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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD2882

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# S913

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2878

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3468

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

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

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

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

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

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

Modern Sizing Equivalent: XS-LRG

Item# DD3465

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3461

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

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3456

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3457

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3136

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

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

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

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

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

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

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

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

Modern Sizing Equivalent:MED-LRG

Item# DD3451

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3450

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3444

Reference Photo: Fall 1974 Bill Blass Runway.

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD3243

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3442

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

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

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

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

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

Sleeves: 28"
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist:  to 12.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2991

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3242

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3432

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. This dress is from his Spring 1969 label and is very well documented. Versions of it were photoed with Beene himself and a variation of it was featured in a Harper's Bazaar editorial that season. A variation in the same print is also held at the Bullock Museum

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

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

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

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

Modern Sizing equivalent: XS-SML

Item# DD3431

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3430

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

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

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

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

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

Modern Sizing Equivalent: OSFA

Item# DD3429

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3428

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3421

Reference Photo: Marisa Berenson, in Donald Brooks, by Irving Penn for Vogue, May 1970.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3420

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3416

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

This Thea Porter caftan was made in 1977 and I was pleased to find a copy of Thea's original sketch for this style of caftan worn over a pair of wide legged pants. That sketch also appears in the 2015 book "Thea Porter: Bohemian Chic". These open front versions were especially loved for their versatility and ability to 'hide the body beneath the billowing forms, with transparent fabrics hunting subtly at the female form'. Of all of Thea's pieces, her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector. By the end of Taylor's life she had amassed a large collection of Thea's work that was auctioned off through Christie's in 2011. Many of the caftans in that auction fetched well over the $20,000USD mark and a burgundy version of this one sold at the auction for USD $8125. Each of Thea’s caftans ere made by hand and no two are alike.

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

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

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

Modern Sizing Equivalent: OSFA

Item# DD3415

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3412

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

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

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

Jean-Louis Scherrer started off working for Dior in 1955, leaving there when Yves Saint Laurent was appointed to the head designer position. He then joined Louis Feraud and stayed there until launching his own couture label in 1962. He was known for his evening wear and soon had a loyal following. In 1971 he launched his ready-to-wear line. The earlier pieces especially were extremely well made and often had many hand finises throughout like this dress does. The construction of this dress in particularly is closer to demi-couture then RTW.

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3411

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3409

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

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3405

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

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

This extraordinary dress by Marc Bohan for Dior is very well documented. A version walked the catwalk that season worn by none other than Ines de la Fressange and it was also photoed for the August issue of L'Officiel. 

The dress is made from a pale silver grey silk taffeta. This fabric choice allows it to keep its bold silhouette and hold the shape that you see on my photos and the reference photos. This is the kind of dress that you can see just how much of an influence this shape is still having on our current catwalks. I feel that I have seen all the elements of the dress re-done in one way or another over the last few seasons. The shoulders and sleeves are particularly wonderful. They are cut on a slight curve to follow the shape of the arm. Pleats are set all around the shoulder to give them the height and volume that you see. They then narrow down to the wrists. You can see the Victorian era influence on this dress but it still feels fresh and modern. The neckline is high and buttons at the back and the bodice skims over the bust to the waist. At the back there is an open slit that runs all the way from the buttons at the neck to the waist. This sexy little flash of skin is unexpected and I love the contrast this detail has with the high level of coverage the dress has everywhere else. The waist is seamed and the dress has its original wide matching sash in the same silk that you can tie and cinch in the waist even more. I have tied it at the back in the same large bow in the way it was shown in the editorial photo. The skirt skims over the hips to the floor. On either side of the waist a large ruffle starts to form and this curves over the hips and then towards the back where it creates a gorgeous trained effect. A small ruffle peeks out from under there and finishes the front hem. It is gorgeous and I love when a piece is this well documented. Excellent condition with a minor note below

Unlined and closes at the back with a zipper set at the waist and silk covered buttons and loops at the back of the neck. A silk covered button and loop at each wrist. The matching sash is original. Note that it was a little small on the mannequin in the waist area and the opening is not that wide at the lower back when it is on a girl that it fits properly. There are some watermarks on the hem. Please see the photo after the label shot and before the reference photos.

Sleeves: 27"
Shoulders: no true shoulder seams
Bust: to 17.5" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15.5" from neck to waist
Skirt: 42" from waist to front hem, 46" to back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3406

Reference Photos: (1) Ines de la Fressange for Dior /  (2) Model in Christian Dior, L'Officiel, August 1981. Photographed by J-F du Sel des Monts.

