This is a gorgeous Fall 2005 John Galliano that has the added modern provenance of being the exact dress that Brie Larson wore to the Filming Italy Sardegna Festival in June of this year. It is a dress that was made for the shops but you can see its runway influence in the floral piece shown on the runway that season for Look 47. It is a dream dress and I love that we have now added to its history. 

This dress is absolutely dreamy. It is meant to skim over the body and it has that beautiful movement that Galliano is so well known for. It is made out of a combination of black netting for the upper bodice and then a bias cut black silk chiffon that it has texture in it for added interest. The netting covers the upper bodice and then curves over the shoulder to also cover your upper back. Attached to that is the long silk chiffon bodice that runs from the net to a dropped waist at about the hip level. The silk  is cut on the bias and you can see that the slight pattern in the chiffon is all set on an angle. Where this meets the skirt the seam is set on a curving angle that is reminiscent of Old Hollywood dresses from the twenties and thirties. The skirt is made of two tiers and each tier has lace edging with ruffles of the chiffon. Some also have added ruffles made of the black netting. I love how this ties all the elements of the dress together. The skirt has an amazing amount of fabric in it and it is light as a feather over the inner silk skirt. The smallest bit of air will catch the skirt and let it billow out around you as you move.  The final perfect touch are the embellishments that are applied by hand onto the bodice. Black and white flowers made of silk chiffon petals have been secured onto the silk with bursts of tiny little silver sequins. All of the edges on the flowers and the ruffles have been left raw in that beautiful way that Galliano loved to do. When this is on and you are walking the movement it creates is absolutely gorgeous. This is John at his best and it is a tremendously beautiful dress. Excellent condition

Fully lined in a black silk. It slips over the head with no closures. Comes with its original Galliano hang tag and was only worn once briefly by Brie and then cleaned. There are a couple of tiny black sequins near the edge of the neckline on the dress and we have left them to not risk causing a hole in the netting. We believe it’s intentional. The flowers have been hand applied. The silk is cut on the bias, so we put the comfortable range of measurements when the dress is laying flat below.

Bust: 13-16.5" flat across from side seam to side seam
Waist: 12.-14" flat across from side seam to side seam
Hips: to 17" flat across from side seam to side seam
Total length: 58" from top of the shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4842

Reference Photos/Video: (1-2) Fall 2005 John Galliano, Look 47. Model Caroline Trentini.  /  (3-7) Brie Larson in this dress at the Filming Italy Sardegna Festival, June 2024.

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

This Fall 2007 bridal look from Oscar de la Renta has runway roots. The dress in a more beige taupe was Look 68 on the runway for the Spring of 2006 and then a version in this ivory was included as part of the Fall 2007 bridal presentation. I love that he loved this dress so much that he repeated it. This dress was a stand out and has an beautiful romantic feel to it. My client wore the dress on its own but if you love the look of the runway you could easily add a little cropped cardigan to get that same feel.

This Oscar de la Renta dress is stunning. It would obviously make an amazing wedding piece for the bride but I think it is also a dress that could cross over and be worn to other events. The dress is made from an off white silk organza that has a swirling design applied onto the fabric by hand. The design that is set onto the dress are little curving panels of silk ribbon that have been gathered and placed onto the silk. You can clearly see the hand work from the back and I have shot a photo of that for you to see. These ribbon embellishments run around the top of the bodice, past the waist and then are placed over the entire skirt. The silk used for the dress is ultra light in weight and it is backed by a single layer of silk chiffon through the skirt. This gives the dress this feeling of lightness and airiness that is very beautiful. It feels almost weightless once on the body. The silk is just heavy enough to hold the shape and structure of the dress. It has a full built in boned corset inside the bodice so you don't have to worry about additional underpinnings. The skirt is very full and for most of these photos we added a light crinoline to the dress to show you that. Without an added underskirt it still has enough shape that it falls on its own perfectly and the last two full length shots are of the dress with no added underskirt for you to see. The bust is strapless and fitted across the bodice. It is cut to follow your curves and there are cups inside to lift the breasts. It tightly hugs the bodice and then nips in at the waist. The skirt flows directly out from the waist and is cut to have volume all the way around you. Every angle is drama and gorgeousness. It is cut slightly longer at the back so that it flows out behind you just a touch. I love the bareness of the shoulders that the strapless silhouette gives you. It is the perfect balance to the fuller skirt. It is a very stunning gown and is a beautiful example of Oscar's work. Excellent condition

There is a full built in corset that closes with its own zipper and then the dress closes over that with a hidden set zipper. The skirt is lined in an ivory silk organza. The crinoline that is in some of the photos is not included. I see one tiny area near the hem where the fabric has a slight change in texture. Please see the photo after the label shot. Tagged an ODLR 8 

Bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 9.75" from top of bodice to waist
Total length: 51" from top of bodice to front hem, 54" to back hem. 

Modern Sizing Equivalent: SML-MED

Item# DD4839

Reference Photos/Video: (1-2) Fall 2007 Oscar de la Renta Bridal.  /  (3-5) Spring 2006 Oscar de la Renta, Look 68. Model Lily Donaldson.

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

Yves loved a good leopard print but he did it in his own way and for the Fall 1992 presentation he did it in an amazing gold toned version. This is a stunning example of just how edgy he could be for this time period. This set is from the Rive Gauche collection and these were pieces that were sold separately. My client told me that she hunted to put the pieces together as they were sold out everywhere at the time. Several variations and pieces were shown on the runway in this print and we have included some of those examples here for you. 

This two piece set combines a beautifully cut jacket with pants that have an extremely wide leg so that they look like you are wearing a full length skirt. Yves did variations of his iconic suits every season for both his Couture and Rive Gauche presentations with skirts and pants of varying lengths and cuts. They were shaped and tweaked by Yves to be immensely flattering on the female body. I love this pair of pants and how they give the feeling of a more formal full length skirt. It is also fabulous that you can mix and match the pieces with pieces you already own. The incredible gold fabric and leopard print make the suit feel so luxe and yet still elegant and refined in feel. The jacket is tailored with a sleek cut that follows the curves of the body. It has a notched collar and the sleeves are set into the jacket so that they are wide at the top and narrow to big flipped over cuffs. Large domed gold toned metal buttons are set on a slight angle to close the jacket. It comes in at the waist and then flares over the hips. The gold on the fabric feels like it was painted directly onto the fabric and it catches the light as you move. The pants are cut in the same amazing leopard print as the jacket. They fall to the floor and are incredibly wide by the time they reach their hem. Each leg is a full 62" around by the hem. This makes them look like a fuller skirt when you are standing still but gives you the ease of wearing pants when you move. And they have pockets. His suits changed the way we approach womanswear and this one is especially fabulous. It is a wonderful example of how strong his tailoring was and it is an important piece of fashion history. Excellent condition

The jacket is lined in a brown silk and buttons to close at the front. The pants are unlined and close with a side zipper and button at the waist. Pockets on each hip. Padding in each shoulder of the jacket. I see a little bit of fading to the fabric under the arms of the jackets' lining. The jacket is tagged a 40 and the pants have no size tag present.

Jacket
Sleeves: 25"
Shoulders: 15"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Bottom seam: to 23.5" flat across from side seam to side seam
Length: 26" from neck to hem at the longest point at the front, 22" at the back

Pants
Waist: 14.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 44.5" from waist to hem with just under 2" turned under the hem
Inseam: 30.5" and the gusset is 21" from back of waist to inner leg seam

Modern Sizing Equivalent: SML-MED

Item# DD4833

Reference Photos: Fall 1992 Yves Saint Laurent.

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

Ages ago we had a dress in the shop that was similar to this one in many ways and we have included the reference photo from that one that is of a Halston dress shot for Vogue in 1974. On the dress we had, the ruffles were set more towards the back of the neck and on this one they come all the way around, but I believe that this one is from about the same time period, if not the same collection.

Halston was a master at combining function and ease but without sacrificing glamour. His bias cut pieces, like this one, sometimes feel somewhat shapeless on the hanger or on a dress form and it is only when they are on a body that they drape and settle into place the way they were intended. They seem so very simple but they are not. The dress is entirely cut on the bias with that minimal seaming signature that he was famous for. The colour is a beautiful deep blood red that is flattering on most skin tones. It is feather light and it weighs ounces once it is on. it comes with its original slip under dress and I love that because it is like you are getting two dresses in one. The under dress is backed in its own layers of a nude silk chiffon and you could wear the dress on its own as a slip dress. Popping the outer dress over it gives you the full on look and then you could also wear the outer dress over a different coloured slip to get a different feel. It is one of those dresses that gives you lots of styling options. The cut through the body of the outer dress is extremely loose and easy. There is an elastic at the waist and it allows you to wear the dress longer with the elastic more to the top of the hips, or you can pull it up to shorten the length and make it more of a day piece. The neckline is ruffled and it has a silk chiffon pipe length running through it that ties at the front. This lets you wear it more wide and off of the shoulders or you can wear it more closed and around the neck. Each sleeve is soft and full and end with a ruffle finish. The skirt is full and open. The matching inner silk dress is cut on the bias and it slips over the head and is suspended from nude silk chiffon straps. If worn more down, the dress will land between full length and ankle length, depending on your height. If pulled up at the waist, the length pulls up more to land between knee and calf. It is gorgeous and so versatile. Excellent condition

The outer dress is a single layer of silk chiffon and the separate inner slip dress has two layers of bias cut nude silk chiffon under the top red layer. Both pieces slip over the head to wear. The outer dress ties at the neck and has elastic at the waist. Each cuff is finished with elastic above the ruffled ends. Hand finishes.

Outer dress
Sleeves: approx  29"
Shoulders: no defined seams
Bust: to 18-24" flat across from side seam to side seam
Waist: to 10-19" flat across from side seam to side seam
Hips: open
Bodice: to 17" from top of shoulder to waist
Total length: 57" from top of shoulder to hem

Inner slip dress
Bust: 13-17" flat across from side seam to side seam
Waist-hips: open
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4831

Reference Photo: Model wearing Halston. Photo by Richard Avedon. Vogue US, December 1974.

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

This incredible dress is not only a dress that we found runway documentation for, but its twin on the runway was worn by none other than the great Linda Evangelista. There is even a photo of her standing just behind Oscar on the runway that we especially love. This was one of the stand-out pieces from that collection and I am very pleased to have this for you in the shop today. It is gorgeous.

This is a stunning dress. I love how he combined two distinct fabrics to make it. The bodice and matching shawl feel to me to be a cashmere and it is as soft as soft can be. The skirt is made from a rich deep jewel toned silk. The bodice is strapless and is cut to be fitted to the body and hug you right down to the waist. I love the way the fabric has been hand draped into tiny soft pleats that curve all the way around you and cross over itself at the front. This helps to add shape and interest to the bodice and shows the remarkable amount of workmanship that went into dresses from this time period. Under the waist the skirt cascades down and out to the floor. There are yards and yards of silk that have gone into the construction of that skirt. It is gathered in and around the waist in a series of tiny soft gathers and then these open out to create that billowing skirt that you see. The outer skirt is lined in a black silk organza and then inside there is a built-in silk taffeta underskirt. The underskirt is finished with a wide band of the same coloured silk as the exterior layer so when you move that is still the only colour that you see. There is a band of stiffened netting hidden inside the hem of the underskirt to help hold the shape. Another hidden band of netting wraps around the inner hip area to help hold the.volume there as well. The way that it has been cut, combined with the inner support that it has, creates this stunning billowing effect when you move and walk. The dress comes with its original matching shawl that you can see Linda wear on the runway. It is meant to drape over your shoulders with phenomenal 12" fringed tassels gathering the fabric up at each end. It is that perfect mix of elegance, femininity, romance and fantasy that Oscar excelled at. Excellent condition with a minor note below.

The bodice is fully lined in a burgundy silk. There is built in boning and shaping through the bodice. There is a hooked waist stay inside and then the outer dress zips to close over that. Part of the wrapped cording is missing on one tassel and I see a couple of tiny repairs on the shawl. The dress looks to have been worn very little if at all. 

Bust:to 17-18" flat across from side seam to side seam with a B-small C cup
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist seam
Total length: 53.5" from top of bodice to hem with about 2" turned under
Shawl: 120" end to end 

Modern Sizing Equivalent: SML-MED

Item# DD4830

Reference Photos: Linda Evangelista for Fall 1989 Oscar de la Renta.

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

I have had the twin of this dress in the shop a few years ago and I was very pleased to find another. Since we have had that original dress we happened to find the runway photo of the dress firmly dating it to Fall 1979. A similar version of this dress was worn by Slim Keith to attend the Met Museum Gala that year. We have also included a couple of shots of me in the one we had previously to give you an idea of how it is on. And a note to those who prefer not to wear fur; you could always un-tack and remove the sleeves and replace them with a faux version, feathers or anything you could imagine, or leave them without as Slim did and just store the cuffs for archival purposes.

This dress is one of the best that he ever made. The dress has elements of his work that he would touch on continuously over the coming decades. It is also a wonderful example of just how sophisticated and glamorous he could be. The silk chiffon used for the base is feather light and it has a fine gold, metallic lurex thread that is woven through the silk to create vertical stripes. Hand applied gold sequins were then added to follow those gold threads. The sequins catch the light beautifully and add another dimension and texture to the dress. There is a subtle leaf print that runs through the silk and this adds a beautiful and subtle extra feel. The upper part of the skirt is the same deep red as the bodice of the dress and then that leaf print gradually becomes more dense until it forms a solid soft brown around the lower hem. There is a slit up the front to let you walk. The dress has a nod to the 1930s in its cut but he has exaggerated some of the elements to keep it modern. The bodice crosses over itself and there is a built in brown silk under piece so that you can wear the dress and not have it completely transparent. On the bodice there are no sequins and this is deliberate to keep it lighter in feel. The sleeves extend directly out from the bodice and they narrow down as they reach the cuff. The cuffs are both finished with a 7" band of fur that is either a mink or a sable. It is gorgeous. Excellent condition.

The dress has an attached inner brown silk chiffon slip that snaps to close at the back and then the dress zips to close over that. An inner waist stay inside hooks to close. Hand finished and hand set sequins. All hand finished to demi-couture standards. The cuffs have perhaps the very slightest of wear to the edges and are soft and supple.

