination of knotting, to add to the dimension of the design, and flat embroidery work. The tiniest seed beads are then worked into this pattern to add yet another element to the design. The end result is that every inch is covered with this amazing hand work. The dress has a true old world haute couture feel to it and I have never seen a wedding gown done so elaborately over every bit of the fabric. No matter how good it looks in the photos it is better in person and on the body. It is wonderfully traditional in some ways but still feels fresh and modern. It is definitely a dress that will cause gasps when you walk down the aisle. It was never worn. Excellent condition with one note below 

Fully lined in an ivory silk. The bottom hem of the skirt is finished with a wide band of stiffened netting along the inner hem and the dress closes with a hidden set back zipper. It has a built in interior corset bodice that is boned and shaped all the way around. The interior corset closes with its own zipper. Finished to couture standards and tons of work by hand. There is a darkened mark on the back of the skirt and I have included a closer shot of the areas and also one where you can see the placement. You could wear it was is, replace the ribbon that is discoloured or it may come out with specialty cleaning. It was never worn. No size tag but best suited for a 0-2 or small busted/ narrow ribbed 4

Bust: to 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 55" from top of bodice to hem at the front and the back extends to 70" 

Modern Sizing Equivalent: XXS-XS

Item# DD3615

Reference Photos: 2008 Oscar De La Renta Bridal 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.

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. 

This dress is especially interesting for two reasons. The first is that a very similar version that was done completely in silver was done for Elizabeth Taylor. She wore the dress to the 20th annual Fifi Awards in 1992 and I have dated this one based on that dress. Shortly after her death in 2011, her all silver 'Platinum' version was sold through Christies as part of the 'Collection of Elizabeth Taylor' auction. Due to the association with her name it realized a incredible $72,000USD hammer price. The second interesting thing of note about this dress is that when I posted a preview of the fabric of skirt in my instagram stories I had many people think that the dress was actually the 2016 Balenciaga dress that I have included a photo of here. I ended up getting into a discussion with fashion journalist Alexander Fury about it and he suspects that both fabrics were done by the Jakob Schlaepfer company who has been creating fabrics for the most prestigious fashion brands in the industry for over 100 years. The Balenciaga team most likely selected the archive fabric that the Scassi dress was originally made out of and then had it recreated and tweaked for the Balenciaga dress. This is a common occurrence with the older more prestigious fabric houses and it is fascinating to see such a clear line of the progression between one dress to another. All of this makes this dress a very historically interesting piece. The dress is from his main label and these were made to couture standards.

The dress is a showstopper. The skirt is made out of the silver embroidered and sequinned fabric that you see and the dense application of the embroidered work along with the underlying structure gives it a definitive and structured shape. That shape is all achieved by the inner structure and built in skirting and I did not add any additional underpinnings. The bodice is made out of a deep green silk velvet. It is shaped and fitted to the body. The waist is cut to nip in sharply. I love how the silver embroidery on the skirt is set on a sharp upward angled point at the front and then the neckline angles down towards that in its own sharp point. The sleeves are amazing. Each is set high on the shoulder and explode outward in hand gathered high poufed silhouette to create maximum volume. They are wonderfully dramatic and full with inner built in layers of silk and tulle to hold the volume. The inner construction of this dress is as amazing as the exterior. The very inner skirt is made from a fine deep green silk with a broad band of horsehair taping inside the bottom hem. Between that and the outer layer of silk are layers of stiffened white netted tulle. The sleeves are equally incredible and are shaped to have that gorgeous fullness to them. Each has an inner finish of tulle netting to hold the shape. The bodice is corseted and boned. The inside is exquisitely constructed and it is all hand finished. This is a stunning dress and the history associated with it makes it that much more fascinating. Excellent  condition with a minor note below

Fully lined in a fine deep green silk. The skirt is finished with attached inner skirts as described above. The sleeves are finished with tulle inside the lining. It closes with a hand set back metal zipper. The bodice is boned and shaped all the way around. Finished to couture standards by hand. At some point a repair was done to the edge of the inner tulle of the skirt. Otherwise looks to have been worn very little if at all. 

Bust: to 15.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to hem with approx another 4' turned under the hem

Modern Sizing Equivalent: XXS-XS

Item# DD3614

Reference Photos: (1-2) Arnold Scaasi Spring 1992 Made-to-Order Fashion Show. /  (3) Elizabeth Taylor wearing Arnold Scaasi at the 20th annual Fifi Awards, 1992.  /  (4-5) 1990s Arnold Scaasi Dress from The Collection of Elizabeth Taylor's Auction for Christie's.  /  (6) F/W 2016 Balenciaga Runway Collection.  /  (7-10) Ruth Negga wearing this dress to the Academy Museum Of Motion Pictures Opening Gala, September 2021.

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

This is an incredible dress from the Fall 1984 season from when Marc Bohan was the head of the Dior atelier. It is a beautiful example of the work being produced by Christian Dior in this time period. In the book Dior; Catwalk, the notes on the fall collection state that the collection was placed 'under the sign of opposites' and that he had looked to the work of Abstract Expressionist painter Jackson Pollock for inspiration. Pieces were adorned in drip embroidery and motifs and then he did a series of long sheath dresses that were 'accessorized with 'Pollock jewels" in jet and multi colour stones'. We found several photos of the twin of this dress on the runway which shows you how fabulous it is on the body. The dress is a true Haute Couture piece and has the appropriate numbered label intact. It is gorgeous.

The dress is made out of a soft textured silk velvet in a jet black. Using a velvet that has this added texture to it is an incredible choice as the dress catches the light in different ways as you move and it really makes it come to life. The cut is simple and sleek with a low front neckline that dips from an angle created over each shoulder. It slightly curves down to the center and then the fabric is softly gathered down the center to the waist. This leaves it with a slightly bloused over feel over the the nipped in waist. The sleeves are cut long and they slim down as they reach the wrists. There is a slight volume built in at the outer part of each shoulder. On the inside I see hand made silk cases that at one time had light padding in them but the padding has been removed at some point to give it a softer shape. You could easily have some padding put back in if you wanted a stronger shoulder. Inside the bodice is a more fitted and boned inner silk corseted piece that holds you in place while the silk velvet simply drapes softly over that outside. The skirt is cut to feel sleek and simple and falls to the floor with just a touch of gentle widening as it reaches the hem. A vent runs up the back so that you can walk. It is a beautiful and dramatic piece despite its simple lines. It is meant to be slightly more voluminous through the top and then slimmer through the skirt as was the fashion at the time. Excellent condition with a very minor note below.