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

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

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

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

Sleeves: 23"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 35" from neck to hem with 4" turned over under the hem

Modern Sizing Equivalent: SML-MED

Item# C542

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

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

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

This early Bill Blass coat is particularly gorgeous with its bead and silver threaded fabric. The base of the coat is a deep dark brown velvet that has a rich feel. The brown and silver combination gives it more interest then if it had been a more basic black. Onto the velvet is an incredible and intricate design that has been created out of hand placed and sewn silver thread. The thread pops off the velvet base and has a lovely way of catching the light. The collar, ends of each cuff, down the front of the coat and the hem are padded and piped and this helps the coat to maintain its design and shape. It also gives the coat a neat and polished finish. The shoulders are structured but without any padding. The sleeves are slightly cropped and each one is cut to widen out as they hear their padded ends. It closes down the front with a series of silk covered, hidden snaps so that when it is closes there are no buttons showing to break the lines of the coat. This simple design allows that beautiful fabric to take center stage. Panels of silver tube beads set in a 'braid' pattern follow alongside all of the padded, piped parts of the coat for the perfect final detailing. Excellent condition

Fully lined in a matching brown cotton and closes at the front with silk covered hand set hidden snaps. Pockets along the seam on each hip. Hand finished throughout. It appears to have been worn very little if at all. 

Sleeves: 20.5"
Shoulders: 14.5"
Bust: 17.5" 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
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# C541

Reference Photo: (1) 1968 Bill Blass coat from the Indianapolis Museum of Art Collection.  /  (2) Veruschka in Bill Blass, Vogue, September 1968.

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This one, like several other of the Haute Couture pieces in the shop at the moment, are from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies.

The dress is made of two layers. There is an inner silk dress that acts as the lining, and then an outer layer over that, made from a semi-transparent silk chiffon. The silk chiffon used on the outer layer is especially fine and it has a beautiful red floral design screened onto the black with a secondary print suggesting an exotic animal print. The straps of the inner dress are made of that same fabric as is the matching belt that cinches in the waist. When the two pieces are layered over each other the result is wonderful. The outer dress gives the dress a very light and airy feel that is very feminine. The dress is so well made that I could not decide which way it sat better. I decided to photograph it both ways. First with the buttons down the front and then with it turned around to have the buttons run down the back. The neckline is collarless and simply ties above the row of silk covered buttons that start a slit keyhole between them and the tie. The bodice is cut to sit looser over the inner slip and the sleeves are full, poufing up above their buttoned cuffs. The skirt is a masterpiece of soft pleat work all the way around the hips. Each individual pleat is done by hand and precisely spaced. These give the skirt it's flounced feel. The matching silk fabric belt hook and ties into place to cinch in the waist. As good as it is on the dress form, it will be even better on an actual body. It is entirely made by hand and has its Haute Couture tag and numbered tape behind the tag present on the interior dress. Excellent condition

The exterior dress is unlined and closes with a tie at the neck and silk covered buttons. It has an inner waist stay that hooks to close. The interior dress act as the lining and closes with a handset side painted metal zip. Matching original belt. Finished to Haute Couture standards. Haute Couture label present with interior tape number 54878. The dress appears to have been worn very little if at all.

Outer Dress
Sleeves: 24.5"
Shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 28" from waist to hem

Inner Dress
Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 42" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3010

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 Valentino set is wonderful and even better once it is on an actual body. All four of the original pieces are present which is rare. This is early Valentino Boutique when they were still hand writing out the fabrics on the tag. 

All of the pieces of the set are made out of the same fluid silk chiffon crepe that has a deep blue base with a Italian Roma tomato print. The pieces are all original. There is a cropped halter top, a long full maxi skirt, a sash and a huge shawl. The top is cut with a high neckline and a ruffled collar. The front is set on an angle that curves up towards the neck and leaves a hint of collar bone showing. It is slightly cropped in length and ends up sitting just at the waist with a ruffle detail that picks up the detail at the neck. This leaves the entire top portion of the back bare. This gorgeous little top goes with the long maxi length skirt that is incredibly full. It widens out to almost a full circle skirt when laid out flat with yards and yards of fabric there. A double ruffle circles the bottom hem and ties in with the ruffles on the halter top. When the top and skirt are worn together it gives the effect of a dress except for that sexy peek of skin at the waist. You can wrap the long sash around the waist or use as a head scarf. The shawl can be wrapped and styled around you any way you wish. The shawl is also finished with a ruffle around all its edges to tie everything together perfectly. The set is gorgeous and far better on an actual body them my dress form. This is Valentino at his best during this time period. Excellent condition

The skirt and halter top are fully lined in a black silk chiffon and the sash and shawl are unlined. The halter closes with a painted metal at the back and the skirt also zips to close at the waist. Hand finished throughout. Tagged a vintage Valentino 6

Neck: 13.5" from end to end
Bust: 17" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Length: approx 17"

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

Sash: 16" x 72"
Shawl: 39" x 116"

Modern Sizing Equivalent: XS-SML

Item# DD3078

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 wonderful Oscar de la Renta dress is well documented and appeared both on the original 1996 Runway and then again on the catwalk for a charity show when Oscar went on his world tour that season. We also found video footage of that runway show which is an incredible opportunity to be able to see it move and on an actual body.