Sleeves: 24" approx.
Shoulders: no defined seam
Inner bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: approx 17" from the top of the shoulder to waist but will come up a bit once on
Total length: 60" from the top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4829

Reference Photos: (1) Fall 1979 Bill Blass.  /  (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (4) Socialite Slim Keith in Bill Blass (left) at the Metropolitan Museum of Art Gala in New York City, 1979.

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 dates from the mid-later 1980s based on the styles and similarities to other dresses I have previously had in the shop from that period. It is definitely Karl's work and it is a gorgeous example of his ability to cut the perfect LBD. It is a very easy to wear dress and it is just a spectacular dress to own.

This is one of those dresses that in person you do bit of a gasp when you see it because it is the perfect little dress. The dress is made out of a black cotton that has just enough weight for it to hold the shape that he intended. There is a slight ribbed texture to the fabric. It is so simple in its cut but is so chic and elegant once it is on the body. It feels very much that perfect French original little black dress. Two wide straps curve over the shoulders to meet behind the neck and the front neckline is done in a V. At the back it scoops down for an expanse of bare skin to show. The front is shaped in a bit of a triangle feeling halter and there is a little two top set pocket on each breast. Each pocket has a gold Camellia flower button on it. The front crosses over itself and is held in place with another pretty gold flower button. The waist nips in and there is a pretty little bow at the centre with the final gold button. The skirt is set into the waist with a series of perfect little pleats that open up to for a fuller skirt. The skirt falls to the knee depending on your height. Under the bow at the front the fabric overlaps over itself a bit and this helps it to achieve the volume you see. At the back there is an inverted pleat down the centre that also helps achieve the volume of the skirt. A shallow little pocket sits on each hip for the perfect finish of this gorgeous little dress. Once on this fits and hugs your curves in the best possible way. It is a beauty. Excellent condition

Unlined and closes at the front with the buttons you see. Tagged a vintage Chanel 44. 

Bust: each front triangle is approximately 10" across across from side to side 
Waist: to 13.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Total length: 39" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4828

Reference Photo/Video: Fall 1991 Chanel. 

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

This dress is from the Spring 2006 collection and it is a beauty. The collection was called "Coco meats, James Dean" and the idea was that Lagerfeld organized this imaginary meeting between the two. In real life they had never met but in his eyes he saw them as being rebellious figures and wanted to explore the meeting of the two stylistically. The twin of this dress walked the runway for Look 50. I love it.

This dress is gorgeous and everything you want in a Chanel. The dress is made out of a black silk taffeta with a fine black lace edging. The bodice has an almost scarf feeling front panel that goes up and behind the neck to tie and then it narrows down to the centre of the waist. It is completely edged in the black lace. This sits over an inner bodice at the front and then at the back the upper back is left bare except for two straps that angle down to meet the piece that curves around from the front. The dress skims over your bodice to a wide band of silk around the waist. Again we see the lace edging he has added for a pretty and feminine touch. The skirt is incredible. It has been pleated into tiny but soft pleats and the first tier of it is a more bubble shape. It is brought in under itself to a piece of inner elastic that holds it around your legs but still allows you to move. The silk extends out from that and you have all the volume of the gathered fabric to create a pretty ruffle underneath. There is a little bow that sits in the centre front of this final tier. The bottom of the ruffle is also finished in a pretty edging of black lace to perfectly tie it in with the bodice. It is so pretty and unusual and I love the flash of skin when you turn around. That unexpected touch of sexiness is fantastic. This is one of those dresses that only truly come to life when on. It is an amazing piece of Chanel and shows just how creative Karl was. It looks to have been worn very little if at all. Excellent condition.

The bodice is unlined and the skirt has an inner lining of the same taffeta that the dress is made out of. The dress zips to close at the back and then it has hidden hook and eye at the waist band and a decorative jet black Camellia flower button over those. Two more black Camellia flower buttons close the dress above that. The halter ties to close. It appears to have been worn very little if at all. Tagged a Chanel 38.

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Inner hips: to 16" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to top of band at the waist
Total length: approx 40" from top of the shoulder to hem and can be adjusted a bit by how you tie it around the neck

Modern Sizing Equivalent: SML-MED

Item# DD4826

Reference Photos/Video: Spring 2006 Chanel Runway, Look 50. Model Heidi Mount.

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

This is an incredible and very rare set by Rifat Ozbek. The original Ozbek label was only produced from 1984 to 1991 and pieces are very hard to find, never mind finding a full three piece set like this. Versions of this set were seen on the runway and for US Vogue that season. It is incredible. 

The suit is three pieces; a cropped jacket, a skirt and a bra top. The jacket is a burgundy and cropped to above the natural waist. It has no closures and a neat collar. The shoulders have a tiny bit of shape but are cut to slope down to the sleeve. The sleeves are kept simple. The skirt is very high-waisted so that it comes up to meet the jacket. It curves out and over the hips and then flares out at the hem. The front of the skirt is cut several inches shorter than the back so that you get this gorgeous little kick when you walk. Yellow embroidery runs down either side of the hip on both the front and the back. The final piece is that phenomenal bra top. Its base is the same burgundy as the other two pieces and then the cups of the bra have been covered in a thick gold cording. Two tones of gold cording have been used. One is a more black based gold and the other is brighter. The darker cord covers the majority of each cup and then the brighter is set at the upper edge of each cup and in a row across them. The straps are a leopard print and then gold toned coins on a little chains are set all along the bottom of the bra. These gold coins became one of his signatures. It is just a phenomenal and rare piece of vintage. Excellent condition with a minor note below.

All three pieces are lined in a burgundy lining. The jacket has no closures and just slips on to wear. I see a small amount of very minor changing colour / grubbiness on the top of the shoulders and back. The skirt closes with a side zipper and the bra closes with a hook clasp at the back. It has under-wiring and slight padding on the cups. The jacket and bra are tagged an IT40, FR36, GB8, US6 and the skirt is tagged in IT42,FR38, GB10, US8.

Jacket
Sleeves: 20.5" and 13" around the upper arm
Dropped shoulders: 17.5"
Bust: approx to 17.5" flat across from side seam to side seam
Waist: approx to 15" flat across from side seam to side seam
Total length: 15.5" from waist to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Total length: 28" from waist to front hem, 36.5" to the longest point of the back hem

Bra Top
Bust: 26-29" from end to end with some stretch near the closure
Cups: Appox A-B
Height: approx 11.5" from top of the strap to bottom edge

Modern Sizing Equivalent: XS-SML

Item# DD4822

Reference Photos: (1-2) Fall 1989 Rifat Ozbek Runway.  /  (3) Kara Young in Rifat Ozbek. Photographed by Patrick Demarchelier for USVogue, October 1989.

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

Alber joined Lanvin in 2001 and served as the labels Creative Director until 2015. His first break as a designer came when he landed the senior assistant role at Geoffrey Beene. He stayed there for seven years until he was recruited to design for the Guy Laroche label in 1996. in 1998 he took over the Rive Gauche ready-to-wear for Yves Saint Laurent for three short seasons. A stint at Krizia and then a break happened before his time with Lanvin. The Alber years for Lanvin are ones that are much loved by all and with his passing owning these pieces seems even more poignant. The twin of this dress was Look 23 on the Spring Runway and one was worn by Amanda Seyfield to her premiere that year. 

This is one of those dresses that you just slip on and walk out the door feeling great in. The pleat detailing and loose and easy shape is obviously inspired by Issey Miyake and then Alber has put his own spin on it with the raw deconstructed edges the dress has and the zipper at the back. The sleeves extend out from the body of the dress and the bodice is meant to feel slightly oversized over you. He has shaped the dress into an hourglass so once it is on, you can wear it up on the waist more to create a bit of a blousing feel over top of the waist. If you are very tiny through the upper hip it would fall more like how it does on the runway and skim over your body. It curves out over the hips and then narrows down in at the hem. The edges all have raw fringed feel and at the back a chunky zipper sits under another raw finished edging. It is a super pretty and very light in weight dress that is easy to wear. Excellent condition.

Unlined and closes at the back with a zipper. Tagged a Lanvin 36

Sleeves: the arm opening are 12" around
Shoulders: no defined seam
Bust: to 17" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Total length: 36" from neck to hem and will come up when on if bloused over at the waist

Modern Sizing Equivalent: XS-SML

Item# DD4820

Reference Photos/Video: (1-2) Spring 2011 Lanvin, Look 23. Model Sofie Roelens.  /  (3) Amanda Seyfried in Lanvin at the Premiere of Little Red Riding Hood, March 2011.

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

The intro write up on Vogue said of this collection “She is a woman of the night and ready to have fun…she’s a little bit, how would I say, mysterious, and, um…." This was a long ummm... What was Alessandra Rich working up to? “She’s ready to party, that’s for sure.” Rich says in her clothes what she cannot quite bring herself to say in person. Her women are lionesses dressed as lambs. They look demure and think impure." The dress was shown in white for Look 22 on the runway. Caroline Vreeland wore that version for her wedding reception and between seeing that and the look on the runway and in the presentation you really can see how fabulous this dress is once on the body. 

This is a dress for someone that wants to make an entrance. It is about as showstopping a dress as you can possibly get. It is strapless across the bodice and has an inner boned and wire cupped bodice to help keep it in place once it is on the body. The main portion of the dress skims over the waist to just past the hips. This part of the dress is made from a black silk that has a bit of weight to it so that you are held in place and it is very flattering.  Warapping round the shoulders is the first explosion of black tulle that gives this dress all its drama. Multiple layers of tulle circle all the way around you and cover the entire upper bodice. The lower skirts pick up on that with a second huge pouf of tulle that begins at about the knee and then continues all the way to the floor. The lower skirt is done in two distinct tiers and the amount of fabric that keeps all that volume in place is incredible. I loved this dress when I saw it on the runway and I love it even more in this black more versatile version. The dress still has its original hang tag and was never worn. Excellent condition

There is a built in wired and boned corset that is lined in a black silk. The dress closes with a hidden set side zipper. The tulle that goes around the shoulders is attached to a strap that has elastic in it. Original hang tag attached. Tagged a modern 40

Straps: they go around the upper arm and will stretch from 11" to 14" around 
Bust: to 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Total length: 52" from top of bodice to hem

Modern Sizing Equivalent:

Item# DD4818

Reference Photos: (1-2) Fall 2020 Alessandra Rich, Look 42.  /  (3) Carolina Vreeland in Alessandra Rich from Vogue.

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

This is a gorgeous dress by Karl Lagerfeld for Chanel and its twin walked the runway for the Fall 1998 season. In the book 'Chanel Catwalk' the notes for the show say tell us that it "was meant to evoke the style and atmosphere of Coco Chanel's Deauville and Biarritz days in the late 1910 and early 1920s." A photo of the dress is included in that book and I also have runway photos so that you can see how fantastic this dress is on the body.

Everything about this dress has that chic Chanel feel that makes many of Karl's designs classics forever. Even without the fact that the Chanel logo literally covers every inch of the dress it still feels very Chanel. It is beautiful in person and the simple lines and cut make it the kind of dress that you can wear multiple times with the styling and accessories you add making it feel different each time. It is made of very light black cotton mix netting that has the Chanel letters done in denser threads so that they stand out. These are scattered over the entire dress. Around the neckline, circling the arms, the waist, hips and around the bottom hem, there is a second net ribbon that has the Chanel name and double C logo. The dress is light in weight and it simply drapes over the body perfectly once you have it on. The front and back necklines are scooped and at the back it is scooped lower so that you get a bit of bare skin showing. The waist is loose and easy and then the dress starts to widen as it skims out over the hips. The skirt falls under that to the floor gently widening out as it nears the hem. It is that perfect easy dress but will the added impact of obviously being a Chanel. It is just stunning. Excellent condition

Fully lined in a soft brown crepe and it closes with a hidden set back zipper. Tagged a Chanel 36. The easy cut and slight stretch of the dress should allow it to fit on a variety of sizes.

Bust: 16-18" flat across from side seam to side seam
Natural waist: to 15.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 17.5" from top of shoulder to top of band at the slightly dropped waist
Total length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4819

Reference Photos: (1-2) Fall 1998 Chanel Runway.  /  (3) From the book "Chanel: Catwalk".

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

John Galliano began his own label in 1984 and he was instantly a bit of a 'boy wonder' in fashion. He was British Fashion Council Designer of the Year in 1987, 1994 and 1995. In 1991 he made his Paris catwalk debut. In 1995 he was asked to head Givenchy and then went to Dior in October of 1996. Unlike many designers he kept his own label going as well throughout the years at both those houses. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Spring 2000 season and it is gorgeous. This dress was a piece made for production for retail but it has all the things we love about his work presented in a beautifully chic and minimalist package.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. The seam work and simplicity of this dress is stunning to see and it is even better on an actual body. It is made from a beautiful silk that has a matte satin finish. The colour is like a deep pewter silver with a touch of a taupe brown undertone to it. It has that same light in weight feel that the best of the 1930s pieces did that were made from similar fabrics. Like those liquid dresses of the thirties this is also completely cut on the bias. It is cut to flow over the body and skim its way over the bust, waist and hips as it falls to the floor. The dress falls from straps that curve up and over each shoulder. The straps have their own detail that I love. Each one is a double strap that is stitched together at the top of the shoulder, crosses over themselves, and then are attached to the dress with a round disk made out of the same fabric that has been piped and stitched into a circle. He has added this detail to the front and to the back of each strap. The neckline comes down into a V and it does the same thing at the back for a pretty exposure of skin. I love how the V of the neckline picks up with the V shapes created within each strap. It skims over the bodice with no seam at the waist on the front of the dress. At the back there is a low set angled seam that gives a bit of shape through the lower back. The skirt flows down to the floor, skimming over the hips and then flaring out as it reaches the hem. The flaring shape is achieved by the bias cut of the fabric rather then extensive seaming. This gives you some pretty movement around the lower skirt when you walk or move. It also adds to the hourglass shape the dress has. It is all done so that it sits in a certain way on your hips and then that in turn affects how the entire dress sits on your body. The dress comes with its matching shawl piece that is equally incredible. It is 26" at its widest point and just over 8 feet long. At each end, the fabric is gathered into one of those circular piped discs that you see on the base of the shoulder straps, and then they are finished with a beautiful 7 1/2" tasselled fringe. You can simply drape this over your shoulders and it adds that perfect touch for when you make your entrance in the dress. It becomes an integral design detail in itself. It is these subtle little details that Galliano put into his dresses that make them heads above other pieces. The dress is spectacular. Excellent condition.