Fully interlined in a fine black silk satin and then has a built in bodice made of black silk. The inner bodice is boned and closes with its own zipper as photoed. The exterior dress closes with a back painted metal zipper. Each sleeve has a zipper at the cuff. The ribbon belt is not original to the dress and is just a length of grosgrain ribbon for shape. Appropriate numbered tag present with couture number 19469. Silk hand made pads that have no padding inside each shoulder as described above. Slight damage to the silk on either side of the zipper on the inner corset and there is a repair at the top of the vent. Please see the photos after the label shot. 

Sleeves: 23"
Soft shoulders: to 16.5"
Inner bust: to 18" flat across from side seam to side seam with room for up to a B cup
Inner waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 13.5" from shoulder to waist
Length: 45" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3611

Reference Photos: (1-3) Fall 1984 Christian Dior Couture Runway.  /  (4) Fall 1984 Christian Dior Couture, credit unknown.  /  (5-7) Krysta Rodriguez, in this dress, for the opening of Bad Cinderella on Broadway, March 2023.

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 Courreges introduced his Hyperbole label in 1970 as a ready to wear line. The contrasting white with the vivid orange is a predominant theme and gave the pieces a more sporty look. The unusual colour choice combined with his signature cuts make them instantly recognizable as being his work. Similar examples are held in museums worldwide and I am always pleased to have his original work in the shop. 

This is a really great coat that has some weight to it making it warm and cozy to wear. It is belted for a slight touch of definition through the waist and the big flap pockets with those white buttons at the front act as both a design feature and give it a sense of sporty utility. Big round white buttons do up the front and at the back there is a row of them that run down the middle of the back. These are all functional buttons which is remarkable and shows you the level of quality in RTW back then. It is cut to skim over the body and be more fitted through the top and then the bottom portion is cut on a bit of a flare to the hem. The neckline is structured and set high with a collar that is set back to the sides and curls over. Epaulets sit on the top of shoulder with more button detailing. The seams are topstitched in a thread that is the same colour as the wool. Inside, the coat is finished with a quilted padding that keeps you warm. Courreges once commented when asked about how his fit and cuts came about, saying that it 'was somewhere between a youthful and optimistic inventiveness, and a concept of fashion embracing the platonic ideal of perfect form. What was needed was to apply new technical and aesthetic rules and to create a modern style that was easy to wear.'  Excellent overall condition with notes to review below

The jacket buttons to close at the front and it has its original belt that buttons into place. More buttons run down the back vent and are set at each cuff. The pockets button to close as seen. It is tagged a Courreges size 00. There are a few grazes out of the wool near the hem and on the lower portion of the coat. All are stable and do not go fully through and did not worsen after being dry cleaned. A minor mark to the interior lining. Please see all the photos after the label shot. It presents as excellent. 

Sleeves: 23"
Slightly inset shoulders: 13.5"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# C559

Reference Photo: Courreges (left) and Miss Dior (right) coats, L'officiel magazine, 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.

Andre Courreges introduced his Hyperbole label in 1970 as a ready to wear line. The contrasting white with the vivid orange is a predominant theme and gave the pieces a more sporty look. The unusual colour choice combined with his signature cuts make them instantly recognizable as being his work. Finding a jumpsuit complete with its matching jacket is very rare and it is a fabulous set. His work is held in museums worldwide and I am always pleased to have his original work in the shop.

This is an amazing set that is made out of a wool that has a soft, almost fuzzy, feel to it. Andre was known for his unusual fabric choices and this would have been cutting edge at the time. The jumpsuit is cut to skim over the body and hips and then the legs are straight with a slight flare to them as they reach the hem. Depending on your height they will sit as a bit of a crop. Big round painted white snaps do up the front above a zipper. There is a double set of flap pockets stacked on top of each other. One set is at the waist and the other at the top of the hip. The jacket is cut in his classic cropped silhouettes. Big flap pockets sit on each side at the front and it closes with a huge chunky white zipper. This one has a belt that goes through big belt loops around the bottom of the jacket and then it closes in the front with a painted metal buckle. I love how once it is on it sits just above that lower flaps on the jumpsuit. White snaps close each cuff and perfectly tie into the snaps on the jumpsuit. It is an incredible piece and is even better on an actual person. This is a very rare example of his work. Presents as overall excellent condition with notes to review below

The jacket zippers to close at the front and it has its original belt that buckles into place. The jumpsuit closes at the front with snaps and a zipper under those. It is tagged a Courreges size B. The flap pockets are all decorative. The fabric shows minor pilling overall and this is a natural part of the aging of this type of fabric. There is a darkened mark on the inside of one leg and a couple of minor spots on the sleeves. Some yellowing to the inner lining of the pants at the inner seam. Minor paint loss to the zipper/snaps and buckle. Please see all the photos after the label shot. 

Jacket
Sleeves: 23.5"
Slightly inset shoulders: 13.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Length: 19" from neck to hem

Jumpsuit
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 55.5" from shoulder to hem
Inseam: 28" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3610

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

Ferdinando Sarmi was an actual Italian Count and started his design career working for the Elizabeth Arden couture salon during the 1950s. In 1959 he ventured off on his own and launched his label. He designed for just over a decade before closing up shop. During those ten or so years he was especially known for his evening wear. The fabrics he chose were often opulent or very difficult to work with. This dress was obtained from the same source as the other Sarmi listing today and I have included that one's reference photo from 1964 here. Since listing it we also found a 1963 photos of the dress in a different colour way. Both dresses were purchased at the same time for a mother and her daughter. I have also included a photo of them wearing this dress and the other.

The dress is very representative of its time period. It has beautiful lines with a very full skirt that is feather light due to its fabric choice of an ivory silk chiffon. Using the silk chiffon for the dress gives it a feeling of lightness and fantasy as it floats around you once on the body. You can get a sense of just how much movement it has in that wonderful reference photo I have added here. The very top layer of the silk has a hint of transparency to it that adds to the feeling of lightness that is created as it floats over the other inner layers of cream silks that make up the skirt. The bodice is strapless and fitted and has been completely covered in a natural mink that wraps around the wearer. It dips down at the front in a sweetheart neckline. The waist is accented with a large chocolate coloured silk ribbon that is finished in bow at the front. From there the skirt gently widens to a beautiful fullness in a cascade of silk. It is very light and airy feeling when on but inside the construction is immaculate with a full inner corseted foundation made of lingerie netting to keep it perfectly in place. Excellent condition

Fully lined in an ivory silk through the skirt and the bodice is finished in silk with an inner corset made of a cotton net. It closes with a back, hand set painted metal zipper. Hand finished. Made to demi-couture standards. There is some very minor grubbiness to the hem here and there and some small marks here and there in the skirt.  

Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 6" from top of bodice to top of band and the decorative band is then 2" wide
Skirt: 47" from top of band  at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3607

Reference Photos: (1) F/W 1963 Sarmi, photo by Bert Stern.  /  (2) Brigitte Bauer in chiffon evening gown with mink bodice by Sarmi, photo by Howell Conant at the Lunar Fountain in New York's World Fair, 1964. Shown in Life Magazine, August 1964.  /  (3) Original client photo.

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 pieces are final sale.

Norman Norell was known to say that the interior of a dress was the most important part of the dress. His inner seams were cut two inches or deeper. He went to great lengths to create couture like quality in his designs and this meticulous approach to his work stands up to time. Norell pieces are works of art and examples of how to properly construct a garment. Norell launched his independent label in June 1960 after a successful partnership with Anthony Traina under the Traina-Norell label. His trademark was simple but elegant clothing and he was a roaring success. This is a stunning example of his work and the dress is immaculate. It was sourced from the same woman who the Sarmi dresses I am posting today came from and it’s twin walked the runway for the Fall 1966 show. 

Norman Norell dresses were not only extremely chic and sophisticated, they are also cut with exception mastery. Every line and seam is placed exactly where it should be to flatter the body and create an air of sophistication. This dress is a fabulous example of that and the lines of it are amazing. It is a chic silk crepe sheath and the lines that it is made up from and cut with have a long and sleek feel. The neckline is high and curves and wraps around the neck. I have photoed how the collar is set in so that it dips into a angled seam at the back. This subtle little detail is just beautiful and shows just how much he paid attention to the smallest details. The shoulders are soft and the sleeves are long. Each sleeve widens out at it nears the hem and is finished with an extra wide cuff made out of a natural mink. The waist is open and easy. The dress falls in a sleek column that gently widens out as is nears the floor. At the hem there is another wide band of mink wrapped all the way around. This anchors the design and also is set so that it holds the shape of the dress so that you get that beautiful line that you see. Don't be fooled by it's simplicity - it is seamed and constructed to couture levels and the finishes within it are superb. Excellent condition.

Fully lined in a fine ivory silk and closes at the back with a hand set painted metal zipper. Hand finished throughout and made to demi-couture standards.

Shoulders: 14.5"
Sleeves: 23"
Bust: 19.5" flat across from side seam to side seam
Waist-hips: 19" flat across from side seam to side seam
Length: 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3608

Reference photo: Fall 1966 Norman Norell

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 pieces are final sale.

Ferdinando Sarmi was an actual Italian Count and started his design career working for the Elizabeth Arden couture salon during the 1950s. In 1959 he ventured off on his own and launched his label. He designed for just over a decade before closing up shop. During those ten or so years he was especially known for his evening wear. The fabrics he chose were often opulent or very difficult to work with like fine silk chiffons like this. This dress was obtained from the same source as the other Sarmi listing today and I have included a reference photo from 1964 that depicts the twin of this dress. Both dresses were purchased at the same time for a mother and her daughter. I have included their photos here as well wearing the dress. 

The dress is very representative of its time period. It has beautiful lines with a very full skirt that is feather light due to its fabric choice of an ivory silk chiffon. Using the silk chiffon for the dress gives it a feeling of lightness and fantasy as it floats around you once it is on the body. The silk on the skirt of this one has been meticulously knife pleated for an added bit of texture. This also allows the silk to really open and move as you move. You can get a sense of just how much movement it has in that wonderful reference photo I have added here. The very top layer of the silk has a hint of transparency to it that adds to the feeling of lightness that is created as it floats over the other inner layers of cream silks that make up the skirt. The bodice is fitted and has been completely covered in an ivory coloured mink that wraps around the wearer. It is cut straight across at the neckline and has capped sleeves that are also made out of mink that curve up and around each shoulder. The waist is accented with a wide ivory silk ribbon at the front. From there the skirt gently widens to a beautiful fullness in a cascade of silk. It is very light and airy feeling when on but inside the construction is immaculate with a full inner corseted foundation made of lingerie netting to keep it perfectly in place. Excellent condition with a minor note below

Fully lined in an ivory silk through the skirt and the bodice is finished in silk with an inner corset made of a cotton net. It closes with a back, hand set painted metal zipper. Hand finished. Made to demi-couture standards. There is some very minor grubbiness to the hem here and there. A little marking on the ribbon from where the original owner added a pin whenever she wore it. Unlabeled but verified by the reference photo attached and known history of the dress

Bust: 13" flat across from side seam to side seam
Seam under the bust: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to top of band and the decorative band is then 2" wide
Skirt: 48" from top of band  at the waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3609

Reference Photos: (1) Brigitte Bauer in chiffon evening gown with mink bodice by Sarmi, photo by Howell Conant at the Lunar Fountain in New York's World Fair, 1964. Shown in Life Magazine, August 1964.  /  (2) Model wearing Sarmi, 1964.  /  (3) 1964 Sarmi Evening Dress in The MET Online Collection.  /  (4) Mrs. Cornelius Vanderbilt in Sarmi, 1964.

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 pieces are final sale.

I already had the documentation on this dress because I sold an unlabeled brown coloured version of it in the past. This one however, seems to be the near twin of the one that I have a reference photo of and have included here. It is an interesting piece because of the documentation and it also has an interesting design in the way that it wraps and closes. The dress is not perfect. The dye has faded substantially on parts of it. It may be possible to re-dye it but my client did not want to do that now in case it is important to a collector to have it stay as original as possible. It is an amazing example of his early couture work.

Regardless of its imperfections, the dress is amazing and the pink is an instant eye catcher. The inner dress is a long, sleek sleeveless sheath. Over this sits is an overlay that is made up of a long wide panel of the same silk as the inner dress. This overlay drapes down the front and then again down the back in a long stark column. The front overlay has straps that extend out from each side and these wrap and hook to close between the inner sheath dress and the back overlay. Down the front there is an extensive beaded design. The neckline is wrapped in curving bands of silver toned beads that circle the neck like a bib. Below that three huge diamond shaped medallions run down the front with the top one being the largest and the bottom and middle slightly smaller then the one above. In the centre of each beaded diamond are a mix of deep pink and paler pink prong set crystal rhinestone surrounded by pearls. The silver needs have been sewn into place using a matching pink thread to the silk of the dress and this gives them a slight pink tone. It's genius. That elaborate front is like wearing a jewelled bib and it is extraordinary. All of the work on the dress has been done by hand and to couture standards. The dress is wearable and sound outside of is obvious discolourations. 