The dress is a flattering one shoulder silhouette. The fabric under the sequins is all cut on the bias so the dress molds to skim and highlight your curves without having to hug them in a tight or confined way. This also makes it extremely comfortable to wear once it is on. The one side curves up and around the shoulder hooking into the trio of velvet straps that curve gracefully across the back. The back is mainly bare, dipping on an angle low on one side. Inside there is a boned inner bodice so the worry about what to wear under it is avoided. The sequins are set on an angle and this works well with the bias cut feel so they seem to wrap around you. The sequins them selves are black but have little multi-color glitter infused in them and this creates a holographic color feel. These catch the light wonderfully and add an entirely new dimension to the dress. Excellent condition

The bodice foundation is lined in a silk satin and lightly boned. It closes with its own zipper and there is a waist stay that hooks to close. The rest of the dress is lined in a black silk chiffon. It closes with a back metal & nylon zipper. The velvet straps close with a hook & eye at the top of the shoulder.  It is tagged a vintage ODLR 6.

Bust: to 17" flat across from side seam to side seam
Inner waist: 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3391

Reference Photos: (1) F/W 1995-96 Oscar De La Renta Runway.  /  (2) 1996 winter Oscar De La Renta show for his world tour during a charity show at the Ben Gurion airport.

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

Todd Oldham showed his first collection in 1981 and officially launched his label in 1989. In 1991 he won the Perry Ellis Award for New Fashion Talent. By 1992 when the twin of this suit was shown on the runway he was on fire and everyone who anyone was a fan. His shows were extravagant and full of the reigning supermodels. His clothes were loud and in-your-face, but also sophisticated and beautiful. This is a rare suit from the Spring of 1992 and it comes with a matching top that was also shown on the runway. Both fabrics were shown in the runway that seasons and a twin of the top is held in the Met Museums permanent archives.

The stripe and floral print were not shown together on the runway that season but they sure do make a dramatic statement when worn as a three pieces set. The skirt and jacket are made with a rainbow striped fabric that has a black base and then ribbons of color are sewn individually, one by one, onto the base. The skirt is a slim cut pencil and the jacket is cut broader through the shoulders and then narrows in at the waist. The tailoring is impeccable and that fabric would have all been made by hand. I love the huge custom enamel buttons that close the jacket. The top is a synthetic organza that has a huge, bright floral print covering its surface. The rainbow theme is carried over to there with the jeweled buttons that are each a different color. You can wear these together as shown for a dramatic feel, or break it up and stay more true to t e runway. Excellent condition 

The jacket and top both button to close and the skirt closes with a hidden set side zipper. The pockets on the jacket are shallow but functional and the sleeves button at each cuff. Both the jacket and skirt are lined in a black silky rayon and the top is unlined. All three pieces are labeled and none look to have been worn, or were worn very little. All are tagged a size LRG.

Jacket
Sleeves: 22.5"
Exaggerated shoulders: 18"
Bust: 18" 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: 22" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 20" from waist to hem

Top
Sleeves: 23"
Slightly dropped shoulders: 16"
Bust: 21" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# S901

Reference Photos: (1-4) S/S 1992 Todd Oldham Runway.  /  (5) S/S 1992 Todd Oldham ensemble from The Met 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.

PAndre Courreges made these amazing little faux leather coats out of a coated vinyl starting around 1963 and into the early 1970s. The vinyl give it a more sporty look and was also considered to be a cutting edge fabric during this time period. It also features his logo prominently on the front which was also rather daring for this era. He was one the first designers to do this.

This can be worn as either a coat or a dress with something underneath. It is belted for definition through the waist and the big pockets at the front act as both a design feature and give it a sense of utility. His signature coated snaps do up the front and at the back there is a row hidden under the vent that allows you to close it for a more dress feel or leave them open so that the bottom skirting has more volume and functions more like a coat. It is cut to skim over the body and be more fitted through the top. Courreges himself once commented on the perfect fit saying that is “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”.  This is one of the much rarer originals in one of the best and most coveted of the colors - the brilliant orange. Excellent overall condition with notes to review below

The jacket snaps to close at the front and it has its original belt that also snaps into place. More snaps close the back vent and each cuff. The pockets zipper as seen. Inside, the lining can be fully removed and snaps into place. It is tagged a Courreges size 0. There are a few tiny nicks out of the vinyl exterior and the slightest, tiniest bit of wear near the logo. Minor wear to the paint on a couple of the snaps and a touch of grubbiness to one pocket flap. Inside the lining has some small missing areas. The exterior flaws are normal wear and patina for this fabric and it presents as excellent. The interior issues are minor and the fabric is strong and stable.