Unlined and slips over the head to wear with no true closures. Tagged a Galliano FR42, GB14, US8. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. The bias cut should allow it to fit a range of sizes

Bust: 17-21" flat across from side seam to side seam
Dropped waist: 14-17.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Total length: 60" from the top of the shoulder to hem
Shawl 26"w x 100" long end to end and including the tassels

Modern Sizing Equivalent: XS-MED

Item# DD4814 

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

This is a very rare and important full set from the Spring 1988 "In a Boudoir Mood" Christian Dior by John Galliano collection. It was Galliano's second ready-to-wear collection for the house. John Galliano said of this collection "I feel that we are entering a period of our own Belle Epoque as we approach the end of the millennium with a return to romanticism and elegance". The stage of the show was done to re-create the look of a turn of the century mansion with piano and pool tables with separate 'salons' through which the models walked and posed. For the suits like this one, the jackets were cut long and done in a basket weave wool. They were meant to be a nod to the famous Bar suit but shown with a floor length biased cut skirts rather than the fuller poufed look of the original version. The collection was all about fantasy and romance and had very few true day pieces. Besides the runway reference photos, I have also added one from the Dior catwalk book. On the runway, the jacket was shown in an ivory and then in the stores you had the option to get it in this pale blue, of which there were limited numbers available. 

The collections notes for this show read "the collection was imagined for a woman who rediscovered her naturally liked and graceful body in a subtle, looking silhouette and loves living in the softest lingerie she has decided to show off even for the day". The Times said that it was Galiano "most wearable yet". This is from the original client who bought all three pieces together and it is an extraordinary and rare opportunity to have a piece from this early and important collection.

All three pieces of this set are exceptional. This is the kind of once upon a time piece that brings great joy to see in person and to have in the shop.  The jacket is a staggeringly beautiful example of the work John Galliano was doing during this time. The body the jacket is made of a basket weave wool in a pale dusty blue. The front is dropped into a low V and there is a single button at the waist to hold it in place. The button deserves its own mention as it is a beautiful little antique feeling cameo whose backdrop perfectly matches the blue of the wool. The cut of the jacket is done so that it highlights the curve of the the body. It curves in at the waist and over the hips. At the front the hem curves up towards the button and then the back curves down and around to the top of the thighs. This creates this magnificent hourglass silhouette. Pockets sit on each hip and they are long curved flaps cut to to match the shape of the jacket. It is a masterpiece of tailoring and cut. The sleeves are long and each ends with a metallic ribbon detail that picks up on the silver of the skirt. Lace has been applied to the very edge of the cuffs for a bit of flounce and then you see another bit of applied lace that circles the inside of the collar. The inside of the jacket is lined in a beautiful floral embossed ivory silk. The lace of the collar is then picked up by the lace on the bodice of the camisole that goes underneath the jacket. The inner top is its own little work of art. It is made out of an ivory silk cut on the bias. There are little silver metallic medallion so and scattered over it. The top is suspended from two little straps the curve around your shoulder and the bodice is finished with more of that gorgeous lace. This piece is meant to be more loose and easy on the body. Last we have the skirt which is phenomenal in its own right. It is made out of a silver metallic fabric that has actual metal woven through to create the floral design that you see. It is completely cut on the bias and it is meant to sit a little low on the waist. The skirt flows down to the floor, curving over the hips and then flaring out as it reaches the hem. The flaring shape is achieved by the bias cut of the fabric rather then extensive seaming. This gives you some pretty movement around the lower skirt when you walk or move. It also adds to the hourglass shape the set has. It is all done so that it sits in a certain way on your hips and then that in turn affects how the skirt sits on your body. Once all the pieces are put together, the bits of metallic on the camisole and on the cuffs of the jacket all tie in so perfectly with the skirt. This is a once in a lifetime, very special opportunity, to get such a rare and amazing complete set. Excellent condition with a small note below.

The jacket is fully lined in an ivory silk and closes with the single button at the front. Light rounded padding in each shoulder. I see some marks under the arms on the lining of the jacket that do not go through. The jacket is tagged FR40, GB12, US8. The camisole slips over the head to wear. I see a very faint spot on the front. It is tagged a FR42, GB14, US10. Please see the photos after the label shot for both of those. The skirt is fully lined in a black silk and closes with a hidden set side zipper and it is tagged a FR38, GB10, US6

Jacket
Sleeves: approx 23" and are 12" around the upper arm
Shoulders: no true defined seam 5019
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Total length: 26" from neck to longest point of the back hem

Camisole
Bust: 16-17.5" 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
Total length: 22.5" from top of shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 17.5-20" flat across from side seam to side seam
Total length: 50.5" from waist to hem with approx 1.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4815

Reference Photos/Video: Spring 1998 Christian Dior. Model: Esther de Jong.  /  Last photo from the book "Dior: Catwalk" by Thames & Hudson.

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

Here we have one of the most wanted pieces of vintage that you can find - one of Roberto Cavalli's iconic corsets along with its matching skirt and top from Spring 2003. I have included runway photos that show the twin of the corset being worn with various pieces. My client waitlisted to get this entire set and I love that I have all three matching pieces for you. Bella Hadid was recently spotted wearing a different variation of this set and versions were shown for a special runway presentation in Cannes that season. It is one of those iconic vintage sets that you rarely see come to market as a full set with all of its pieces together and in the same size. 

I love how the print adds a fantastic pop of colour to these pieces and that by adding the corset it makes it that much more spectacular on the body. As good as it looks in the still shot, it is even better in real life because it is really when you are moving that these pieces live up to their full potential. An incredible amount of feather light silk chiffon has gone into the making of the skirt and top. The bodice of the top falls in wide panels with a plunge at the front that goes right to the waist. The openings for the arms also plunge to the stitching at the waist. The top of the shoulders are gathered with ties in a matching silk and this gives you a bit of softness over the bodice. Each of the ties is long and finished with charms that add a pretty and feminine touch. The waist is top stitched for detail and then the top buttons from there to the hem. I have taken a photo of the top on its own so you can see how pretty the curve of the hem is. This piece is cut to be more on the loose and easy side. It is pretty on its own but when you pop the corset over top of it you see why it is cut the way it is. The corset sits just under that plunge and it holds everything in place perfectly. The corset has inner metal stays at the front where it hooks to close, down the sides and more on either side of the laces. These are encased in the same silk as the rest of the corset and I love how he set the pattern in a different direction where it goes over top of the inner boning. It gives it the perfect amount of emphasis to where the stays are placed. To wear the corset, you hook it at the front and then you can adjust the laces at the back for the perfect fit. It is cut on a curve on both the top and the bottom so that it fits perfectly over you and creates that sexy hourglass shape. The final piece of the set is the skirt and it is as equally remarkable as the other two pieces. The skirt is made out of layer of the same printed silk chiffon as the other two pieces with a wide silk band that wraps around your waist. Onto the band there is a piping of the same fabric that lets you cinch it in and tie it. This piping also has charms at the end of the ties. There are yards of silk in the skirt and it is constructed to have this incredible fullness and movement. The fabric is so light and fine that when you stand still it falls in a pretty column around you without adding bulk. You still get a hint of the fullness that it has but then when you move the many yards of fabric that are actually there allows the skirt to billow out around you. The fabric is so light and airy that when you walk it creates this incredible floating sensation. No matter how good it looks in the photos the sensation and lightness of the fabric mixed with the restraint of the corset around you that gives you curves for days is just phenomenal.  Excellent condition with a minor note below

All of the pieces are unlined. The top buttons to close and I see a tiny repair near three of the button holes. The skirt closes with hooks and snaps at the waist. The corset closes with the five metal hooks at the front and then you adjust the fit with the laces at the back. The corset is currently tied with a black silk satin ribbon and I also have the original more shoelace type ribbon that you could switch out for if you wished. Both will be sent. All three pieces are marked a vintage Cavalli Small

Note that I have measured the corset laying open from end with the laces fully tightened. You could open the laces as much as you needed from there.

Top
Bust: to 19" flat across the back from side seam to side seam but has no true side seams
Waist: to 15.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 25" from the top of the shoulder to the hem

Corset
Top seam: 25" flat across from end to end with the laces tightened to wear their it shown on the dress form. You can adjust upwards from there by loosening the laces as needed.
Waist: 23" flat across from end to end with the laces tightened to wear their it shown on the dress form. You can adjust upwards from there by loosening the laces as needed.
Bottom seam: 26.5" flat across from end to end with the laces tightened to wear their it shown on the dress form. You can adjust upwards from there by loosening the laces as needed.
Height: 10" at the laces, 10.25" at the hooks

Skirt
Waist: 15.5" flat across from side seam to side seam
Hips: open
Length: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4812

Reference Photos: (1-4) Spring 2003 Roberto Cavalli, Look 13 & 16.  /  (5) Roberto Cavalli fashion show during the 2003 Cannes Film Festival.  /  (6) Bella Hadid in Roberto Cavalli at her Orabella launch, May 2024.

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

The twin of the dress was shown for the Pre-Fall 2020 Gucci presentation for Look 51. Its twin was worn on the red carpet by Rachel and one was also photoed for Grazia Italie. This has always been one of my favourites from his work for the label and I am very pleased to have it in the shop. It is so pretty and the bright colour of it is gorgeous.

If you love an amazing caftan feeling moment then this is the dress for you. It is made out of a bright yellow silk and silk chiffon combination with a beautifully and densely covered jewelled front and collar. The neckline is high and finished with the most amazing yellow prong set glass crystal rhinestones and beads. These circle the neck in a wide 2” band and then more of them run down the sides of the front keyhole. The shoulders are soft and the sleeves are very full above their cuffs. I love that the sleeves are left unlined so you almost don't notice that it has sleeves. The inner dress is cut into a simple sheath that skims past your bust, waist and hips to the floor. Panels of silk chiffon have been attached into the collar and around the openings for the sleeves. These fall over you to create the beautifully illusion of fullness that you see in these photos. The panels are split at the front and then cut to just about the top of the hips and then curved down to the floor. They do the same thing at the back and there is a layer of the same silk over the innermost silk sheath patt of the dress. When you move the silk chiffon catches the air and billows out around you for the most beautiful and dramatic effect. This is a dress that you just throw on and it instantly drapes and falls into place perfectly each time. It is very pretty and very easy to wear. It has its original tags attached and comes with its original dust bag and Gucci hanger. Excellent condition 

The innermost silk layer of the dress acts as the lining. The dress closes with a hidden set back zipper and each cuff has two silk covered buttons. Original hangtag is attached with extra beads/ rhinestones included. It will ship with its original hanger and garment bag. Tagged a modern Gucci 42. The easy cut should allow it to fit a range of sizes.

Neck: 15" around
Sleeves:  approx 25" and 18" around the upper arm
Shoulders: no true defined seam
Bust-hips:  to 20" flat across from side seam to side seam
Total length: 57" from the neck to the hem and then some of the top panels extend past that a few inches

Modern Sizing Equivalent: XS-MED

Item# DD4811

Reference Photos: (1) Pre-Fall 2020 Gucci, Look 51. Model Bethann Hardison.  /  (2-3) Rachel Zoe in Gucci for the 'House of Gucci' Los Angeles Premiere, November 2021.  /  (4) Coco Rebecca Edogamhe in Gucci for Grazia Italia. Photo by Federico Barbieri.

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

This is an interesting piece because the 2006 collection was an ode to Spain and you can see the influence and nod to the house archives that Stefano did with pieces like this black silk taffeta skirt. In Vogue's write up at the time they noted that "Pilati spent last summer researching Picasso, mulling over Saint Laurent's 1976 Spanish collection and adding random insights triggered by his preview of the Dada exhibition that opened this week at the Pompidou Centre." This skirt was not a runway piece but one produced for the shops. From my understanding from my client, they were done in limited numbers. I thought it interesting to put it in the shop at the same time as I put the original 1977 skirt done by Yves so you can see how the house progressed from one designer to the next

The high defined waist that you see on this skirt was an integral detail that ran throughout the collection. It is a nod to the Matador pant and I love how it has been translated into this spectacular skirt. The skirt is made out of the black silk taffeta and this allows it to hold the volume and shape that you see. The waist is shaped by shaping the silk into little 3/4" vertical rows that circle around the waist and give it that high waisted cut. The band it creates is 5" wide. Each row then opens out at its base to give the skirt the volume that you see underneath. An almost bubble shape was a part of many of the pieces in the collection and this skirt has that as well. When laid out flat you see that it actually curves outwards around the hips and upper leg and then is brought in a touch around the hem. Once it is on this curve is not quite as exaggerated as when it is laid out and it falls beautifully around you. The fabric choice keeps it feeling super light in weight. There is an internal band that zips on its own to hold the skirt in place around your waist. It is very beautifully constructed and a very clever way to give a nod to what Yves was doing in 1977 while still showcasing Stefano's perspective. And it has pockets. Excellent condition.

An inner corset panel zips to close with its own zipper and then the skirt zips to close with a hidden set zipper over that. Unlined through the rest of the skirt. It appears to have been worn very little if at all. Tagged a vintage YSL 42

Waist: 15" flat across the top of the band from side seam to side seam and 17" across the base of the band
Hips: open
Total length: 47" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4810

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

This is the Ready-to-Wear version of what was shown on the runway for the Spring 1977 Haute Couture collection. In the book on Yves Saint Laurent's work "Catwalk" the note for the collection state that "for evening Yves Saint Laurent designed taffeta skirts puffed out by full petticoats paired with delicate blouses." American Vogue wrote "Saint Laurent, the totally romantic view of woman and clothes" while French Vogue raved about the multicultural inspiration of the collection saying "you can no longer go out in the evening without coming across a taffeta flounce". The most prominent references were to Spain and these tiered skirts were integral to the collection. We have added several photos of the various variations of this skirt from that show and along with a shot of what looks like it's twin from The Met Museum's exhibit book published to accompany their 1984 exhibit on his work to that date. 