Fully lined in a pink silk with hand finishes throughout. The dress closes at the back with a hidden set metal zipper. The wrap around straps hook to close at the back and there is a series of hook & eye across the top of one shoulder. There appear to be some repairs to the beading near the neck, some of the rows are looser there and a small area of shattering to the silk on the inside back neck. The silk has faded in areas throughout. Please see the photos provided to get a good sense of the parts that have lightened. Sold as found and final sale. All hand done and made to Haute Couture standards. 

Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 54.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2577

Reference Photos: Model in Pierre Cardin, 1969, credit unknown.

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

The Balmain transformation definitely began while under the tutelage of Christophe Decarnin. He was the designer to bring 'more hard rock and punk' to the label, which has continued to the present day under Olivier Rousteing. The review from Vogue that year stated: 'Was it just coincidence that Christophe Decarnin showed his Balmain collection in the same room—the swimming pool at the Ritz—that Gianni Versace used for his couture spectaculars? There was certainly an almost Gianni-like gaggle of fans jostling outside, and a heated buzz of anticipation in the house for the man whose frank embrace of rock-chick bling, rounded "tennis ball"-shouldered jackets, and elaborate jeans have shot him to the position of No. 1 most copied designer in the space of two seasons. The choice of venue only added to the sense of expectation heaped on Decarnin's performance as fashion's latest appointed savior of good-time, high-sparkle, downright sexy dressing.... The cult peaked-shoulder Balmain jacket was reiterated in force: same signature shape, now manifested as a leather biker as well as a tuxedo jacket, and often paired with new drapey harem pants or skinny jean-cut black trousers. Every look was thrust into deep-cuffed suede boots with a stack of silver buckles running up the side. What is interesting is that just this past season this high 'Pagoda' shoulder was shown in the latest Balmain and Balenciaga runways for the Spring 2021 season. None of them hit the same mark as this does with its additional embellishments. I love this one and it is a very collectible piece of future vintage and is certainly important for the person archiving important pieces now. 

The jacket is made out of a black cotton velvet and this fabric choice gives it a rich edgy feel while allowing the exact shape intended to be kept. It has an almost sculptural feel to it. The shoulders are extremely strong and set in high peaks shaped by  extensive padding sculpted underneath. The sleeves fall from there and as you get closer to the piece you see how the fabric has been pieced together and seamed using proper couture techniques so that they fall perfectly. The bodice of the jacket is nipped in at the waist to give contrast to the amazing shoulders. This is all done by vertical seaming and shaping. Set inside the front edge is a lingerie inspired panel that hooks to close like a corset. This is a stunning detail that is hidden like a little secret from all but the wearer when the jacket is closed. Around the neck and running down the front is a raw edged silk tulle detailing that has a wide band of glass rhinestones, metal studs and silver chain set the full length of the jacket. Where it reaches the lower hem of the jacket it extends past another 11 inches to end in a raw edged tulle ribbon and chains. It is an incredible piece and you can see on the runway shots and video just how incredible it moves and sits on the body. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black textured fabric and closes down the front with metal hook & eye as shown. It is tagged a modern Balmain 40. It appears to have never been worn or worn very little. Padded and sculpted shoulders

Sleeves: 21"
Shoulders: inset and approx 15" inside
Bust: to 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 22" from neck to hem and the embellishments extend down past that 11"

Modern Sizing Equivalent: SML-MED

Item# S927

Reference Photo: Sasha Pivovarova for Fall 2009 Balmain Runway, Look 17.

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 comes directly from the original couture client and is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period is a rarity and I am very pleased to have this beautiful dress in the shop. I am also pleased to have found several documentations of the dress from that season. The dress is featured in the book "A Grand Italian Epic: Valentino Garavani" by Taschen, which is considered to be one of the definitive volumes on Valentino's work. It was also featured in the March issue of Italian Vogue. That layout was photoed by Steven Klein and the dress was modeled by Monica Gripman. It was also shot on model Brynja Sverris for one of the Valentino campaigns that year. This is one of his most recognizable dresses that he has ever created and you instantly recognize it as being by him the second that you see it. It is an extraordinary and historically important piece of Valentino's couture work. This would also make an exception bridal dress for the non traditional bride or as a secondary dress to change into.

This dress is extraordinary. The lines of it are pure poetry. The front of the dress has been done with a minimalist feel and its entire design is deliberate to give you just a glimpse of what will happen when you turn around. The top overlay is made of a black silk faille and the neckline is high and slightly scooped. It curves and skims over the bust and nips in gently at the waist. The shape that you see is all done with beautiful curving vertical seams so that there is no line to break the sweep of the eye. This then extends into a long panel that lays over the inner skirting. It is cut on one side with more of a curved line, while the other side is set on a slight straigher line that runs up to the the detailing at the back. This slight asymmetrical cut is fascinating and it is done so subtly that at first your eye does not see it. Instead you only see how this allows the underskirt to sweep out slightly more on one side then the other. From under that the skirt flares out and back in a tremendous sweep of fabric. The underskirt is also made out of a heavy silk faille in a creamy ivory with black dots. Many yards of silk have been used its construction and it designed to have massive volume at the back. From every angle of the dress you get these wondrous sweeping views. At the back the black silk is cut into a V and set slightly to one side. Where each side of the front overlay meet, there is a huge ivory silk flower. The lines that lead up and towards the flower are all curving perfection and the way that the black sweeps up to meet the flower is a moment in itself. The flower is huge and sits nestled in the crook of your low back. The interior of the dress is made to couture standards and is as stunning as the exterior. There are attached inner tulles that give the skirt its shape and volume. It is one of the most beautiful dresses I have seen. It is an amazing example of his earlier Haute Couture work. Excellent condition with a couple of minor notes below. 

The dress is lined in a black silk and there are attached underskirts in silk tulle. It closes with an inner zipper that is attached to the underskirt with a second exterior zipper over that. Inner waist stay hooks to close. The panel where the flower is set snaps into place with hand covered silk covered snaps. I see some grubbiness at the hem and on the flower and a repair to one of the tulle underskirts at the back. Near the base of the inner zipper the fabric has come away from the seam. All of these are minor. Please review the photos provided after the label shot. Finished with Haute Couture construction techniques throughout. 

Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to front hem, 68" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3604

Reference Photos: (1) Brynja Sverris in S/S 1988 Valentino Haute Couture by Gianpaolo Barbieri.  /  (2-3) Monica Gripman in Valentino Haute Couture for Vogue Italia, March 1988. Photos by Steven Klein.  /  (4-5) S/S 1988 Valentino Haute Couture Dress as shown in the book "A Grand Italian Epic: Valentino Garavani" by Taschen.  /  (6-7) Queen Sofia of Spain in Valentino, meeting Queen Elizabeth, at the Palacio Real de Madrid, in Madrid, for a state banquet in Spain, 18 October 1988.

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 particular dress was one of the standouts of the Fall 2009 Gucci presentation collection. On the runway it was shown as a mini and in Vogue's review of the show it was mentioned specficially; 'With the slicked-back hair, crimson lips, and mirrored shades, it was hard glamour for hard times, with the occasional half glance back at Tom Ford's heyday in a blue fox chubby or a skimpy one-shoulder black jersey dress with a slice of patent in the neck.' And it is indeed a dress that you might think was a Tom Ford at first glance. The shorter version was used in the extensive ad campaign that season as well. When it was sent to the stores they produced it in this longer version as well as the short. This one has its original tags and was never altered so is in its original supermodel length. 

The dress is made out of a silk jersey that has incredible drape and movement. It is cut supermodel length and then some. Even on my tall dress form it went well past and puddled on the floor. This is a dress that is meant to come to life once on the body. You kind of have to look at the runway photos and then imagine the skirt falling all the way to the floor and what an incredible impact that would make. It is cut with a single sleeve that come out wide from the shoulder and waist and then narrows down as it reached the wrist. The neckline is then angled across the front and at the back it dips into a low angled cut that is set quite deep to the side. This leaves the majority of your back exposed and is very sexy. The dress skims over the body from there and falls to the floor. At the back there is a very high slit partially hidden by the overlapping of the fabric and this lines up right under the post of the open back. The neckline is accented by a strip of patent leather that has a holographic finish to it that subtle catches the light in a rainbow of colours. It's fantastic. Still has its original tags attached and has never been worn. Excellent condition 

There is a second layer through the body in the same stretch jersey as the outer layer. It closes with a hidden set side zipper and there is an inner waist stay that hooks to close. The sleeve is a single layer of the fabric and has a button and loop to close. The dress has its original tags and even an extra button for the cuff. Tagged a size 44. The dress has stretch so should fit a range of sizes. 

Sleeve: approx 26"
Bust: is variable as there are no true side seams with how it is cut
Inner elastic waist stay: 13-18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 69.5" from top of shoulder to hem

Modern Sizing Equivalent: MED-XL

Item# DD3599

Reference Photos/Video: (1-2) Fall 2009 Gucci Runway. Look 33. Model: Freja Beha Erichsen.  /  (3-7) Fall 2009 Gucci Ad Campaign.

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

This is a gorgeous Valentino Haute Couture dress from the early to mid 1980s. It is beautifully made and a wonderful example of Valentino's Haute Couture work that he was doing during this time period. I love this backless version with its low front plunge. It is a little sexier then some of his couture work tends so be but it still has that refined elegance that you would expect from him combined with a bit of pure drama created in that moment when you first turn around and see that bare expanse of skin. 

This dress is wonderful. In person it is even better then how it photoed because like all couture it really needs to be on an actual body to come to life and sit properly. The cut has been kept fairly simply but is still sexy with its plunging halter bodice and long skirt that falls to the floor from under the banded waist. The dress is made from a lightweight bias cut silk in a deep charcoal black-grey colour. Onto the silk is a graphic floral leaf design in a deep ivory that covers the entire dress. The bodice is cut into a halter style with wide straps that curve up and behind the neck to leave the shoulders bare. The two panels of the front cross over themselves and dip into a V at the front. It then curves around waist at the lower back and this leaves the back completely bare. The waist is defined by a wide panel of black silk that is gathered and shirred. The ends of this banding extend into very long ties that you can wrap and tie or simply loop at the side and leave to hang long as I have down for the photos. Under that the skirt flows to the floor and gradually widens out just a touch as it nears the hem. The inner conduction is all down to Haute Couture standards and is interlined in a silk chiffon so that they dress stays wonderfully light but still very well constructed. It is a beautiful example of his earlier haute Couture work. Excellent condition with one minor note below

Fully interlined in a black silk chiffon and closes with a low set zipper at the side below the waist and then silk covered snaps and hooks above that. The hem looks to have been taken up at some point. Hand finishes throughout. Done with Haute Couture construction techniques. Inner waist stay hooks to close.

Bust: to 18.5" flat across the back side seam to side seam with generous fabric at the front
Waist: 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: approx 16" from top of neck to top seam of the band at waist
Skirt: 44.5" from waist to hem with 2.25" turn up under the hem

Modern Sizing Equivalent: MED-LRG

Item# DD3593

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. This set is a little extra special since it still has its matching jacket which gives you more versatility in how you can choose to wear it. Hanae Mori excelled at these beautiful floral prints and when I find pieces with one of her oversized florals done in a mix of her signature soft and dreamy pastels I am very happy. I feel that pieces like this are among the very best representations of her work.

This is everything you look for in a Hanae piece. It has that wonderful custom designed print screened onto feather light silk layers on both the exterior layer and on the inner dress. This allows the two prints on each layer to be slightly offset as they layer over each other. This gives the print an extra dimension of depth. Doing this is one of her signatures and she used two types of silks to achieve this effect. This one takes that concept even further with multiple layers used in its construction. The innermost layer is a silk twill that takes colour exceptionally well. This has been printed with the her customs design and then it is interlined in a layer of tissue silk. Then there is a layer of the palest pink silk chiffon that defuses the print between the top and bottom layer. The outermost top layer is a printed silk chiffon that gives the dress its light and airy feel and has a touch of transparency to it. The dress is suspended from the shoulder with two padded silk straps that curve up and over the shoulders. It dips into a wide flattened V at the front and scoops low at the back. From the neckline it cascades and skims loosely over the body, gently widening out until it reaches the hem. It is cut to be very long and I love how the pattern changes and gets more intricate as it nears the hem. Over this is a gorgeous little silk chiffon jacket. The sleeves are cut extra wide and have that same pale pink silk chiffon layer under the top layer. Slits run partway up the inner seam of each sleeve so that you get a very wide feel to them as you move your arms. The body of the jacket is loose and full with an inner pink silk lining and is cut to mirror the widening of the lower part of the dress. It has a high rounded collar and closes down the front with three large frog knots made out of the same silk chiffon over inner padding. It is a stunning example of her work and beautifully made. I have included a photo of the hand finished interior seams cut in the traditional couture manner. I love it. Excellent condition with a minor note below