Sleeves: 22"
Shoulders: 14 3/4"
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
Bodice: 16" from neck to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C539

Reference Photos: (1) Model in Courreges, L'Officiel c.1970s.  /  (2) 1963-69 Courreges Coat from The Met Collection.  /  (3) Courreges Coat from the Istanbul Fashion Museum Adnan Ege Kutay Collection.  /  (4-5) Cherie, Owner of Shrimpton Couture.

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

This coat is an early example of Christian Dior's work and I love its simplicity. It has the Christian Dior Original, New York label. This label would be considered to be demi-couture from this time period of Dior's history. Pieces with this label where made for the American market to sell in the New York Salon. They were based on the runway designs and were constructed with the same high standard finishes that the true Haute Couture pieces incorporated. It is very well made and even better in person.

This coat is in exceptional condition and it looks like it was never been worn, or worn very little. It is cut with the volume and curves that defined the era. It is a wonderful example of the work Dior was doing in this time period and why they had such an influence in establishing the direction of design during this era. The lines of the coat are very simple. There is the very minimal amount of seaming done to achieve the shape that you see. It almost has a slouchy robe feel to it with a angle shaped collar that sits above the large buttons that run down the front. The shoulders are cut so that the curve and drop. The sleeves extend from there and are cut to just past the elbow. Through the body it is cut with a full curve that narrows slightly into the hem. I love the large front pockets that are top set and sit on each hip. The fabric is a highly textured matte silk or silk and wool mix that is unusual and quite charming. Inside there is a woven silk lining that has the look of the type of silk that would normally be used in men's suiting. It feels very modern and is pristine. It looks like it just stepped out of the showroom of the atelier. Excellent condition

Lined in a hand set black textured silk. It buttons to close at the front and has pockets on each hips with each pocket is lined in silk. The buttons have proper finished buttonholes. Hand finishes. The cut is meant to sit oversized and will fit a variety of sizes.

Sleeves: 16" approx.
Shoulders: no defined seam
Bust: to 23" flat across from side seam to side seam
Waist: to 22.5" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 42" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C435

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

The Fall 1958 season was Yves Saint Laurent's second collection for the house of Dior. It was titled the 'Line Courbe - Silhouette en Arc' which translates to Curved Line - Arched Silhouette. In the book 'Dior Catwalk'  they have abnb excerpt from the original show notes that explain the inspiration behind the silhouettes on the show. They stated that 'The structure of this season's fashions is inspired by one of the fundamental lines of architecture, curved convex lines... the definitive curve of the well-marked rounded shoulder line, the softened curves of skirts and the semi-circle of Palladio's arcade as key characteristics.' Vogue said that the proportions 'were the newest look in Paris. This show is also spacial because it was only one of three shows in the entire Dior history (the first in 1954 under Christian Dior himself and the third decades pater for a cruise show), that after it was show in Paris it was then brought in its entirety to the Blenheim Palace. There is was presented to raise funds for the British Red Cross and the collection was presented to Princess Margaret and guests at Blenheim Palace. It was also the piece from the collection that season that was chosen for the cheeky ad campaign. In the campaign a model in the coat holds a a minature version of herself on her palm wearing the coat. The coat also appears in the book 'Dior: Yves Saint Laurent 1958-1960' which is a coffee table sized book that is part of a series on each of the designers for Dior. The book series celebrates the houses 70th anniversary. The coat is in exceptional condition and it is an extraordinarily beautiful piece of fashion history. Yves Saint Laurent was at Dior for only a short time period; creating only six couture collections while there, which makes piece from his reign especially rare and an important part of not only Dior's history but of Yves as a designer as well since this would represent some of his very earliest work.  

The coat is made from a heavy, deep blue silk with a satin finish. The coat would have be considered to have been a ‘Petite Theatre’, a more formal evening coat, during this time period. A neat rounded collar wraps in a curve around the neck and closes just off to the side. This sits above a double row of buttons. The buttons have been hand made and covered in the same silk as the coat. Each button slips into a perfectly made button hole and all the work is done by hand. Pockets are hidden along the curving seams that are inset sightly towards the front of the coat so that the vertical line stays clean and simple. The back has tremendous volume and this fullness is created by a soft inverted pleat that opens from just under the back collar and extends down to the hem. Besides the volume this creates it also directly relates to the shapes that Yves intended the pieces in this collection to have. From the side, this gives it a bit of caped back feel and would have layered perfectly over the fuller backed skirts of the dresses in this collection. The silk that has been used is of the highest possible quality and the colour is an even darker shade of blue in person then how it photoed here. It appears to have been worn very little and is in outstanding condition. The proper numbered Haute Couture label is present and the coat is made entirely by hand to the standards demanded of Haute Couture. This is an exquisite example of Yves Saint Laurent's very earliest work with as a couturier and as the head of Dior. It is an outstanding piece of Haute Couture from one of the most important houses of our modern era. Excellent condition