This is the YSL skirt of dreams. In an amazing testament to construction and pure joy of form, this phenomenal full length maxi skirt by Yves Saint Laurent is perfection. The skirt is made of a black silk taffeta that was one of his favourite fabrics to use when he did this type of full voluminous look. The fabric holds the shape well but without getting so cumbersome that they are uncomfortable to wear. This one is made of three tiers of the silk. The waist is banded and then the first tier is very full around the hips. This meets the second panel of silk and I love how he attached that panel with an overlapping ruffle that goes all the way around you. At the hem a dramatic flounce of ruffle is made from the same fabric to create the third tier and here he again has attached it into the body of the skirt so there is a ruffle above the seam. The skirt has yards and yards of fabric in it so that it is very very full and you gets lots of lovely volume when you move. Underneath where each band is attached there is an added wide band of stiffened netting encased in black silk that is set on the inside of the skirt. This helps the skirt hold its shape and adds inner structure. It is just incredible. At one point, I had a similar skirt to this in the shop that was from roughly the same time period and that one had its original price tag still. It was originally over $6k even then (roughly 22K in modern dollars). This type of full skirt was a key look from his work that you saw him repeat and build on throughout all of the decades of his creative life. I love it. Excellent condition

Unlined with inner stiffened netting as described above. It closes with a flat hook and eye above a keyhole at the side of the waist. I see a well-done older feeling repair beneath the opening of that keyhole. Tagged a vintage YSL 38. 

Waist: 14" flat across from side seam to side seam
Hips: open
Length: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4808

Reference Photos: Looks from Spring 1977 Yves Saint Laurent collection, from the exhibit book "Yves Saint Laurent" published by the Metropolitan Museum.

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

This is just a spectacular dress. Its twin walked the runway for the Spring 1990 season and I love having the runway photos so that you can see how phenomenal the dress is. The Spring 1990 collection was fully of whimsy and ruffles and it highlighted just how well Yves could do a feminine piece with a bit of wit and romance. I absolutely love this dress and I think it is fantastically beautiful.

One of the things that I love most about this dress is how much the feel of it changes depending on what length you choose to wear it at. Without the belt it is this full and easy piece that has no defined waist and a low dropped skirt. You can then add the belt to give it a bit of shape around the hip or wear the belt higher up to define the waist more. From there you can start to adjust how long it sits on you. The back is cut a bit longer than the front and this lets you really hike the front up and into a micro mini if you wanted to. I took a few photos of it at the various lengths on the dress form and you could probably go even shorter if you wanted. You could even wear this as a tunic and layer it over something. The dress is made from a light weight silk chiffon that feels like it weighs virtually nothing once on the body. It has a brilliant and beautiful floral pattern that covers its entire surface and mixes that bright green with blue and pinks. Shots of gold thread add a fabulous little glimmer. The photos do not convey how gorgeous the fabric is in real life. Elastic sits around the top of the shoulders so you can wear it fully off the shoulder or you can wear it up and on the shoulders if you wish. Each sleeve is incredibly full and open and goes to about the elbow with elastic at their ends. The bodice is cut to skim over you and continues on to be loose and easy to past the waist and hips. It comes with its matching fabric belt that is what lets you play with the length and shape. A little tie of fabric sets to one side of the skirt ties into a soft bow for added detail there. The bottom edge of the skirt is finished with a wide ruffle and this adds to the volume and movement that the skirt already has. The fabric is light enough that the skirt will move with the slightest bit of air. When you move it moves. I love it. Excellent condition

Fully lined through the body of the dress in a slightly textured nude silk chiffon. The sleeves are unlined. It slips on to wear with elastic at the shoulder and sleeves. The belt hooks so close. Tagged a vintage YSL 36 and the loose and easy cut should allow it to fit a variety of sizes.

Sleeves: approx 17" and are open and full through the upper arm
Shoulders: adjustable
Bust: 17-22" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Total length: approx 36" from top of natural shoulder to front hem, 43" to the back and then you can adjust with the belt to be micro mini
Belt: 36" from end to end and you could adjust where the hooks sit upwards another inch and down to where you needed. 

Modern Sizing Equivalent: XS-MED

Item# DD4807

Reference Photos: Spring 1990 Yves Saint Laurent.

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

The twin of this dress was shown for Look 21 with boots and under a cape for the Pre-Fall 2017 Christian Dior presentation. 2017 marked the 70th anniversary of the label and for this presentation, Maria wanted to design a wardrobe that promoted individuality. Vogie said that during the photoing of the presentation Maria "noted how long embroidered coats went over tiered, sheer dresses; vests with velvet incrustations of hearts and diamonds; and Japanese denim with neo-folkloric metallic embroidery all contributed to an eclectic interpretation of Miss Dior. A steady push-pull of respect and disruption produced several catchy pieces." This was one of those little sheer dresses that were used to create that just position, and when you see it on his own, you realize just how lovely This was one of those little sheer dresses that were used to create that just position, and when you see it on his own, you realize just how lovely of a piece it truly is.

The dress is gorgeous and I love that it can easily have a more elegant evening feel by styling it with heels and some statement jewels rather then the cape and boots it was shown on the runway with. The fabric is a just lightly off white cotton voile that has a touch of transparency to it. It was then lined in a silk that has a bit of texture so it gives some coverage and depth. Then onto that are individually placed cut out flowers that are embroidered all around their edges. These have been individually placed on top of little sprays of embroidered leaves. They cover the dress from shoulder to hem and this added texture gives the dress the most beautiful visual interest. It is quite stunning. The lines of the dress are simple so that the woman wearing it will take centre stage. The neckline is cut across the bodice so that it can worn to the outer edge of your shoulder or completely off of the shoulder to leave your shoulders bare and free depending on the width of your shoulder. The bodice skims over you and the waist nips in. You could add a belt to accent the waist more if you wished. The skirt falls from there and hearkens back to the era of Mr. Dior with a pretty fullness. It falls outwards to the hem on a soft line that is quite beautiful. There are no added crinolines underneath and all of the fullness and volume that you see is achieved by the way the skirt is inset around the waist. There are yards of silk in the skirt so you could add your own crinoline under it and wear it very full if you wished. Pretty little sleeves fall to just about the elbow for the perfect finish. Excellent condition

The bodice and skirt are lined in a matching white silk and the sleeves are unlined. It closes at the back with a hidden set zipper. Tagged a modern Dior FR36, GB8, IT40, US4

Sleeves: 17" and they are 12" around the upper arm
Shoulder: no defined seam
Bust: to 16.5" flat across from side seam to side seam
Waist: to 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from top of natural shoulder to waist
Total length: 52.5" from top of natural shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4803

Reference Photo: Pre-Fall 2017 Christian Dior, Look 21.

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

I just put a little gold camisole from the same collection into the shop last week and now I also have the dress for you. Both of these pieces are absolutely exquisite and really show the charm that early product collections had and why people love collecting them. This one is a little extra special because it's twin in a print was shown on the runway and was used for the ad campaign that season. I love having these shots because it shows you just how gorgeous it is on the body. With its pretty ivory colour this might also make a fantastic dress for a bride for one of her events around her ceremony or even for the dress itself if she wants to go a non-traditional route.

The top made out of the perfect ivory coloured silk that is a beautifully light in weight. It is very soft and supple and the bias cut lets it glide over you once it is on. I love that it is lined in a matching coloured silk organza. The organza lets it stay very light in weight but it also feels beautiful once on the body. That extra layer of lining underneath also lets the dress fall over the body in the most flattering way. The straps twist and curve up and over the shoulders. They are caught up with a little band of silk at the front and then the front plunges into a V. Little pleats are gathered into two sewn rows just above a muted ivory grosgrain ribbon that is attached all the way around the waist. Under the ribbon it's skims past your waist over the hips, and then flares out prettily at the hem. The back is phenomenal. The straps twist until they meet the back and then they extend down in that same twisting way to edge the low scoop of the back. This leaves your entire back there and open. It is gorgeous. Excellent condition

Fully lined in a matching silk organza and closes at the side with a hidden set zipper. Perhaps tyhe tiniest of light snags in the silk here and there. Tagged a vintage Prada 44.

Bust: 16-20" flat across from side seam to side seam
Waist: 14.25"flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 16" from the top of the shoulder to the top of the band at the waist
Total length: 49" from the top of the shoulder to the hem

Modern Sizing Equivalent: SML-MED

Item# DD4802

Reference Photos: (1) Fall 2000 Prada Ad Campaign.  /  (2) Fall 2000 Prada, Look 59. Model Colette Pechekhonova.

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

The Fall 1997 collection was his final women's ready-to-wear runway before his untimely passing. At the time Versace told reporters that the collection was based on minimalism "this season I felt the need for silence, solidarity, and strength. I think our role as designers has changed. In an in 1980s I showed myself now I want to show clothing." The 20th anniversary of the label was also quickly approaching and for this collection he paired everything back to the basics as a reset. The strapless jersey dress was integral to the show. In the book on his work "Gianni Versace" they noted that these dresses were "as simple as a towel wrapped around his torso". On the runway the black was shown with boots and an oversized jacket and then he paraded more of the same dress in a myriad of colours. We have included several runway shots and video of the the various versions of this dress so that you can see just how fantastic it is on the body. This dress came from the original client and she remembers having to fight to get one because they sold out everywhere instantly as soon as they were released.

The dress is made out of a synthetic jersey that gives it lots of movement and some stretch through the body of the dress. The bodice of the dress has a built-in boned inner corset and a seam that sits right under the bust, This holds it in place on the body and hugs you around the breasts. From there it falls with a slight curve outwards around the hip and then it comes back in slightly for the bottom hem. As noted above there is a panel that wraps around the front to give the impression of a wrap dress but it is all attached. The panel that wraps around you moves as you move and you can see this in the video. It also adds a slight bit of detail to the otherwise perfectly simple dress. It is very chic and minimalist and a dress that is an important part of Versace's history with the added provenance of being from one of his final collections ever are. Excellent condition with a small note below

There is a boned built in corset that closes with its own inner side zipper and then the dress closes with a hidden set side zipper over that. Perhaps a tiny bit of evidence of press marks near the seams and the slightest tiniest bit of fading here and there. I have never seen this particular type of fabric not do that as it ages so it is inherent to the fabric. Tagged a vintage Versace 42

Bust: to 16" flat across from side seam to side seam
Inner seam under the bust: to 15"flat across from side seam to side seam
Inner waist: 13.5" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Bodice: 5.25" from the top of the neckline to the seam under the bust
Total length: 29" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4801

Reference Photos/Video: Fall 1997 Versace. (1) Look 21. Model Tanga Moreau.  /  (2) Look 25. Model Naomi Campbell.  /  (3) Look 26. Model Shirley Mallmann.  /  (5) Fall 1997 Versace Catalogue.

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

For the Fall 1997 show McQueen produced a set whose backdrop was wrecked cars and corrugated iron screens that were made to look like they were full of bullet holes, all inspired by a scene from "The Eyes of Laura Mars". McQueen played tribute to nature in this collection. The pieces made of this Prince of Wales checked fabric were the softer elements in the show with their pastel embroideries and pink linings. There was a series of pieces for Looks 42, 43 and 44 that use this fabric and embroidery combination in various designs. On the runway, the twin of this jacket was shown for Look 42 with pants. For the shops, clients were gived the option to be able to purchase the pieces separately and buy the matching skirt that I have for you today instead of the pant. It is an incredible piece of McQueen history and very beautiful.

A piece like this truly showcases McQueen’s strong tailoring background & and master cutting abilities. The suit is made from a Prince of Wales check which gives a nod to his heritage and strong tailoring roots. The jacket is cut with sharply tailored lines and then he has brought in the waist and cropped it to emphasize and create a more feminine shape. The shoulders are shaped with light internal padding. Each sleeve is cut in a simple straight cut that is slightly on the wider side and ends in three decorative buttons at each cuff. The body of the jacket is shaped with a female body in mind and is cut in at the waist for shape. A double row of buttons are set just above the bottom hem which allowed him to cut and bring the collar down low at the front. The collar has an exaggerated notch with a button hole on one side. The jacket is lined in a soft pale pink silk and then he added a curved panel of that same silk to the inside of the collar so that it peaks out and frames your neck. The skirt is kept simple so that the jacket can shine. It is cut with a flat front and is fitted around the hips and then extends out into a short mini pencil cut from there. Pocket sit on each hip to exaggerate the shape and there is a beautiful angled seaming at the back. The star of the show is of course that amazing embroidery work that starts on the front of the jacket and then wraps around and trails across your back. Pale pink roses and pastel mint green leaves add the perfect soft contrast to this extraordinary suit. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. Excellent condition

The jacket is fully lined in a pale pink silk and the skirt in a black silk. The jacket buttons to closes at the front and there are two hidden set snap just above the buttons to hold it perfectly in place. The skirt closes with a hidden set back zipper and a button on the waistband. Light padding in the shoulders. Functional pockets on the skirt. It looks to have never been worn or worn very little. The suit has a slightly lighter softer feeling grey tone in person then how it photoed. Tagged a size 42.

Jacket
Sleeves: 23" and are 12" around the upper arm
Shoulders: 14.5"
Bust: to 17" flat across from side seam to side seam
Waist: to 13.75" flat across from side seam to side seam
Bottom seam: 17"flat across from side seam to side seam
Total length: 21.5" from neck to longest point of hem

Skirt
Waist: to 14" flat across from side seam to side seam
Hips: 17-8.5" flat across from side seam to side seam
Total length: 19" from waist hem

Modern Sizing Equivalent: XS-SML

Item# DD4798

Reference Photos/Video: (1-5) Fall 1997 Alexander McQueen. (Looks 42, 43, 44.)  /  (6-7) Photo by Sean Ellis for Vogue, October 1997.

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

This is one of those instantly recognizable jackets by Galliano. On the runway he showed this jacket twice. Once with a very short, very tight, pencil skirt and then with a more pleated flared schoolgirl skirt. The two models he chose for these two looks are equally as iconic. The great Michelle Hicks was one and Kate Moss the other. The show was eclectic and mixed numerous references. Galliano told WWD that "Suzy, the naughty schoolgirl, dreams of becoming an actress and goes for an audition for a part, she gets the role and begins preparing for one of the greatest parts and actors could ever have – Cleopatra". This was one of the key looks of the show and I love that whoever ends up being the lucky person that nabs it can now have the future quest of finding either, or both, of the matching skirts.