The inner silk twill dress is interlined in tissue silk and then has two layers of silk chiffon over that. It closes with a back zipper and then each silk chiffon layer closes with her signature silk covered teeny snaps. The jacket closes with the frog knots at the front. The loose and easy bias cut should allow it to fit a variety of sizes. Hand finished throughout. Hand rolled edges. The very upper edge of the collar is starting to fray and I see the tiniest faintest of marks on the front that you would never see when on

Dress
Bust: to 21" flat across from side seam to side seam
Inner waist: to 17" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Length: 60" from top of straps to hem

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: to 21" flat across from side seam to side seam
Waist- hips: open
Length: 24" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3589

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 Stavropoulos was known for his evening wear and his signature looks often involved draping and the use of multiple layers of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns 'seemed to float on air'. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. The majority of his gowns are almost entirely made by hand and to couture standards. By the early 1980s one of his evening dresses started at a cost of around $8500USD and they went up in cost from there. To put that in modern terms , that would be about $26,000USD now. Which means that when you buy a vintage Stavropoulos gown you are getting incredible value.

This dress is drop dead gorgeous with its wonderful pastel floral print in a gorgeous palette of light turquoises mixed with soft pinks, greens and lavenders. The print is screened over the entire dress and it is stunning to see in person. The silk chiffon is feather light and I love the airy feeling that this creates. This lightness has been achieved by layering separate layers made up of many yards of high end silk chiffon. This is a fabric that is notoriously difficult to work with and it shows just what a genius he was by the way that he was able to make it flow and sit so beautifully.  The majority of work is all done by hand and it would have taken many, many  hours of work to create this dress in this way. The silk is fully cut on the bias so that once you slip it on it simply drapes into place and swirls around you. The slightest bit of movement on your part or bit of air around you will cause it to move. The neckline is beautiful. It has a draped cape effect that follows all the way around the entire neckline. It falls softly over the shoulders and then drapes down the back and across the front. The neckline is softly scooped at the front and at the back it scoops lower for an expanse of skin to show. The waist is brought in a bit under the cape for shaping and then the skirt falls from there to flow and skim over the hips. As it nears the hem it widens out considerably and I love how the hem is cut so that it is slightly shorter at the centre and then on each side it is longer. The fabric is also set fuller at the two sides so you get a lovely sense of draping down each side. This is a dress that really comes to life when you move. It is very beautiful. Excellent condition

Fully lined in turquoise silk chiffon. The inner skirt has two layers of silk chiffon under the top printed layer to make up the lining. It closes with a hand set, painted metal zipper. The inner seams are finished by hand to couture standards. There is one small repair near the hem that gets lost in the many yards of fabric. Please see the shot after the label shot. The bias cut should allow it to fit a range of sizes.

Bust: to 18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips at Inner lining: to 22" flat across from side seam to side seam
Length: 59" from top of shoulder to shortest part of hem and to approx 65" to longest parts of the side hem

Modern Sizing Equivalent: SML-MED

Item# DD3591

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 comes directly from the original couture client and is in immaculate condition. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. It is one of a group of dotted red chiffon dresses that Valentino showed on the runway that season. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. I am also pleased to have found runway footage of the group of dresses that he did. The twin of this one was a runway piece and you just get the tiniest glimpse of it on the video I have added here. I have also included a gorgeous shot of Daniela Ghione wearing the dress that year. Style icon Nan Kempner was photoed wearing a different version of the dress which gives you another idea of how fantastic the dress will be on. It is an extraordinary and historically important piece of Valentino's couture work

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it is perfection on an actual body. The bodice of the dress is fitted and nipped in at the waist. It is cut in a sweetheart neckline that softly curves at the top and is strapless. The bodice is done in an extremely intricate manner. Panels of the silk chiffon have been cut on the biased and then shirred and diagonally crossed over each other to form that complicated pattern that wraps around the entire bodice. The little striped illusion effect that you see in each curving panel is actually the white dot in the silk hat has been meticulously lined up to precision with the one above and below. This painstaking pleating and gathering technique would have taken hours and hours to accomplish. This then forms a shaped bodice that runs down past the waist and molds over the top of the hips. From under that the skirt flares out to the floor and is made up of many yards of the same bias cut red and white dotted silk chiffon. The fabric is feather light so that your slightest movement cause the silk to flow around you. On one hip there are panels of silk that are set to run down that full side to give it an extra burst of volume and movement. The interior of the dress is made to couture standards with a full built in cupped corset that is boned and shaped to just past the waist. From under the bodice the skirt is made up of three full layers of silk; two of the dotted silk and a red silk inner layer. It is one of the most beautiful dresses I have seen and looks to have been worn very little if at all. It is an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice has a full built in boned corset made that hooks into place. The dress zippers to close over that. The skirt is made up of three layers as descried above. Done with Haute Couture construction techniques. Inner waist stay hooks to close.

Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3588

Reference Photos: (1) Daniela Ghione in Valentino Haute Couture Spring/Summer 1986. Photo by Oliviero Toscani.  /  (2) Valentino Haute Couture SS 1986. Photo by Lord Snowdon.  /  (3) Model in Valentino Haute Couture, Vogue Italia, March 1986. Photo by Albert Watson.  /  (4-5) Nan Kempner at Barbara Walters's Four Month Wedding Anniversary Celebration at The Pierre Hotel in New York, September 1986.

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This dress is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for. It comes to me from the original couture client. This is his main pink label that was still being produced in France at this point as opposed to later pieces that were manufactured elsewhere. It was very high end, expensive ready-to-wear that was made to near couture standards. For the Fall 1998 runway this dress was shown in a deep burgundy but my client purchased hers in this glorious all black version. 