Fully lined in hand set blue silk. It buttons to close at the front with silk covered buttons and has two hooks inside to secure in place. Hand done buttons and proper button holes. Pockets are hidden at each hip along the seams. The coat looks to have been worn very little if it all. The coat is meant to fit slightly oversized so should fit a variety of sizes. The proper Haute Couture label is present and it is numbered. Done with Haute Couture construction techniques.

Sleeves: 16"
Slightly dropped shoulders: 16"
Bust-hips: open
Length: 38.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3601

Reference Photos: (1) Christian Dior ad, 1958.  /  (2-3) "Dior: Yves Saint Laurent 1958-1960", pages 108-109, published by Assoulin. 

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

This gorgeous dress from the last years of Marc Bohan's grand career as head of Dior is from the Fall 1980 collection. In the book Dior; Catwalk, the notes on the fall collection state that the collection notes read that; "Bohan was inspired by 'Baroque fancies and pre-Raphaelite chinoiserie'." and that "the designer created 'sinuous and subble bias cut evening dresses pleated 'a la Fortuny". This dress has the added provenance of having been photoed on Michelle Monaghan before it was released from my archives.

This two piece dress from that Haute Couture collection has that pleating technique use in its constructed as mentioned above and it is very beautiful. The inner dress is a fine, almost weightless silk chiffon with a simple double layer of silk chiffon that has been used to create the bodice that skims over the torso. The waist of this inner piece is cut loose and easy for comfort. The skirt has an extraordinary three full layers of silk, layered over each other. The outer exterior layer is finely pleated in a series of perfectly done, 1/8th of an inch pleats, that circle all the way around. The edges are finished with tiniest of stitches that have all been done meticulously by hand. All of the interior work is by hand as well. Lying over this is a loose tunic feeling overlay that is made out of a fine, silk chiffon. Worked into the silk are hundreds of dots made from a feather soft silk velvet that has been fused to the base fabric. The sleeves are full and cut so that the widen out quite a bit as they near the ends. They are unlined so that you get a touch of transparency to them and the dot pattern is really highlighted. They each end in an angled V shape that pick up that same angular shaped panel that drapes down from the neckline. The neck is cut high and again this part is left unlined for just a glimpse of skin underneath. At the back is a large bow that snaps into place so that you can wear it on or off. I have shown this worn to the back but this set is so well made that you could easily turn it around and wear it to the front I think. The versatility of the two pieces is wonderful, you can wear them together or break them up and mix with other pieces. The tunic would look as equally chic over a slim black trouser and you can combine the inner piece with a sweater or other top. The tunic is just ling enough to wear on its own if you dare. Excellent condition with a minor note to review below

The inner dress is composed of two layers that are hand sewn together through the bodice and three silk layers through the skirt. It closes with a hand set side zipper with hidden snaps to cover the fabric over the zipper below the waist. There is a button at the back of the neck and an inner waist stay that hooks to close. The tunic slips on the wear with three hook & eye at the back of the neck. Lightly padded shoulders and the bow snaps into place. There has been some softening to the pleating of the back of the skirt.

Tunic
Sleeves: 25" to longest points
Shoulders: 16"
Bust: to 24" flat across from side seam to side seam
Waist-hips: open
Length: 39" from neck to longest point of hem

Under Dress
Bust: 19" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD1717

Reference Photos: (1) Michelle Monaghan for Rhapsody Magazine by Jane + Jane (Boondock Agency). Stylist: Amanda Lee Shirreffs, Makeup: Ann Pala, Hair: Anne Morgan, Manicurist: Leanne Colley. Click here to see this entire shoot in our lookbooks >  /  (2) Cherie, Owner of Shrimpton Couture.

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

Richard Tyler was the designer to wear in the 1990s. He won the Council of Fashion Designers of America New Talent award in 1993. In 1994 and 1995 he won the Council's Womenswear Designer of the Year award. Julia Roberts, Janet Jackson, and Sigourney Weaver were just a few of the stars who loved his work and his dresses made regular appearances on the red carpet. He was known for his impeccable tailoring and finishes and at the time employed some of the best tailor and seamstresses in the business.