The jacket is a definite play on a school uniform and yet it still has enough detail that it has a special feel. The sleeves are long and simple with a series of three gold metal toned buttons at each cuff. The shoulders are shaped with soft internal padding. The collar is notched and neat. The jacket closes with a series of three more of those same etched gold metal buttons that are larger versions of the ones on the cuffs. I love how all of the seaming, starting at the collar and running down the front, are edged with a yellow grosgrain ribbon and then a second slightly thinner deep burgundy grosgrain ribbon sits just inside of that. That same yellow edging also tops each of the three pockets that sit on the front of the jacket. Each pocket is stitched onto the jacket to become a design detail in itself and each is functional. This is what helps to gives the jacket its incredible detail and school uniform feel. And that unexpected pop of colour against the grey wool is fantastic. The waist is brought in a touch to add shape and then the hips flare out from under there. The jacket is in beautiful condition and is a highly collectible piece of early Galliano. Excellent condition.

Lined in a black silk and it buttons to close at the front. The front pockets are functional. The buttons on each sleeve are decorative. It appears to have been worn very little if at all. Tagged a F36, GB8, US4

Sleeves: 23" and are 12" around the upper arm
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 15.25" flat across from side seam to side seam
Bottom hem: 18" flat across from side seam to side seam
Total length: 22" from top of the shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4797

Reference Photos/Video: Fall 1997 John Galliano. Models Michele Hicks & Kate Moss.

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

The Fall 1999 collection was full of looks that utilized this grey checked men's suiting fabric along with the mixing in of fringed elements for added detail. This collection is also of note because it is the last collection where you saw the Christian Dior boutique label that was being used for the Ready-to-Wear line. The rooms where the show took place were painted to resemble an artist's studio. It was a large collection that consisted mainly of day wear. This was Galliano's response to previous criticism that he did not include include enough day wear in past collections. The collection was presented in a series of colour groupings including of grey toned pieces. Many of the pieces throughout the collection were fringed and we have added some of the runway shots from the show here so you can see and get a feel for this part of the presentation. This suit is absolutely stunning and gorgeous example of his tailoring skills.

This is a beautiful suit and I always love sets, especially ones that also include the belt, because it gives you so much versatility to be able to mix and match with other pieces from your existing wardrobe. The jacket is classic but with enough details that it has a special feel. The sleeves are long and simple and the shoulders are shaped with light padding inside. The colour is rounded and curves all the way to the hidden snap that closes the jacket and is set low on the front. The jacket is shaped on a curve already and then the suit comes with its original matching fabric covered belt that allows you to cinch in the waist for a fantastic hourglass shape. The pockets that sit on the front of each hip are incredible. He has this added these flat pieces of the same fabric that extend out from the body of the jacket. Each one has a pocket on them and then they are finished with a series of fringes in a cream colour. It is a very unusual added element and it is so beautifully cut. I love how it really gives the hips their slightly exaggerated shape without adding bulk. It is genius. Both pockets have their original tacking in place. The skirt is equally as fabulous. It is cut to skim over your hips and then has this fantastic little flare all the way around the lower hem that is achieved by angled seams and the way the lower skirt is set into those seams. This gives the suit a bit of movement when you move and it also adds to the hourglass shape of the suit. This is a brilliant beautifully tailored piece from early on his time at Dior. Excellent condition.

Both pieces are lined in an ivory silk and CD is embroidered on the inside of the jacket. The jacket closes with a single fabric covered snap low at the front and the skirt zips to close. The front pockets are functional and have their original tacking in place. Both the jacket and skirt are tagged a F44, GB16, US12 and the belt a 44. It appears to have been worn very little if at all.

Jacket
Sleeves: 23.5" and 14" around the upper arm
Shoulders: 16"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam and can be cinched in more with the belt
Hips: to 22" flat across from side seam to side seam
Length: 24" from neck to hem

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

Modern Sizing Equivalent: MED-LRG

Item# DD4796

Reference Photos: Fall 1999 Christian Dior.

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

The twin of this dress in pink was shown as Look 4 for the 2009 Resort collection. In their review Vogue said that "For his joyful Resort collection for Lanvin, Alber Elbaz was thinking not only of the "idea of vacation" but also of the "perfect American look of the fifties—but made in the wrong way." I love that and that expresses to me so much how his mind worked. It is just one of those dresses that is completely easy to wear and still feels glamorous.

It isn't until you put this dress on that you realize just how masterful the draping is. It is the easiest dress to wear. There is wide ribbon of elastic running around the inner top edge of the dress. You just slip the dress on and it falls to the floor in one perfectly draped column of black silk. The silk is gathered along the top of the edge and then stitched into place along it. It skims over the bust and falls loose and easy over the waist and hips so that it is incredibly comfortable and accommodating once on the body. At the centre of the neckline silk has been gathered up into a deconstructed knot of fabric for added detail. This knot and the gathering detail at the front gives it visual interest and keeps the dress feeling soft and romantic while still being on the more minimalist side. The silk is gathered in softly under that and then falls to the floor in a swoop of fabric all the way to the hem. The dress falls easy and free over the body so it is easy to wear. The front hem curves up a bit so you get a tiny flash of leg near the hem and it allows you to be able to walk. This was his way of adding a little bit of sexiness to the dress but in a very Alber kind of way. It is so fabulous. Excellent condition

Unlined and slips on with an elastic running through the upper edge of the bodice. The measurement range below is the comfortable range of the fabric lying flat. 

Elastic at the top of the bust: 14-17" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 52" from top of bodice to the longest point of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4788

Reference Photo: Resort 2009 Lanvin, Look 4. Model: Holland Stevens.

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

The twin of this set walked the runway for the 2008 Resort collection for Look 12. Vogue said that the collection was done "in an electric-bright palette.. and channelled Barbara Hutton's sixties—a glittery, lame, paisley, and leopard-print world of muumuus, bikinis, capri pants, trapeze dresses, cat-eye sunglasses, and scarf-wrapped hats. It bordered on camp... and Kitschy or not, there was no denying the workmanship that went into crafting the large collection." I love having the photos that show you how fantastic this is on the body and if its runway provenance was not enough, Lady Gaga also wore the twin of the top as part of an outfit in 2007.

The print that covers the entire surface of both pieces is fabulous. It is a leopard print but done in green, taupe and ivory instead of browns. I love the boldness that this creates. The pants have a flat banded waist that is meant to sit slightly low on the hips and then the legs are cropped. Two little decorative flap pockets sit on the front just below the waistband and there are slip pockets at the back that are mainly decorative as they are very shallow in depth. The back ones have their original tacking in place. I love the nod to the sixties that this gives the pants. The top is also a nod to the sixties with its little baby doll cut. It is sleeveless and then it wraps and snaps in place at the front. This creates a low plunge at the front. It is defined under its empire waist with a wide grosgrain ribbon that is stiffened and done in a bright green. A peplum falls under that and it expands out and over the hips to add volume and shape. It has the perfect kitschy, camp, sixties baby doll feel and I love it. You can wear the pieces together for a strong statement or break up the set and wear them as separates with other pieces in your closet for lots of styling options. It looks to have been worn very little if at all. Excellent condition

Both pieces are unlined. The pants have a flat waist and close with a hook and a zipper. Decorative flap pockets at the front under the waist and slit pockets at the back of the pants. The top snaps and hooks to close at the front. Both pieces appear to have been worn very little if at all. The top is tagged a FR40, GB12, IT44, US8 and the pants are tagged a FR38, GB10, IT42, US6

Top
Bust: to 17" flat across from side seam to side seam
Empire waist: 15.5" flat across from side seam to side seam
Hips: open
Bodice: 11.75" from neck to the top of the green ribbon
Total length: 25" from neck to hem

Pants
Waist: 16" flat across from side seam to side seam with no give
Hips: 19.5" flat across from side seam to side seam
Length: 30" from waist to hem
Inseam: 21.5"
Rise: 14" from the top of the back waist to the inner seam

Modern Sizing Equivalent: SML-MED

Item# DD4782

Reference Photos/Video: (1-3) Resort 2008 Dior, Look 12. Model Tanya Chubko.  /  (4) Lady Gaga by Katherine Wolkoff, 2007.

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

The twin of this dress in a brighter green, and without any beading, was shown in the Sao Paulo presentation of the collection that year. We also found photos of Faye wearing one to Cannes that was in the same colour as this but that did not have any of the embellishments. It is my understanding that this version with its gorgeous beading and sequin work was a special edition pieces that was only sold in some locations and on a limited basis. It is an amazing example of his work and it is gorgeous. I think I might even say with some confidence that out of the three versions this is the best with its stunning added detailing. It might make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration and of course, it could be worn for a variety of other events as well.

This is a wonderfully easy dress to wear and very flattering once on. It is beautifully light in weight and it is extraordinary once it is on and moving. There is an inner silk sheath dress and then a layer of silk chiffon floats over that. This top layer is what gives the dress it's caftan feel. The neckline is scooped across and a band of tiny beads follows the neckline. Extending out from that edging you see a beautiful design trailing down the front, across the shoulders and around to the back. More beading runs down each sleeve to past the elbow. The design combines little white seed beads with semi-translucent white oval sequins and tiny clear sequins. Here and there you see a little extra bead popped into the design along with tiny tiny clear iridescent tube beads. The top layer has vertical seaming around the waist area that brings it in and gives it some added shape. A soft bow covered in embellishments sits at the front. Under that the dress falls to the floor and the hem opens out. The sleeves extend out from a very full panel of silk chiffon that runs down your back over the inner dress. From the front you have a more fitted shape through the body and then at the back it is full and open like a true caftan. The movement and drama this creates is extraordinary. When you walk and move the sleeves and back of the dress billow out and float around you. This is a dress that you slip on and feel completely comfortable when wearing and yet it has as much drama and beauty as you could ask for in a dress. I love it. Excellent condition with a minor note below 

The inner dress acts of the lining and is made out of a matching colour silk. It closes with a back zipper on the inner dress and then the outer dress hooks to close above a key hole at the back. I see a touch of fraying near the base of the back keyhole, near the seam of the neck and there are two very light smudges on the fabric near the edge of the keyhole. Please see the photo after the label shot. Tagged a FR38, GB10, IT42, US6

Inner bust: to 17" flat across from side seam to side seam
Inner waist: to 14" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Total length: 60" from top of shoulder to the longest point of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4780

Reference Photos: (1-3) Cruise 2011 Christian Dior in Sao Paulo Presentation.  /  (4) Faye in Dior at Cannes, 2011.

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

A 27 year old James Galanos launched his label in 1951. In 1954 he won both the  Coty award and the Neiman Marcus award. His clothing ranged in price from $200 to $3000 which for the time was an astronomical price. He made things to order to couture standards and his work was on par with the French. Grace Kelly was a huge fan and his work is held in all of the major museums around the world. He is one of my personal favourites and this dress is a stunning example of his work. It is one of those dresses that really needs to be on an actual body to come to life but once it is on a body it is even better than what you see here.

This dress is spectacular. For the skirt he used an incredible four layers of silk chiffon that are perfectly stacked on top of each. The sleeves are two layers and then the bodice is backed in a  more opaque black silk. This dress is also interesting, because the way that the skirt is set into the back uses the same technique as this Met museum held 1957 dress I that I have had in the shop before. In the Vogue's description at the time the skirt was described as being; 'narrow in outline, but with beautiful easy folds from the waist, falling in self contained spirals'. The skirt is cut so that it gathers up and into the middle of the dress at the back. This gives it that lovely draping you see as it flows tot he floor and then extends out a touch past the hem. A high slit is hidden in that draping so when you walk you get a flash of bare leg. The bodice is cut to skim and blouse over the body to the waist and the waist is cut with a more generous feel. You could add a belt if you wanted to cinch that in more and give it more shape. It is so well made that I think that you could actually wear the dress either way. The sleeves are spectacular and each one is cut wide and full above the ruffled wrist. The d Picking up on that ruffle on each sleeve is the detachable ruffle that hooks into place around the neck. I love how this gives you two very different looks. Without the ruffle it feels more minimalist. With the ruffle it has that extra bit of glamour. Excellent condition

Both pieces are fully lined in a black silk chiffon as described above. It closes with a low painted metal zipper at the waist and then has a row of buttons above that. Hand finishes. It appears to have been worn very little if at all.

Sleeves: 27"
Slightly inset shoulders: 14"
Bust: 19-21" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 20" from neck to waist
Total length: 69" from neck to front hem, 73" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4611

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

This dress is from the Christian Lacroix wedding line and I love that it it is a dress that could play double duty as either an event dress or as a wedding gown. I also love that it is two pieces. This allows you to wear the little jacket with other pieces you have, with the dress as a full look, or you can wear the dress on its own. It is absolutely stunning and it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event

The beautiful strapless cut on this dress instantly reminds me of 50s couture mixed with the grand ball gowns of the past. The dress is covered in an ivory netting that has flowers embroidered onto it in a deep burgundy red. I love the contrast this creates. The floral design has been kept tiny and it doesn't feel overwhelming as a result. The bodice is strapless and you can see the angles boning and built-in cups on it which gives it the feel of an exposed corset. It is meant to be fitted to the body and holds both you and the dress in place. The waist is cinched and then the skirt poufs out below that to create all that gorgeous volume around you. I love the way that the skirt is set in and around the corset. There is added stiffened netting underneath to help create that bit of a bump out from the waist which then gives it the volume below as it sweeps to the floor. There are multiple layers underneath the skirt that help to hold the shape. The skirt has a ton of fabric and we did not use any extra underskirts in the photos. That said, you could add a separate underskirt underneath if you really wanted to make it extra full and turn it into a fairy-tale cupcake dress. It comes with its matching little silk organza bolero that just hooks into place at the front of the dress. There are tiny little loops that sit hidden along the curves of the cups and the bolero hooks directly into those. It can be worn completely off shoulder or partway on and partway off as I have shown it. It is like a shawl collar that has attached, very full sleeves that sweep up and underneath themselves. The bolero is very pretty and adds a beautiful and romantic touch to the gown. Excellent condition.

The dress is fully lined in an ivory silky rayon and closes with a back hidden set zipper. The skirt has additional layers underneath in between the top layer and the inner lining. The front cups are wired and there is boning all the way around the bodice. The bolero is lined in the same fabric and hooks to close along the front of the dress as described above. Tagged a 40. The colour of the netting and bolero are slightly more ivory in person.