The dress is classic Lacroix from his early years with all the high end drama we love about his work. The dress is sleeveless with wide straps that curve up and around the shoulder. The bust is meant to be fitted and the neckline is scooped at both the front and the back. There is a full built in corseted inner dress that is boned and shaped through the bodice and has extensive attached underskirts. It is attached all along the neckline and around the arms and then it falls under the outer velvet layer. The outer layer is made of a black velvet that is soft to the touch and very rich in feel. It is shaped with long vertical seaming to lie over the inner dress. On either side of the hip of the velvet layer the fabric has been gathered with extra long ribbons that you can use to adjust the length on the sides up or down as you wish. For the photos, I have put them up a little more so you can see the underskirt, while on the runway shot you can see that they styled it with one side a little longer than the other. I love that you can adjust it like that. The inner corset is made of a combination of taffeta, boning and a fine mesh netting. The entire lower portion of the skirt is finished with his signature gathered and puffed taffeta that gives it tons of volume. Each layer of the fabric is light but when all the layers, and the sheer volume of fabric that has been used, is combined the overall weight of the dress is substantial and it feels like a couture piece. The velvet at the back of the skirt is longer and slightly trained. There is a final gathered seam that runs from the mid-back to the centre of the back of the skirt's hem. For this one the ribbon ties at the top to add detailing there and again you can adjust it if you wish to be longer or shorter. You can see how stupendous this moves in the attached runway video of the burgundy version. This comes from one of his the original couture clients. Excellent condition 

Fully lined in a full corseted and skirted underdress as described above. It closes with a hand set side zipper on the inner dress and another zipper on the black velvet top layer. Each side and the back of the velvet layer are adjustable in length with the ribbons that you see. The interior corset is boned and the underskirt is made up of several layers for volume and shape. Tagged a 42

Bust: 17" flat across from side seam to side seam
Inner corset waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 59" from shoulder to front hem and the train at the back adjust to same length to up to approx 20" longer 

Modern Sizing Equivalent: SML-MED

Item# DD3585

Reference Photos: Fall 1998 Christian Lacroix 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 incredible dress is from the Fall 2000 Yves Saint Laurent Haute Couture collection and its twin walked the runway that season. The collection was lauded by the press. Marie Claire said 'Faithful to himself, Yves Saint Laurent has once again surpassed himself, without ever betraying the clean look that has become his signature.' The New York Times review by Cathryn Horn noted that the show was attended by ladies such as Nan Kempner who sat just a few chairs away from Catherine Deneuve and Lauren Bacall. Nan was seen in the audience saying 'fabulous' as the dresses paraded past. The Times review included remarks on all of the couture shows that season and said that the 'day belonged to Saint Laurent'. They also noted that "There have been a lot of Saint Laurent shows in recent years when nothing clicked and you thought, 'Okay, this is as good as it's going to get.' But the thing one realized the other day was how vast and deep are Mr. Saint Laurent's reserves of creativity compared with those of other, younger designers who blow themselves out early and then spend the next 10 or 15 years splashing around in the same puddle." This dress is exceptional and a rare piece from one of his final collections. That same NYT article also noted that during this time period, couture dresses had a start cost of $50,000 ($75k in modern dollars), and went up from there. This dress is sourced from the original couture client.  

The dress is exquisite and I love that you can see just how wonderful it is on the body from the runway reference photos that I have found for you. It is made from an inky black silk velvet with inset panels around the skirt. The sleeves are long and straight and the dress is cut to sit fully off the shoulders. This allows your entire upper shoulders to show. It skims over the body and the velvet lies over a fully built in inner corseting that gives support and keeps the dress perfectly in place. This inner corset is fully boned and closes with its own separate zipper. The dress skims over the body with vertical seaming all around for each panel that the dress is made up of. It is meant to sit so that your shoes show from under the skirt and this length also gives the skirt the best possible length to show off its fullness and the ingenious insets all around the skirt. Just below the hips he has inset panels that are made from knife pleated black silk netting. The are set in in such a way that each is very full. The result is that you get a stunning bit of volume through the lower skirts as these flare out around you and move when you move. They have a touch of transparency to them so you get a suggestion of leg showing as you walk. A wide silk satin ties at the waist for the perfect finish. Yves once said of the colour black "I love black because it affirms, designs, and styles. A woman in a black dress is a pencil stroke". The dress looks to have been unworn or worn very little and was sourced form the original couture client. Excellent condition  

The outer velvet layer is fully interlined in a fine black silk satin. The built in corset is boned and shaped. It closes with its own zipper and has an inner waist stay that hooks to close. The exterior layer closes with a hand set zipper. Done with Haute Couture construction techniques. The silk ribbon belt is not original to the dress. It appears to have been unworn or worn very little

Sleeves: 22"
Inner bust: 17.5" flat across from side seam to side seam
Inner waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: approx 56" from natural shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3586

Reference Photos: Fall 2000 Yves Saint Laurent Haute Couture Runway.

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

This comes from the same collection of couture pieces that I am handling at the moment for my client and all she could recall for this piece was this it was her mothers, it was from Chanel and that it was from the eighties, maybe early 90s. I have not yet found a photo reference for this one but when I do I will add it or send to the new owner. The set is incredibly beautiful on the body. 

The dress is stunning. It is made up of two separate pieces. The top piece is an inky black tabard that is made out of a rich soft silk velvet. At the front it is cut in a simple sleeveless sheath that has a subtle seam just under the bodice. The back dips into a low square to show a bare expanse of skin. Inside it is lined in a hand set heavy black silk that feels amazing against the skin. It closes at the side with a zipper but only to the top of the hip. Under that it is completely open on that side. You then wear the skirt under this and the skirt acts as a bit of coverage to keep the top layer from being completely scandalous. The skirt is marvellous. It is as light as air and made of alternating squares of a very fine netting with a lace flower woven through the netting. The squares are set on their sides so they become diamonds and the lace diamonds are offset with solid black diamonds made of a fine black silk. The skirt is meant to be worn under the velvet tabard dress so that it just peaks out along the side of the dress that has that extreme slit. This still leaves your leg completely exposed underneath right to the hip so it is very sexy but in an insanely subtle and refined manner. The skirt is very light in a weight and very beautiful. I love that they did the same amount of work on it all the way around for the entire skirt even though you only see that bit down one leg when the pieces are worn together. These are the types of extravagances that you find and fall in love with in true couture. It is stunning on the body. Excellent condition 

The tabard over dress is fully lined in a black silk and the skirt is unlined. Both pieces close with side zippers and the skirt has hook & eye at the waist band. All the interior work is done by hand to Haute Couture standards. It appears to have been worn very little if at all. Sourced from the original couture client 

Tabard
Bust: to 19" flat across from side seam to side seam
Seam under bust: 16.5" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 13" from top of shoulder to seam under waist
Skirt: 44.5" from waist to hem
Slit: 37" from hem up

Skirt
Waist: 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 43" from waist to hem
Slit: 17.5" from hem up 

Modern Sizing Equivalent: SML-MED

Item# DD3584

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 is held in the permanent archives of The Metropolitan Museum. It would not surprise me to find out that these were the only two samples of this dress in existence. True Haute Couture pieces were never produced in any significant quantities. The dress is as wearable now as it was when first made and feels very modern. It is entirely finished by hand and is from the time period when the house was run by Hubert de Givenchy himself. This is a wonderful and well documented piece showcasing Givenchy's work during this time period. I have included the dress that the MET has in the final shot here for your reference