This sleek little number is in perfect condition and is cut beautifully. It is strapless and follows the curves of the body. The neckline is cut squared off and even the sides dips down in sharp little angles before curving around the back. This is achieved by a cleverly constructed overlay that sits over an inner corseted and boned bodice so that the dress stays in place. The waist curves in with no seam to break the line of the fabric. When it is off the body it is cut with the curves built in. The silk skims over the waist and hips and then fall tot he floor in a sleek and simple column. There is high side slit that runs up one side to allow you to walk and to flash a bit of leg. It is fully lined in high quality silk and feels as sensual on as it looks from the exterior. Very well constructed with hand finishes throughout. Excellent condition

Fully lined in a black silk and closes at the side with a hidden set zipper. Inside there is an attached inner boned corset.

Bust: 15.5" flat across the back from side seam to side seam
Waist: 14" flat across the back from side seam to side seam
Hips: 19" flat across the back from side seam to side seam
Length: 51" from top of bodice to hem
Slit: 23.5" from hem up

Modern Sizing equivalent: XS-SML

Item# DD648

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 held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced at this point in Christian Dior's history. It is made out of a sheepskin that has been brushed out so that is is soft and fluffy. You can see in areas where the undercoat is very curly. The color is a combination of creamy ivory mixed with a pale taupe that has an almost pink cast to it in some areas. It is a little bit paler in the photos then how it is in real life. The fur is very soft soft and very fluffy. It is done in rows of fur that are interspersed with rows of a golden colored grosgrain ribbon. The collar is big and oversized. It is cut in a classic coat style with a flared bottom. Fur hooks run down the front and pockets sit along the horizontal row on each hip. The sleeves are cut straight and full. The pelts are thick and glossy and it looks to have never been worn or worn very little. It is a stunning choice for the girl who believes that vintage fur is a sustainable choice. Excellent condition with a minor note below to review.

Fully lined in a deep taupe silk that is embroidered with the Christian Dior name throughout. It closes with the fur hooks down the front. Pockets on each hip. I see no bald spots or shedding, the pelts are supple and soft. There is slight wear at some of the common points - edges of the sleeves. the inner edge, but it is very minor. 

Sleeves: 24"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 44" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C533

Reference Photos: (1) Models in Christian Dior fur coats, L'officiel Magazine, 1971.  /  (2) Christian Dior Coat from The MET Collection.  /  1960s-70s Christian Dior Coat from The Met Collection Online.

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

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 Gucci logo pieces are well documented and finding a dress from that time period id a treat. Variations of this dress are well documented having been featured in editorials from the time period. Versions of it also are currently on display in the permanent exhibit hall at the House of Gucci in Florence.This particular dress has the added modern provenance of being worn by Erin Wasson who was lent it from our archives.

This dress is absolutely gorgeous and is instantly recognizable. The cut is a forgiving shift shape that falls fairly straight from the shoulders to the waist and then flares out a bit more to the hem. It is technically a tunic as the sides are slit right up to the buckles you see on each side. But with something underneath it can certainly be worn as a mini like Erin did. The entire dress is finished with a a piping of leather. It crosses over itself at the front to create a V neck and the it hooks inside and then buckles into place on the other side. The buckles are a braided gold metal and sit on each hip. The print is that classic double G logo print on the same canvas fabric that was used for their bags during this time. This is a true piece of fashion history and feels as modern now as it did when it was created. Excellent condition with a note below.

Fully lined in a golden taupe silk and slips on to wear. It hooks on the inside and buckles at each side of the exterior. When laying flat it looks like one shoulder is higher then the other. I think it was stored and this affected the shape a bit. You might find moving the inner hook to where the dress lies on you best. Old style, stamped leather Gucci label present. The easy fit will allow it to work a a range of sizes.

Bust: to 17" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to approx 20" flat across from side seam to side seam but with no true side seams
Length: 29" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3378

Reference Photos: (1) Erin Wasson at the LACMA Gucci Party, November 2018.  /  (2) Model in Gucci Tunic Dress, Vogue, April 1969.  /  (3) Model in Gucci, 1969. Photo by Willy Rizzo.  /  (4) Exhibit from House of Gucci in Florence.

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

Vogue's Amy Verner said of this collection; "If the Spring collection projected some kind of sexual reawakening for Givenchy, then Pre-Fall made a strong statement that there is to be no messing around. With a tight edit of 26 women’s looks, Riccardo Tisci moved through suiting, layering, pleating, printing, embroidering, and all-around impressing—because none of this, of course, was as simple as it seemed...The collection then advanced to Tisci-approved polka dots—which is to say, tiny rubberized crosses on chiffon or silk cady."