Dress
Bust: to 17" flat across from side seam to side seam with an approx B-Small C cup
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice to side waist
Total length: 50" from top of bodice to front hem, 55" to the longest point of the back hem

Bolero
Sleeves: approx 21" and 11.5" around the upper arm
Shoulders: no defined seam
Bust-bottom hem: approx 17.5
Length: approx 11" high

Modern Sizing Equivalent: SML-MED

Item# DD4778

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

This is an incredible and early example of Karl Lagerfeld's work for Chanel. It's from the spring 1988 and it's near twin walk the runway that season and I'm very pleased to have video of that for you. Karl's first collection for Chanel was in 1983 which makes this piece from one of his earliest collections just 5 years later. I love how he took the iconic Chanel chain that would have only been used to weight the inside of a Chanel jacket up to this point and then flipped it to the outside to make it a feature on this dress. Taking those classic Chanel elements and changing the way that you saw them is part of what made his work for the house so iconic. It is an exceptional example of the work that Karl was doing for Chanel during this time period.

This dress is gorgeous and everything you want in a Chanel. The dress itself is made out of a black silk chiffon that has been sharply knife pleated. The pleats run from the top of the bodice to the hem of the skirt. Each pleat is the exact same size as its neighbour and meticulously done. The dress skims over your bodice, past the waist and over the top of the hips. Inside there is a full lingerie netting built-in corset that is boned and shaped to hold the dress in place around you. The dress is suspended from two tiny black silk straps that curve up and over your shoulders. There are a total of six gold chains that wrap around you. These start at the top of the bodice and end at the top of your hip. each one wraps around you to the closure at the side. The in corset zips to close on its own and then the dress closes with a series of hidden black buttons underneath a chiffon ruffle detail that runs all the way down the side of the dress from bodice to hem. The ruffle is done in the same knife pleating technique but horizontally for contrast. Eleven gold toned Chanel metal buttons sit at the base of the ruffle. They finish the end of each gold chain with another button set in between each chain. These are only decorative as the real closure are the hidden black buttons underneath but they had amazing detail. The chains that wrap around you play double detail in that they are also an amazing detail, but they functionally also hold the pleating in place. Underneath the final chain the pleats are allowed to open up and this gives you incredible movement through the skirt as you move. Underneath the final chain, the skirt is slit open to the hem so that you get a flash of bare leg as you move. This unexpected touch of sexiness is fantastic. This is one of those dresses that only truly come to life when on. It is an amazing and iconic piece of Chanel. It looks to have been worn very little if at all. Excellent condition.

Fully lined in a black silk chiffon. There is a built-in inner corset that is boned and has a stay at the waist and another stay just under the bust. Both of those hook to close. The inner corset zippers to close and then the dress buttons to close over that down one side.

Inner bust: 17" flat across from side seam to side seam
Inner waist: 13.5-14.5" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Total length: 49" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4775

Reference Photo/Video: Spring 1988 Chanel Runway.

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

This is the twin of the dress shown on the Christian Dior Fall 2002 runway for Look 32. It is an incredibly cut dress and the fabric choice is equally impressive. At the time Vogue commented that: "this fall collection is almost classic in its Dior-isms containing all the patterns, symbols and accessories on which Galliano has re-built the house foundations. That means ethnic color and print, love of the eighteenth century, an obsession with bias-cut dresses, a "sauvage" method of cutting all his own. Galliano's girls stormed out in Peruvian knitted hats sprouting huge Mohawks, their feet bound up in fur moccasin-boots." and indeed, this look was shown in that exact way. It is an incredible dress to see in person and it is so unusual in its cut and design.

So many Dior/Galliano pieces that come onto market are ones that were made for production for the shops and they do not match the runway pieces. So it is always extra special when you find one that does. The dress is incredibly light and incredibly soft. The fabric is a black silk velvet devore in a beautiful floral pattern. In the spaces between the velvet the chiffon has a touch of transparency to it so that you see glimpses of the body underneath. This lets you choose just how bare you want to be underneath it. At the front the dress sits high across the neck and the shoulders are soft. The sleeves are nod to the 1940s and 30s with their unusual design. They are full across the top and when laid out flat they extend out on a sharp angle. Once on, the lightness of the fabric lets them to create the illusion of a bit of a caped feel across your shoulders. Each sleeve is cut on a curve to follow the shape of the arm and then there is a little curved protruding bump out above each wrist that gives you that final shape that you can see in the photos. The body of the dress is completely cut on the bias. It skims over your bust, waist and hips. Set from the back of the dress and curving over and down the sides is a series of top stitched seams. Some of these cleverly hide built-in panels that open up when they reach the skirt. This fantastic technique both shapes the dress around you and it also add to the fullness in the skirt. The skirt has incredible volume and I love the way it falls in those soft folds all the way around you. It flares out even when you're standing still and then when you move the movement it has is incredible. The amount of fabric that is in the skirt is deceptive. When laid out flat the material in the skirt actually goes out beyond a full circle. In the photo where we hold it out you get a sense of just how much fabric is in there. The skirt alone is a master class in cut and execution.  The back is equally as incredible and there is an extremely deep V that leaves the entire upper back bare. even though you do get a sense of how fabulous this is in the reference photos and video, even those photos don't truly convey how much better this one is in real life. Excellent condition.

Unlined and slips on with no closures completely cut on the bias and an incredible piece. It appears to have been worn very little if at all.

Sleeves: 25.5" and 13" around the upper shoulder
Shoulders: no true defined seams
Bust: 16-17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: 15-17" flat across from side seam to side seam
Total length: 46" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4774

Reference Photos/Video: Fall 2002 Christian Dior, Look 32.

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

This gorgeous dress is from the Fall 2007 Chanel Collection and it is a beauty. Raquel wore it on the runway, Freja wore its twin for the ad campaign and it was shot for Vogue Brazil that year as well. If all of that was not enough Cameron wore one to her premiere that year. I love having all these reference photos for you so that you can see just how amazing the dress is once on the body. In the show review, Vogue specifically mentioned the series of LBD at the end of the show saying "By evening...Lagerfeld had cleared the way for a plain view of little black dresses, now with draped shoulder lines, bows, and flyaway trails that looked light and lovely in movement. For the faithful, that was just enough youthfulness to keep the appeal of Chanel feeling perfectly current." Of that series I think this was the best of the dresses and given its prominence in editorials, on the runway and in the ad campaign, I would say that was the general consensus by all. It is spectacular and one of my favourite Chanel pieces to date.

The dress is made out of a black silk that perfectly drapes over your curves once on the body. What makes this dress extra special is the addition of the bows and the way the straps are set. A wide strap extends out from one side of the bodice and curves over the opposite shoulder and down to a plunging back. On the other side there is a panel that wraps around the top of your arm. At the back this angles down to form the other side of the V that exposes your bare skin. Where those two wide straps meet at the front there is a gathered raised line of fabric. Into either and of that piece he has threaded through a 4 inch ribbon to form a bow. The ribbon has a more satin finish that contrasts beautifully against the more matte silk of the dress. The bust skims over you to the waist where a band of that same ribbon adds a touch of shape and definition. The skirt skims over the hips to the knee, or just below depending on your height. There is a panel that sweeps up and over the front of the skirt and is caught up on the same side as the bow on the bodice. Where that panel meets the seam on the other side of the skirt there is another bow formed in the same way, but with a longer centre piece. It is just brilliant. You can see on one of the reference photos that this actually forms a little scoop that although it is not a true pocket you can slip your hand into it for the perfect little cool slouchy feel. It is incredibly good on the body and a very well documented piece of fashion history. Excellent condition

Unlined and closes with a hidden set back zipper. It appears to have been worn very little if at all. There is an inner piece that is lightly boned and closes with its own zipperTagged a vintage Chanel 42.

Bust: 17.5-18.5" flat across from side seam to side seam
Inner waist: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 14" from the top of the shoulder to the inner waist
Total length: 44" from top of the shoulder to the hem

Modern Sizing Equivalent: MED-LRG

Item# DD4773

Reference Photos/Video: (1-5) Fall 2007 Chanel Runway, Look 63. Model Raquel Zimmermann.  /  (6) Freja Beha Erichsen for Chanel, Fall 2007.  /  (7) Photo taken in Coco Chanel's apartment, Vogue Brasil, April 2007.  /  (8) credit unknown.  /  (9-11) Cameron, 2007

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

I just had the near twin of the dress in the shop a couple of months ago and I am very pleased to find this version so quickly. It is a stunning dress and shows the softer, more romantic side of Lanvin from this time period. This was designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. In the book Lanvin by Rizzoli, there is a lovely forward from Alber Elbaz, that noted that the Spring 1984 was Crahay's last RTW collection for the label before his retirement which makes a piece from that collection that much more special. Crahay's time at the Lanvin label is one of my personal favourite periods for the house and I think it is so special to have a documented piece from his last RTW collection. The runway photos also show you just how great this one is on the body. I love it.

This one is different from the first version I had in that the back skirt is purposefully split so you get a pop of black from the underskirt. It was common for designers to showcase two or three versions of the same dress for their clients during this time period. We often see that with Marc Bohan's work for Dior as well. This version feels a little bit more avante garde than the other and I love how the black of the underskirt picks up the black backing of the bows above. The dress is made from a beautiful hand loomed red linen. The linen gives it a stunning texture and the depth of colour that is achieved by using linen is fantastic. It has been lined in a black silk that peaks out from the back opening. From the front the dress is this beautifully simple and romantic feeling dress. The sleeve are softly gathered into the shoulders and they are cut wide and straight to just above the elbow. The bodice skims over you to the waist. The cut through the waist area is slightly more on the loose and easy side and depending on how tight you tie the back it can sit more loose and easy or with a bit more shape. The skirt is set into the waist in a series of tiny soft gathers. This picks up beautifully on the shoulders and adds a little volume around the hips and through the skirt. I love the pockets hidden along each hip. They really add to the easy feeling that the dress has. The skirt has tons of fabric in it. When you stand straight you don't really realize how much fabric has been used but when you move or sit it really flows around you beautifully. The upper back is almost shocking with the surprise of it when you turn around. It is completely open to the waist and then the opening is held in place by three wide ties. The linen extends out on each side of the back and then each tie combines the red linen for the top of the tie and black silk for the other side. When you ties these into bows you get this fantastic combination of red, black and your bare skin peeking out between it all. It is a fantastic dress that is sexy and sweet at the same time. I love it. Excellent condition

Fully lined in a black silk satin through the top and black silk through the skirt. It close with a hidden zipper on the inner black skirt and then has three ties down the open back. It appears to have been worn very little, if at all. Tagged a vintage Lanvin 38

Sleeves: 13" and 14" around at the widest point 
Shoulders: adjustable with tie
Bust: to 17.5" flat across from side seam to side seam and can be adjusted in and can be adjusted in words with the ties
Waist: to 11.5" flat across from side seam to side seam
Hips: open
Bodice: 14.5" fromtop of shoulder to waist
Total length: 56.5" from top of shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4766

Reference Photos/Video: (1) Spring 1984 Lanvin Runway.

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

In 1993 Oscar de la Renta took over as Creative Director at Balmain where he designed the Haute Couture collections until 2002. The house had been floundering at that point and he had a huge impact on the reviving the sales of the couture pieces, mainly by catering to private clients, much like Balmain had originally. It is extraordinary to think that Oscar never produced a Haute Couture line under his own label and these few short years at Balmain gives us a chance to see just how talented he really was at all levels. I was very pleased to be able to fully document this dress with its photos from it on the runway. It is just beautiful.

I love that that photos let you can see just how beautifully the silk chiffon on the skirt moves once this is on the body. It is a gorgeous dress and his time there was one of the best. The dress is interesting because when you stand still you get a beautiful long, lean silhouette but the second you move the chiffon in the skirt is picked up by the air and the dress becomes even more extraordinary.  His use of fabric and the contrast he created by putting that pastel moss green with that soft dusty pink-purple is fascinating. The skirt of the dress is made from yards and yards of bias cut silk chiffon. The fabric is feather light. Two top layers of chiffon are split up the centre and these float over an inner silk skirt that has another layer of chiffon over it. The two top layers are heavily gathered in at the front waist so that they drape and curve around the hips. This is what creates that hourglass shape that you see. When you move these open and float away from the body and you fully see the contrasting colours underneath. It is amazing. The back of the skirt is cut slightly longer and this helps the silk layers to catch the air and move around you with your slightest movement. I love how it is gathered in up and around the waist. The bodice sits over that with an empire cut to it. The neckline is cut into a low dipping, curving V at the front and the neckline is set wide across so the collarbones can be seen. Little cap sleeves curve over the tops of your shoulders and the shoulders are soft with no padding. The entire bodice is an extraordinary feat of embroidery work and piece work. It would have all been done completely by hand. It combines a soft cross hatching of a pastel taupe thread for the backdrop and then onto that is a beautiful design of leaves and flowers in pink gold and greens. These curve over the bodice and it is a stunning thing to see in real life. The upper bodice is backed with a pale pinky nude silk organza which gives it a touch of transparency through the upper bodice and arms. The bust area has a built in boned and cupped corset that extends down to the waist inside. It closes down the front and the zipper is hidden away from view by those draped and gathered panels of silk chiffon on the skirt. Once on the body, it appears to have no closures at all. It's as if it was just magically made over you. Its magical. Everything is done by hand right down to the hand rolled edges of all of those layers of chiffon on the skirt. Between the heavily detailed embroidery and the contrasting colours of the silk chiffon, the final effect is fantastically romantic in feel. It is amazing. Excellent condition with a small note below

Fully lined in a silk organza through the bodice as described above and a light purple silk for the inner corset and lining of the inner skirt. It closes with a front zipper. Boning and light padded cups on the inner corset. There are some repairs to the organza lining of the inner bodice. I see a couple very tiny catches in the fabric here and there near the hem, on the back and there is a tiny flaw near the inner edge of the purple lining near the zipper. Please see the photos after the label shot. Minor. Hand finishes throughout and made by hand to Haute Couture standards

Sleeves: are 13.25" around the upper arm
Shoulders: no defined seam
Bust: to 17" flat across from side seam to side seam
Seam under the bust: 16" flat across from side seam to side seam
Inner waist: to 15.5" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 13" from top of shoulder to bottom of the bodice
Total length: 62" from top of shoulder to the longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD4763

Reference Photos: Fall 1996 Pierre Balmain Haute Couture.