The dress is made of a deep blue grey silk crepe. It is cut with a strong nod to the classic Grecian silhouette that leaves one shoulder exposed and bare. The construction details throughout the dress are exquisite. The bodice has been gathered by hand to create a series of soft pleats that run from the shoulder to the waist. These are set on a curving angle to follow the cut of the neckline as it works it way up towards the shoulder. The draping and soft pleat technique adds a beautiful detailing to the bodice of the dress. The waist is defined by a slim gold leather cord that wraps and ties to add shape. The skirt falls below this to the floor gently widening out a touch as it nears the hem. A second panel of fabric is draped over the skirt and set so that it angles softly down one side mirroring the angle of the shoulder. Slipping over this is a short cape that is made from the same fabric. It is cut on an angle to point down the front and the back and gives the dress a beautiful flowing feel. The colour is richer and deeper in person and on an actual body the entire dress really comes to life. Excellent condition with a few small notes below to review.

The dress is fully lined in a hand set blue silk of very high quality. There is a wide waist stay that hooks at the inner waist. It closes with a hand set, side painted metal zipper and from the waist down there are hidden set snaps that close the fabric of the skirt over the zipper. The bodice is lightly boned and there are small bust pads that are handset inside the bodice. The cape is unlined and slips over the head to wear. There are some light snags in the fabric here and there and some small areas pf darkening on the skirt overlay - the snags are most noticeably on the back of the skirt near the bottom - these are seen most when it is laid out flat but once on the color and placement make all of them negligible. Please see the two images after the label shots. All the interior work is done by hand to Haute Couture standards. Proper Couture tags on both pieces. Haute Couture tape label #55417

Dress
Bust: to 17" 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: 15" from top of shoulder strap to waist
Skirt: 42" from waist to hem

Cape
39" from neck to longest point of hem

Modern Sizing Equivalent: XS-SML

Item# DD2767

Reference Photo: (1) 1975 Givenchy Evening Dress from The MET Collection.  /  (2-3) 1975 Givenchy Haute Couture. Photo by Sammy Georges.

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 New York times said of this collection at the time; 'Yves Saint Laurent did it. With sophistication and authority in his collection for spring and summer, he gave validity to couture, the high end of the fashion industry. There was no desperate groping: this is the way the most expensive clothes in the world should look, he seemed to say. As the showings sailed into their final days, he re-established himself today as the king of couture." after their review of the day and suit looks they continued to say; "Preliminaries over, he was ready for evening dresses, the serious business of couture. His unerring eye for color came to the fore....One-color dresses were also effective, in fuchsia, bright blue or rose. Rarely did he resort to embroideries...His effect was achieved through line and cut." The review ended with this lovely sentiment; 'Saint Laurent knew his show was a success. "The couture lives," he whispered backstage after it was over. His mother, Lucienne Saint Laurent, told him he had never done better. He seemed to agree. It is rare for a designer to reinvent himself at the age of 56, the way Saint Laurent had just done. The show recalled his glory days in the 1970's, when he set the guidelines for couture and the rest of fashion. He has now done that for the spring of 1993." 

This particular style dress has incredible provenance. On the runway this dress was shown in a darker, more subdued blue and I have those runway shots here. The twin of the runway dress is held in the Met Museums' collection in both a red and the darker blue. The blue one in their collection was donated by Annette de la Renta and the red belonged to style icon Nan Kempner. There was another darker one produced for Catherine Deneuve who wore it to accept the Cesar award for Indochine. Such an incredible amount of history tied to the dress and it is exciting to have such a full and varied picture of who else ordered and loved the dress.

My client had the dress made in one of the brighter blues that was used elsewhere in the collection that year and I love it in this brighter bolder color. The dress is cut to leave one shoulder completely bare. Both sides have long slim sleeve and there is a panel of the same silk gathered along the top of the shoulder that then swoops down over the bodice and the back. That draped panel is very full and I love how it drapes over the sleeve on that side. The inner details here show is the genius of couture. The zipper on that side is set so that is softly curves under the arm and runs down the top of the inner sleeve. That way the person wearing the dress does not have an uncomfortable zipper pull right under their arm. It also keeps the sleeve perfectly in place despite the absence of a shoulder. The waist is seamed and detail by a matching, hand dyed silk satin slim belt. The skirt falls the the floor under that, gently widening out as it nears the hem. The side opposite to the bare shoulder has a very high slit so that you get a flash of leg as you walk. It is stunning and in person the colour is a touch richer and deeper then how it photoed. The silk also has a slight texture to it that adds detailing in person that the camera does not quite convey. This is a wonderful example of how strong his tailoring was in evening wear and an important piece fromm a collection hailed as a triumph. Excellent overall condition with a small note below

Fully lined in a fine blue silk. Done with Haute Couture construction techniques and closes with a hidden set side zipper under the arm that curves up and into the sleeve as described above. Inner waist stay hooks to close. The fabric is cut on the bias so there is some give. There is a slight fading along the top of the shoulder and down that same sleeve. Please see the two photos after the reference shot. It is light and because of the placement once on it is barely seen. The hem has been let down at some point. The belt is original to the dress and is in excellent condition 

Sleeves: 27"
Bust: to 19" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 18.5" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3582

Reference Photos: (1-2) S/S 1993 Yves Saint Laurent Haute Couture Runway.  /  (3-4) S/S 1993 Yves Saint Laurent Haute Couture Dresses from The MET Online Collection.  /  (5-6) Nan Kempner in Yves Saint Laurent, May 1993.  /  (7-8) Catherine Deneuve receives the César of the best actress 1993 for her interpretation in the film of Régis Wargnier "Indochine", March 08, 1993.  /  (9) Maxime, Loulou & Lucie de la Falaise in Yves Saint Laurent.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3579

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD2369

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3580

Reference Photo: Spring 2000 Chanel Haute Couture Collection.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2565

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3576

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3575

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD2777

Reference Photos: Resort 2008 Oscar de la Renta Runway Collection.

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3374

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

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3568

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

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

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

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

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

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

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

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

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

Item# DD3570

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

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

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

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

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

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

Shell
Bust: 18.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23" from neck to hem

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

Modern Sizing Equivalent: MED-LRG

Item# DD1696

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3567

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3566

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3565

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

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

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD2739

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# S923

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# S924

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

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3563

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3384

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

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