This dress was look 26 in the show and sold out world-wide. Various celebrities made appearances in it and it was one of the favored looks in the show. Pieces from the Tisci years are already sky-rocketing in value and this one in its unworn condition, still with its original tags will only increase in value as time passes. The dress is amazing on. The fabric is a stretch jersey and the twin of the Look 26 in the collection. It is printed with a floral design and has those little red rubber crosses fused to the fabric as mentioned in the review above. The top is built with long sleeves and so that the shoulders slouch off and leave them bare. Inside there is a stretch lingerie netted interior that gives support and holds the dress in place. It is gathers all down one side and has a ruffle to further detail that gathering. The skirt is hiked up on one side as a result and a split under that leaves room for you leg to flash out It is incredible on the body and a steal considering it original price tag of $4350.00. Unworn with original tags. Excellent condition

Unlined with a stretch lingerie netted interior that holds and supports.Zippers to close at the side with a hidden set zipper. The fabric has stretch so it should fit a variety of sizes. Tagged a modern 42. Original hang tag with the price on it of $4350.00USD

Sleeves: approx 19" from natural shoulder
Bust: will stretch 17" - approx 20" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 16-19" flat across from side seam to side seam
Length: approx 44" from to hem and can be worn shorter

Modern Sizing Equivalent: MED-LRG

Item# DD3380

Reference Photos: (1) Pre-Fall 2015 Givenchy, Look 26.  /  (2) Joan Smalls at the Tony Awards, 2015.  /  (3) Cherie, Owner of Shrimpton Couture.

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

I love finding Donald Brooks pieces. He launched his label in 1964 and he only designed for a very short time, closing his business in 1973. Within that time period he launched his boutique line that first debuted in 1971 and then also closed in 1973 when he shit everything down. This dress is from that boutique line so dates to that 1971-1973 time frame. It was most likely a revisiting of the dress he had done earlier in 1967 that I have added here as a reference photo.

All of Donald Brooks pieces have a certain ease about them - partly due to his fabric choices and also in part because of his cutting and draping techniques. They can be intricately detailed like this one is but at their core, they are easy to wear silhouettes. This dress is made from an easy to wear black crepe that has been finished with hundreds of little beads and studs that for that pattern that you see over its surface. As you look closer you see that has he has made a play on the gold and silver that he used and literally one half of the dress is finished in the gold and the other in silver. On the right side are large silver studs that peter out to smaller ones on both the neck and sleeve. And then that entire side of the dress is finished with tiny silver toned metal beads. On the left the exact same pattern is repeated but this time in brass. Each bead and stud is hand placed to cover the entire surface of the dress. It's an ingenious way to give the dress a little extra glitz without ruining the simplicity of the crepe. The dress itself skims over the bust, nips in at the waist with a matching studded belt that is also done with the same half and half design and has capped sleeves. An unusual and striking dress. Excellent condition.

Fully lined in a black silk and closes with a metal zipper at the back. Original belt that closes with snaps. There may be the occasional bead missing. The belt has some fold marks on the back but looks fine once on.

Shoulders: 14.5
Bust: to 19" flat across from side seam to side seam
Waist: to 16.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 54" from neck to hem with approx 3.5" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3376

Reference Photo: Penelope Tree in a Donald Brooks Dress. Photo by Richard Avedon, Vogue, October 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.

Alexander McQueen designed the 2005 collection 'It's Only A Game' around the idea of a chess match between America and Japan. Each ensemble corresponded to a particular chess piece. Vogue said of it; "The presentation summed up all his experience in sharp tailoring, spectacular romantic dresses, couture richness, and downright showmanship." and that it had a "girlish Edwardian theme, starting with tiny sailor jackets, school blazers, ticking-striped shirts, and gray knee-length shorts, then adding lovely white lace blouses and dresses". The twin of this set was presented on the runway that day for Look 8. This show is often referred to as one of his most iconic presentations.

The set is incredible and an important piece of the Alexander McQueen history. It is instantly recognizable and from one of the most important collections. It is a work of art and the fabric alone is astounding. It is made from a fine, light silk that n person is perhaps a touch more on the taupe side then how it photoed here. Into that silk are very fine embroidery that forms the design that you see running over the jacket and the skirt. The skirt is pleated and the pleats close around the hip and then open to give it the volume that you see. The fabric is very light but the way that it has been sewn and pieces together give it the volume and shape you see without needing any interior skirting. I particularly love the fine notched scalloped edging around the hem. The jacket is equally incredible. The lace top you see peaking out from under the jacket is actually attached and part of the jacket. The tailoring is masterful and shows his mastery of line. It has a Edwardian/Victorian flare to it with its row of carved mother of pearl buttons that run down each side of he jacket and little flap pockets on each hip. The attached top underneath is a fine lace and feels the equivalent to a fine antique lace. I love how this buttons al the way up to a high neck and how the ruffles around the neck are the same as those on each sleeve that peak out. The little grosgrain band that extends out from the interior of the jacket is the perfect finish. This is an incredible piece of Alexander McQueen history. Excellent condition

The jacket is lined in a textured striped cotton suiting lining and the edges of the interior with a silk grosgrain fabric. It closes with the buttons down the front. The skirt is unlined and closes with a side zipper. Both pieces are tagged a size 44. It looks to have never been worn or worn very little.