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

The twin of this Dior suit was shown for the Christian Dior Pre-Fall 2011 collection. This collection was shot as a look book that year. At the time Dior said this of John's collection: ”Dior’s Fall ready-to-wear collection takes its inspiration from the legendary love affair between Mrs. Wallis Simpson and Edward VIII. English romanticism is channeled into Balmoral fringed tweeds and candy-coloured tartans with Prince of Wales checks.” Vogue commented that: "John Galliano galloped the Duchess of Windsor through This Is Your Life, with richly hued musings on what Wallis Simpson in her prime might've worn at specific times of day and across the decades." The Dior team styled the pieces in lavish settings to play on this theme and this would have been a part of the day looks of the collection. This was John's second last collection for the house.

This is a great little silk suit that is easy to wear. I love that with it being two pieces you can mix and match it with other pieces from your wardrobe. The jacket is classic but with enough details that it has a special feel. The sleeves are long and simple and the shoulders are soft and sloped. The colour is neat and rounded and the jacket closes with a series of three buttons at the waist. I love how the front of the jacket is gathered in on a curve into the collar. This is what gives the jacket a little extra detail. A band of fabric goes around the waist to add shape and then the hips flare out from under that. Two button flap pockets sit on each hip and both have their original tacking in place. All of the buttons are engraved Dior Paris. The skirt is a simple pencil that flares out just slightly as it reaches the hem. It skims over your hips and falls straight at the front. At the back there is an extra panel of fabric worked into the bottom hem. This adds a little flirty flare and softness at the back. You could also belt the jacket if you really wanted to cinch in the waist and change up the look of the suit. Excellent condition.

Both pieces are lined in a black silk. The jacket buttons to close and the skirt zips to close at the back. The front pockets are functional and have their original tacking in place. Tagged a F42, GB14, I46, US10

Jacket
Sleeves: 24.5"
Sleeves: approx 23" and they are 12.25" around the upper arm
Shoulders: no defined seam
Bust: 18.5" 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: 23" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 22" from waist to front hem, 24" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4761

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

The twin of this set in a different colourway walked the runway for the Fall 2000 show for Look 11. My client ordered hers in black and that simple colour change makes it incredibly timeless. The suit is beautiful and so chic. I also have Look 17 from the show in the shop that has a longer jacket from the same client. It is a beautiful example of how Karl could do a classic minimalist look that focused purely on tailoring and cut. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period.

I love that this is a suit with a dress and jacket rather than a jacket and skirt. It makes it so versatile. You can wear the dress on its own or with other pieces to extend its life more and of course you can mix the jacket with anything from your wardrobe. Both of the pieces are constructed from a fine black wool that has a touch of texture to its surface. The dress is cut in the sleek and simple shift that skims over the body and flares out slightly as it nears the hem. The hem has a pretty fringe finish for a tiny touch of detailing. Perfectly placed seams shape the dress around you so that it is flattering on the body like the seaming detail at the neck that gives it the feel that the fabric crosses over itself. It is hand lined in a black silk so feels like heaven on. The jacket slips over that and has light shoulder pads for a touch of structure and the sleeves are long. The meticulous seams are set on curving lines to create shape. There is a simple hook and eye closure at the neck and two functional pockets. It is also hand lined in a high end black silk and there is the signature Chanel chain set around the inner hem of the jacket to allow it to fall perfectly.  A ruffled detailing goes from the neck to the hem of the jacket. It narrows down as it reaches the bottom hem and this adds a touch of softness to the jacket. This is a stunning and timeless example of Chanel's Haute Couture work. It is meticulously made and it is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Both the dress and the jacket are hand lined in a fine black silk. The dress closes with a back hidden set zipper that follows along an offset seam so that it looks to have no closure at all. The jacket has a hook and eye at the top of the neck. It appears to have been worn very little if at all. Both pieces have an appropriate Haute Couture label and numbered tape present and are completely made by hand to Couture standards. 

Jacket
Sleeve: 23.5"
Slightly inset shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Dress
Bust: to 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 38" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4177

Reference Photos/Video: Fall 2000 Chanel Haute Couture Runway Collection. Look 11 

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. Hanae Mori excelled at these beautiful prints that combined nature had elements of her homeland. Her caftans are the most sought after pieces and so very hard to find. When I find pieces like this one that is such a stunningly beautify example of her caftans I am very happy. I feel that pieces like this are among the very best representations of her work. This one is extra special as its near twin was used in the ad campaign that year and its actual twin is predominantly featured in the book on her work "Hannae Mori 1960-1989". It is not always easy to date her pieces and I love having such wonderful documentation. It also shows you how beautiful this piece is on the body.

This is everything you look for in a piece by Hanae Mori. It is spectacular. Her caftans especially are almost impossible to find anymore and this one has been in my archives forever. It has one of her custom designed prints screened onto masses of feather light silk chiffon that is layered over an inner silk twill sheath dress with the same print. Think the finest silk scarf you could have in terms of weight and feel. The entire dress has been printed with gorgeous tropical trees, mountains and birds that are seen flitting across its surface. The neckline is high and folded over itself and the shoulders are soft. The inner dress is attached around the neckline and top of the shoulders and then falls to the floor, skimming over the body where it widens out a touch as it reaches the hem. The top layer floats spectacularly over that. On one side is an attached sleeve and that sleeve balloons out beautifully over a more structured cuff. On the other side the silk extends out to cape over the arm and there are miles of fabric on that side. This top layer is spectacularly full and falls on a curve down to the hem of the dress. All of the edge on that side, around the hem, and up the side on the other side are finished with a wide ruffled hem. There are three layers of silk that make up that ruffled hem. It is incredible. As with the best of Hanae's dresses the effect of having the same print on the top layer and the inner layer gives the design added dimension and depth as they float over each other. The movement and drama that all this fabric creates is extraordinary. This is a dress that you slip on and feel completely comfortable when wearing it and yet it has as much drama and impact as you could ask for. I love having that spectacular book photo to really show you how wonderful the dress is. It is a stunning and very rare and well documented example of her work and beautifully made. I love it. Excellent condition with some minor notes below.

The inner dress is a silk twill that is lined in a silk and the outer silk chiffon layer floats over that.  The inner dress zips to close, and then the outer dress buttons to close over that with hook and eye at the neck. The cuff closes with two silk covered snaps. There are a couple of tiny marks on the outer layer here and there. I also see one tiny pinhole in the silk chiffon on the back of the arm and a small repair at the base of the exterior opening. All are minor. Please see the photos after the label shot. The edges of the ruffles are hand rolled and have wire in them for shape. Extensive hand finishing throughout the entire caftan. The colour is slightly more pastel feeling in person. The inner dress could easily be adjusted up or down so should work on a range of sizes

Sleeve: 26" and it is 13" around the upper arm
Shoulders: approx 15" but no true defined seam
Inner bust: to 19.5" flat across from side seam to side seam
Inner waist: to 16.5" flat across from side seam to side seam
Inner hips: to 21.5" flat across the inner seam but adjustable with the sash
Total length: 61" from top of the shoulder to the longest point of the hem

Reference Photo: (1) From the book " Hanae Mori 1960-1989".  /  (2) Hanae Mori ad from Vogue UK, November 1972.

Modern Sizing Equivalent: SML-LRG

Item# DD4757

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

This gorgeous dress is from the Spring 2020 Oscar de la Renta collection under the creative direction of Laura Kim and Fernando Garcia. This was a ready-to-wear piece that was produced for the shops and it is stunning and easy to wear. It was Look 36 in their RTW look book presented for clients with an original price tag at the time of $5390USD.  It is a definite show stopper and I love it. 

This is one of the prettiest modern Oscar dresses I have had in the shop and I love it. The movement it has when it is on and you walk is just incredible. It is made out of the perfect tangerine and white coloured silk that is perfectly light in weight so it has beautiful movement when you move. The halter front extends and curves up and over the shoulders and then drops in the same V at the back. The silk crosses over itself at the front and it is set into a wide band that adds shape around the waist. At the top of each shoulder the fabric has an attached tie that trails down your back. I have tied them into a small bow and if you wanted the trailing ends to be longer you could tie them into a simple knot instead. I love the added drama and prettiness that this adds to the dress. The skirt is set into the waist band in little knife pleats all the way around you. Buttons run all the way down the front with a slit left from the hem up for a flash of leg. I love the little added detail the buttons give the dress. A second horizontal seam sits just below the hip and another series of pleats create the skirt that then falls to the floor. Doing the different sections of the skirt adds visual interest and also allows the lower skirt to open up more. The movement that this gives it shows best when you move and the lightness of the silk causes the skirt to move with the slightest bit of air. When this is on and you are walking the movement in the skirt and those ties that draped down your back all create is absolutely gorgeous. The final perfect detail is that perfect summer feeling floral print that runs over the entire dress. It is beautiful. Excellent condition 

Fully lined in the same printed silk as the exterior. The ties on the shoulder are stitched in place and you can put them into a bow or leave them loose. It closes with a back set zipper and the buttons at the front are functional. It appears to have been worn very little if at all. Original uncut length. Tagged a modern 0DLR 8

Bust: each halter covers approx 10" across from side to side
Seam at the top of the 4" band: 16" flat across from side seam to side seam
Waist seam at the bottom of the band: 15" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 13" from the top of the shoulder to the top of the waist band
Total length: 62" from top of the bust to front hem, 62" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD4758

Reference Photos: (1) Spring 2020 Oscar de la Renta ready-to-wear Look 36

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

The twin of this dress was worn by Anne in 2006 for her character's big scene where she attends the Met Gala near the end of the film. It is an iconic piece and I love it. John Galliano began his own label in 1984 and he was instantly a bit of a 'boy wonder; in fashion. He was British Fashion Council Designer of the Year in 1987, 1994 and 1995. In 1991 he made his Paris catwalk debut. In 1995 he was asked to head Givenchy and then went to Dior in October of 1996. Unlike many designers he kept his own label going as well throughout the years at both those houses. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Fall 2005 season and it is gorgeous. This dress was a piece made for production for retail but it has all the things we love about his work presented in a chic and minimalist package.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. The seam work and simplicity of this dress is stunning to see and it is even better on an actual body. It is made from a beautiful black silk that has a muted satin finish. It has that that same light in weight feel that the best of the 1930s pieces did that were made from similar fabrics. Like those liquid dresses of the thirties this is also cut on the bias. It is cut to flow over the body and skim its way over the bust, waist and hips as it falls to the floor. The neckline is finished with a wide band that curves around your neck and swoops down and across the front. That swooping plunge is slightly set to the side and there is a small hidden hook to hold it in place. If that hook is left undone the plunge becomes deeper and I took a shot of that for you. Pretty seaming through the bodice gives it a slight bit of shape until it meets the dropped waist line. The waist is detailed with three bands of pleating that wrap horizontally around you. It is set wider on the side where it buttons and then narrows down on the other side on a slight slant. That bit of an angle there is a clever way to add length through the body. The skirt flows down to the floor, skimming over the hips, and then flaring out as it reaches the hem. The flaring shape is achieved by the bias cut of the fabric rather then extensive seaming. This gives you a ton of movement around the lower skirt when you walk or move. It also adds to the hourglass shape the dress has. It is all done so that it sits in a certain way on your hips and then that in turn affects how the entire dress sits on your body. The sleeves are incredible. They are sat in a little cape like panel that curves around you. It starts at the front and curves over your shoulders to give you that little cap sleeve feel and then it continues around the back in a dropped curved. The edges are finished with a fine black floral lace. I love how the lace is set into the silk of the panel to follow that pattern that is in the lace. At the side the dress is finished with one of his signature rows of tightly spaced button and loop closures. This becomes a design detail in themselves and it is these subtle little details that Galliano put into his dresses that make them heads above other pieces. I have seen this dress shown with a velvet floral belt piece that sits on one hip and you could easily add something to get that look if you wished. The dress is spectacular. Excellent condition.

Unlined and closes with the buttons down one side. Tagged a Galliano FR42, GB14, US8. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. The rubber label was reattached just to the side of the original holes after it split during the cleaning process. A common occurrence with this label. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Bust: 17-21" flat across from side seam to side seam
Dropped waist: 14-15" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Bodice: approx 18" from neck to dropped seam
Total length: 61" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4753

Reference Photos: The Devil Wears Prada, 2006.

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

This dress is a version that was made for the shops, and seems to best be derived from the combination of Look 45 and the print of Look 53 from the runway. This same scenic print on the skirt version also appeared in the ad campaign that year. The reviews for this season were stellar. Vogue.com said of this collection: "Audiences always arrive at Prada shows tingling with anticipation, braced for Miuccia Prada's next departure from the last season's plot. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection. "It was a dream of extreme romanticism," she said. "The idea of eighteenth-century painting, with video games. A romanticism between past and future."

Pieces from this collection sold out worldwide and were wait-listed everywhere. It was an incredible testament to her ability to take elements from the past and make it feel fresh. This dress is particularly beautiful in my opinion. It is made out of feather light silk chiffon and then has that magnificent soft painted scene screened onto the surface. The silk has a touch of texture to it which adds to its vintage flare. The dress is sleeveless and simply ties in the back above an open keyhole. A 5" wide panel runs down the full front of the dress and it has been top-stiched and finished with vertical  pleats. This adds a wonderful high detailing that gives a layered effect to the print feeling the dress has. It skims over the bust and waist with a slightly more an easy and generous feel. Under that the skirt flares out and there is two added 10 inch panels that create a ruffle around the inner lining of the dress to help hold the shape of the skirt that she desired it to have. The final finishing touch is the extensive bead work done around the neckline and applied onto a black silk chiffon base. It combines tiny black glass tube beads with beads of different sizes and shapes, along with prongs set black rhinestones. This bead work was a signature look of the collection. This is an easy dress to wear and has a chic and easy feel to it that I absolutely love. It appears to have been worn very little if at all. Excellent condition

Fully lined in a brown silk and closes with a hidden set side zipper and a tie at the back of the neck as shown. Tagged a modern Prada 40

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 14.5" from top of shoulder to waist
Total Length: 40" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4752

Reference Photos/Video: (1-2) Fall 2004 Prada, Look 45.  /  (3) Fall 2004 Prada, Look 53.  /  (4) Karen Elson for the Fall 2004 Prada Ad Campaign by Steven Meisel.

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

This little Chanel suit is stunning. It is from the Pre-Fall 2012 collection and a version in a different colourway walked the runway for Look 32. The collection was a "salute to the work of the craftspeople who make Chanel happen, including the recently passed François Lesage (hence the name, Métiers d'Art), was definitely a feat of creative excess, from the jaw-dropping set, which turned a curved space under the dome of the Grand Palais into a corner of Rajasthan, to the clotted silver embroideries, the gilded laces, the lustrous silks that determined the character of the clothes." said Vogue. "The theme "Paris-Bombay" was a reminder that Europe's fashion industry has increasingly turned to India to produce extravagantly hand worked pieces." The suit was beautiful in the pale green that it was shown on the runway and it is equally as beautiful in this darker colour that I think makes it even more versatile.

Both pieces are constructed from a lightweight house boucle that showcases a combination of red and gold metal threads layered into the base fabric along with teeny tiny gold sequins. The combination of these elements creates a rich texture and the metallic colour that you see. In person, you realize the base colour of the suit is actually a black mixed with the deepest blue yarn. The gold and red threads along with those tiny gold sequins give it an almost brown feeling the farther away you are from it. It is quite beautiful. The fabric is woven on the bias in the traditional manner of their boucles and this is what gives the fabric its movement while still holding the shape beautifully. It is absolutely beautiful. And of course being two pieces means that you instantly have endless styling options to mix and match with other pieces from your wardrobe The suit is edged with a fringe of the same fabric and this gives it some added texture. The fringe runs around the neck, down the front edge and circle around the hem of both the jacket and the skirt. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape with a slight outward swing by the hem. The sleeves are to just past the elbow and they are cut wide and full. Each is just under 17" around. Pockets sit on each side at the front with their little tufted edging and button detailing. The jacket has two buttons at the neck to close and then it falls open under that. The skirt is cut with a slight flare as it nears the hem. It has a simple waist with no banding. The upper part of the skirt is more fitted around the hips and then it opens up to create the chic and simple line that you see. The entire suit is perfectly lined in a black silk and a signature Chanel chain is hand set inside the hem of the jacket. I especially love the buttons on the jacket. Each has poured glass gripoix and combine deep, red and gold along with tiny Chanel double C's. The suit even has a little removable and combine deep, red and gold along with tiny Chanel double C's. The suit even has a little removable brooch Camellia brooch in a gold boucle. I love it.  This is classic Chanel and it is exceptional. Excellent condition.

Both pieces are fully lined in a black silk. The skirt closes with a Hidden set back zipper and the jacket buttons to close at the neck as described above. Each pocket buttons to close. Very light padding in each shoulder. The brooch is removable and fasten by a pin. The texture is even better in person end it has more of a metallic feel as the sequins catch the light. The jacket is tagged a Chanel 44 and the skirt a 40. 

And just a note on their fabrics.... The Chanel boucle and tweeds are 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: 17" and are 18" around the upper arm
Shoulders: 15.5"
Bust: t0 19.5" flat across from side seam to side seam
Bottom hem: 20.5" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 19.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4751

Reference Photo/Video: Pre-Fall 2012 Chanel, Look 32.

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

In 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added The dress is incredibly well-made with an inner lining of silk, organza and ribbon edge finishing. I absolutely love this dress in pink is spectacular. It appears to have been worn very little if at all. Excellent condition.a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This dress has the Givenchy Boutique label with the Nouvelle added and as far as I am aware this label was usually reserved for special orders made through the atelier. It could not be more gorgeous.

This dress is just extraordinary. Like the Galanos dress that am listing today it is made from long vertical silk panels that are pieced together to create the beautiful array of colours that you see. The dress combines a deep purple with an emerald green and a brilliant blue. The colour combination of those highly saturated colours is beautiful to see in person. The dress sweeps up and over one shoulder with a wide strap. All three colours make an appearance on both the back and the front of the dress end it is the same panel from the top of the shoulder all the way to the hem. The level of pre-planning and construction that would have been employed to be able to pull this off should not be overlooked. The final result may appear simple but this is a feat in patterning. On the side that has the purple silk and the bare shoulder the silk has been gathered in along the side seam so that you have a bit of softness there. The rest of the silk gathers into the waist and this creates that touch of volume through the bodice. I love the bareness of the single shoulder. I have cinched in the waist with a matching velvet blue ribbon that will be included. You could easily add any of the colours that you see in the dress or wear it without a belt. Under that the skirt sweeps out to the floor and all of the fullness that you see is created by the way that the silk is gathered in through the waist and by the lightness of the silk taffeta. I used no underskirting in any of these photos. The silhouette is all created by the masterful tailoring of the piece. The lightness of the silk also allows the skirt to billow out around you when you move. The dress is incredibly well-made with an inner lining of silk organza and ribbon edge finishing. I absolutely love this dress and think that it is spectacular. It appears to have been worn very little if at all. Excellent condition.

Fully interlined in silk organza through the skirt and a blue silk through the bodice. It closes with a handset side zipper. The belt is not original to the dress, but will be included. Ribbon edge finishes and handstitching. It appears the hem was brought up at some point so there is extra fabric turned under the hem.

Bust: 16-18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: open
Bodice: approx 15.5" from top of shoulder to waist
Total length: 60" from top of shoulder to hem with 3" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4750

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

This is a very pretty and easy to wear Fall 1977 runway dress from Christian Dior from the Marc Bohan years. It is a wonderful example of the work being done during this time period. It is also a dress that we were very happy to be able to date and document. The runway photos give you a great idea of how it looks on the body and I love that you have the option of wearing the neckline on or off the shoulder. I have also included a press advanced photo of a shorter version of the dress in the same colour just so you can see that this is the colour that was used for the show. Bohan often showed two or three versions of pieces in the same fabrics and the dress I have for you today is the twin of the longer runway piece. It is fantastic.

This gorgeous dress has a bit of a bohemian vibe to it and that combined with the deep mustard colour and feather light silk chiffon make it a heavenly piece. If I was perfectly honest, I don't even think that it photoed that well because when I see it in person I feel like it is a million times better. It is really a dress that needs a body in it to fully come to life and be worn properly. The silk chiffon is covered in a pretty delicate print that covered the entire dress. I love the care that has been put into making sure that the print follows the different elements of the dress perfectly. This would have taken extra fabric and extra care so that it all lays as perfectly as it does. The silk chiffon is light in weight and floats beautifully over the body. The neckline is ruffled and has an elastic that runs through it. This allows you to wear it up on top of the shoulders or you can pull it down so that it is sitting off the shoulders. The front ties with a black velvet ribbon above a keyhole. The body of the top is loose and full and skims down to an easy cut waist. On the runway you can see that it was shown with a black velvet belt and I have added a velvet ribbon in one shot here that I will include. Each sleeve is full and billows out above a ruffled cuff that is detailed with another little velvet bow. The skirt falls to the floor and widens out as it nears the hem. It is made out of five tiers of ruffled silk chiffon and these add incredible movement when you move. I love the versatility of the shoulder and how the feel of the dress changes depending on whether you wear it belted or not. It is also so well made that I think you could choose to turn it around and have the keyhole and bow at the back if you wished. The sheer lightness of it is amazing and makes it very easy and comfortable to wear. It is fabulous. It appears to have been worn very little if at all. Excellent condition.

Unlined and slips over the head to wear. The neckline, waist and cuffs have elastic and the neckline ties to close. 

Sleeves: approx 27"
Shoulders: no true defined seams
Bust: to 18" flat across from side seam to side seam
Waist: 17-18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Dropped bodice: approx 20" from top of bodice to waist
Total length: " from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4746

Reference Photos: (1) Fall 1977 Christian Dior Ready To Wear Advance.  /  (2-5) Fall 1977 Christian Dior Runway.

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

This is a very pretty and easy to wear Christian Dior dress from the Marc Bohan years. I have had the cotton versions of this in the past but this is the first silk version I have found. It is a wonderful example of the work being done for day wear during this time period.  It is also a dress that is fabulously documented. It was part of the press package prior to the collection release and we found the runway photo of it as well. I love that you can tuck the straps in and wear this as a strapless dress if you wanted.

The dress is made from a white silk that has a horizontal stripes running through it in various bright colours. This is a play on that classic summer tube dress that was all the rage in the late 1970s. You just slip it on and it sits suspended from the shoulders and those tiny blue straps that match the top stripe. There's a little decorative bow at the front and both the neckline of the top and the waist to have a touch of elastic in them so it's easy to fit. You literally just slipped this over the head and go. It is cut straight across the top and the bodice is cut to skim over you to the waist. I prefer it to sit more loosely so you get that sense of swing the dress has but you could also bring the length of the skirt up and having the top blouse over it more. I shot one photo like that for you so you can see. The skirt widens out to be quite full by the time it reaches its hem. It is made of three tiers of fabric and each widens out more as it goes down to the hem. This gives you lovely movement when you move. It is fantastic. Excellent condition.

Unlined and slips on to wear. The elastic through the neckline and waist is currently set to be quite loose and easy, but it would be a simple job to have your seamstress tighten it if needed to get the perfect fit. The easy cut should allow it to fit on a range of sizes. There is a bit of an illusion of colour run around the red striping because of the way, the colour reflects on the silk but when you look at it closely, it's almost imperceptible. I am being very picky

Bust: to 18.5" flat across from side seam to side seam
Elastic waist: 12.5-17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Slightly dropped bodice: 19"
Total length: 54" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4747

Reference Photos: (1) Spring 1977 Christian Dior.  /  (2) Christian Dior Show at the Mandarin Oriental Hotel, March 1977.

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

This is one of the prettiest Oscar dresses I have ever had in the shop and I love it. The movement it has when it is on and you walk is just incredible. It is a piece that was produced for the shops and you can see that it is a combination of the two looks that walk the runway that season for Looks 21 and 22. I have included photos of those here so you can get an idea of how wonderful it will be on the body. I am kind of obsessed with it. In the review of the show Vogue's Janet Ozzard said in part "Whether or not you live the life that demands an Oscar de la Renta wardrobe, his collections are a delight to the eyes: flawlessly executed, poised and urbane, with just the right balance of mature charm and youthful exuberance"... and for these wonderful chiffon pieces she noted that "Tropical climates are second nature to him, and that shows in his deep, rich hues: chocolate, red, orange, and pink, played off white, navy, and beige." It is just the prettiest and I think it might be one of my favourite Oscar pieces that I have had in the shop.

The dress is made from a single layer of that pretty printed silk chiffon through the bodice and sleeves and then the skirt stacks two layers of the printed chiffon over top of each other. There is a slit keyhole that runs from the neckline to the top of the band at the waist at both the front and back and each closes with the button at the neckline. The neckline is set slightly wide across your shoulders and the sleeves extend out from the shoulders at the top and then from the top of the band at the waist. This makes them very wide and full. It is really what gives it that slightly caftan feel that the dress has. I love it. A wide band circles your waist and it has been heavily embellished with metal thread, beads in various sizes and colours, along with prong set rhinestones. The embellishment is fantastic and it wraps all the way around you to add a beautiful detailing to the dress. The skirt flows to the floor under that with a high slit up the front that allows some leg to show when you walk. There is quite a lot of fabric in the skirt. It is all softly gathered into the waist and then falls outwards to the floor. The lightness of the chiffon allows it to float and billow around you as you walk and move. It is spectacular. I love how the front of the dress has that strong band of colour that runs down its front for an extra pop. It is an extraordinary piece. Excellent condition.

The bodice and sleeves are unlined and the skirt is a double layer of the silk chiffon as described above. It closes with a series of hook & eye and snaps from the top of the band of the waist downwards at the back. There is a button at the top of the keyhole on both the front and back. The back button looks like a replacement. It appears to have been worn very little if at all. The easy cut should allow it to fit a range of sizes

Sleeves: approx 27" 
Shoulders: no true defined seam
Bust: no true defined seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 13.5" from top of shoulder to top of the 4.5" band at the waist
Total Length: " from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4748

Reference Photos: (1) Spring 2005 Oscar de la Renta Look 21. Model Julia Stegner.  /  (2) Spring 2005 Oscar de la Renta Look 22. Model Cintia Dicker.

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

This Roberto Cavalli dress is from the Fall 2007 collection and it is gorgeous. Its near twin in an iridescent green walked the runway that season for Look 43 and then this dress was produced for the shops in this deeper ivory colour. I included both the reference show photos as well as the video clip from the show so that you can get an idea of how spectacular the dress will move once on the body as the cut is so similar. Victoria Silvstedt also wore its twin to the Orange British Academy Film Awards in 2008. It is gorgeous 

The dress is made from am ivory coloured silk crepe jersey combined with silver dome studs and crystal rhinestones. The fabric has been softly pleated vertically in a very Grecian - Fortuny type feel and this treatment lets the dress have its beautiful movement when you walk. Two wide straps curved over the shoulders and the the bodice has a deep plunge down the front. Inside the bodice there is a full built in boned and cupped inner body suit for shaping and it also keeps the dress perfectly in place. At the back it drops into a low square to leave an open expanse of bare skin. The bodice is detailed with strips of rhinestones and metal studs and it is placed just above each breast and then wraps down and around to the back where it extends out into a strip that hooks into place across your open back. Another length of the same detailing goes all the way around the waist to help define your shape and add curves. The skirt is remarkable. It is in its original supermodel uncut length. Here the pleats open up from the waist and this gives the skirt it's incredible movement and fullness when you move. When you are standing still you get a long column of silk but then when you move the skirt billows out around you. A high slit runs up the front that helps add to that movement and gives you a flash of leg. The fabric is light enough that when you walk it creates this incredible floating sensation. The back is cut slightly longer than the front and I love the sweep behind you that it creates. It is an incredibly beautiful dress and no matter how good it looks in the photos the sensation and tactile feeling of the fabric and pleat work when you have it in hand is just phenomenal. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. It was never worn and has its original hang tag in place. Excellent condition.

Fully lined in a matching colour silk jersey. The halter has a built-in bodysuit that hooks to close beneath you and is boned and shaped through the bodice. Built-in lightly padded cups. It closes with a low set zipper and hooks above that. The strap that runs across the back hooks into place. Tagged a Cavalli 42 and has its original hang tag attached

Bust: to 18" flat across from side seam to side seam and you could easily reduce the strap at the back to make it smaller if needed
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Total length: 60" from top of shoulder to front hem, 67" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4745

Reference Photos/Video: (1-3) Fall 2007 Roberto Cavalli, Look 43. Model Caroline Trentini.  /  (4) Fall 2007 Roberto Cavalli Ad.  /  (5) Kate Moss, in Cavalli, by Lachlan Bailey for Vogue, December 2007.  /  (6-7) Victoria Silvstedt, in Cavalli, at the Orange British Academy Film Awards, February 2008.

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