Jacket
Sleeves: 25" to end of lace sleeve
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 22" from neck to hem

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 27" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3369

Reference Photos: (1) Spring 2005 Alexander McQueen Runway Collection, Look 8. Model: Dawning Han.  /  (2) Alexander McQueen suit on display at the "Lee Alexander McQueen & Ann Ray: Rendez-vouz" exhibit at the Crocker Museum in Sacramento, 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.

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

Ossie named all his couture dress and this one is known as the ‘Bridget’, said to be named after Bridget Bardot who was said to be a regular at the Quorum boutique. The design is first mentioned in the book on Ossie by Judith Watt as part of the 1968 collection but variations of it were photoed up to 1973. A tulip print was captured on Marianne Faithful herself. Variations of this dress also appeared in Vogue UK and a floral version landed on a young Anjelica Huston for a Selfridges ad.

The dress is made out of a satin backed, black crepe, that wraps with a low and wide plunge at the front. The sleeves are a puffed capped and the front and back gather into the yoke across the shoulders. It wraps with long ties at the waist and has a padded waistband. The skirt is very full with yards of fabric in its construction. A series of tightly spaced knife pleats run down each side. These were a signature hallmark of this particular dress. The dress is in overall excellent condition but does have a note concerning condition to review below.

The fabric is self backed. It wraps to close and ties with the attached ties. It is labeled a vintage UK 12. There is some slight fading across the upper shoulders and the back of the collar. Where it is makes it a non-issue when its on but it is there. Being solid black re-dying is a potential option if this bothered you. These are so rare the effect to the value is minimal. The wrap style should allow it to fit a variety of sizes. 

Slightly inset shoulders: 13"
Bust: to approx 17" flat across from side seam to side seam
Waist: 11-13" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3363

Reference Photos: (1-2) Martha Hunt in Ossie Clark from Shrimpton Couture, Cannes, May 2018.  /  (3) Model (Camille Neviere) in Ossie Clark from Shrimpton Couture. Photo by Angela Y. Martin. (Styling: Ulia Koles. Hair & Makeup: Larissa McCourt).  /  (4) Model in Ossie Clark for Quorum, Shot by Henry Clarke, Vogue UK, September 1971.  /  (5) Anjelica Huston (right) for Ossie Clark, Cosmopolitan, May 1972.  /  (6) Marianne Faithfull, 1973.  /  (7) Pattie Boyd in Ossie Clark.  /  (8) Credit unknown.

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

This is an incredible dress and jacket set 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 - New York label and is considered to be demi-couture from this time period of Dior's history. These where made for the American market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated.

This set is just spectacular. It has a simple, refined cut that is made glamorous by the wonderful fabric choice. The fabric is a beautiful wool silk that has a touch of weight to it so that the lines are perfectly held. It has a cream base with squares running over its surface. Each is a peach outline that then has a gold and peach medallion in its centers. In person the peach is brighter and better. The metallic gold lame thread is slight raised up from the fabric so it gives a touch of dimension besides the shine. These cover every square inch of the fabric. It is made of two pieces. The inner dress is a simple sheath that is cut so that is skims over the body and slightly flares out as it reaches the hem. It is sleeveless and the neckline is a simple scoop. It comes with a gold metal and rhinestone chain belt that slips through the loops that run around the low waist and then the belt hooks. The belt is real metal and has crystal detailing set along every 4 inches. I love how it ends in a gold tassel that dangels down under where it hooks. Over this is a little matching jacket that is sheer perfection in cut. It has a neat little collar and box cut. There are no closures and it is the perfect finish once it is popped over the dress. What I love about it is that when the dress is worn on its own it has that touch of a mod feel that the sixties were all about but once the jacket is on it has a very refined feel. Excellent condition with a small note below

Both pieces are lined in a heavy cream silk crepe with an additional silk chiffon interlining through the dress. The dress closes with a had set, hidden zipper at the back. The jacket slips on with no front closures. The belt hooks to close. There is a slight grubbiness to the lining of the inside back collar  of the jacket and one very minor nick out of the fabric on the jacket. Please see the photo after the label shot. . Otherwise the set appears to have been worn very little if at all. Hand finished and very well made to demi-couture standards.

Jacket
Sleeves: 22"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Length: 19" from neck to hem

Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3357

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