I had the twin of the dress ages ago and I was so pleased to find another one for the shop. Ungaro passed away in December of 2019 and that always makes you look at a designer's work with a new appreciation. He launched his label in 1965 after stints at Balenciaga and Courrreges. His pret-a-porter line, Ungaro Parallele, was created in 1968. He was a brilliant designer who was known for his of colours and flamboyance. I have included several reference photos of the couture version of the dress from the Fall 1985 collection so you can see how amazing it is on the body. It is a gorgeous dress. 

I absolutely love this dress. The color is wonderful. It is perfect shade of a pretty purple. He has used two types of fabric for the dress. The structured and shaped bust is done in a solid and then for the skirt the fabric has a secondary pattern of dots woven through it in a tone on tone application. The fabric is light in weight so despite the elaborate construction of the bodice the dress is not heavy to wear. It has enough structure built into the bust to hold the shape but the skirt just draped lightly over you and seems to float around the body. The strapless bodice is peaked and plunged at the centre. It is elaborately pleated and fitted around the bust with hand placed and gathered folds. Inside there is  structure and wiring to hold the shape. The bodice has a touch of asymmetry to it with one peak sitting slightly higher then the other. Under that the skirt falls from under the bust and is set into that seam with soft gathers all around. It wraps around you and closes at the back with an intricate closure of silk covered snaps that are hidden along the back seam. It unusual to have a dress close like this and it gives an interesting effect at the back where the fabric wraps over itself and leave a long graceful curve down one side. This allows a bit of leg to show at the back when you walk too. Excellent overall condition with a minor note below

Fully lined in a purple silk chiffon and closes with a back zipper on the corseted interior and then the skirt snaps into place along the seam line. The bodice is boned and shaped. There is a touch of fading to the fabric along the edge of the back panel. Please see the photo after the label shot. Hand finishes

Bust: 17" flat across from side seam to side seam
Inner waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 54" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3353

Reference Photo: (1) F/W 1985/86 Emanuel Ungaro Haute Couture Runway.  /  (2) F/W 85/86 Emanuel Ungaro Haute Couture. Photo by Hiro.  /  (3) F/W 85/86 Emanuel Ungaro Haute Couture. Photo by Marco Glaviano.

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

When Jeanne Lanvin died in 1946 her daughter took over the business and ran it herself for a couple of years before hiring Antonio del Castillo in 1950. During his time as head designer for the house, the labels bear the name Lanvin-Castillo. He departed in 1962 which gives us a neat little window of time that he worked within. This set has the boutique label but that label is numbered and the interior is finished to couture standards. I think it was most likely a  custom order placed through the boutique that was made in the couture studios based on the level of finishes.

The set is gorgeous. It is made from a deep gold colored velvet that instantly give is a rich feel. The top is sleeveless and scooped at the front. Vertical seaming give is a fitted feel and it is cut to nip in at the waist. It is meant to be worn tucked in and the long exposed zipper, done on the couture manner to leave no bump under the skirt, is what tells us that it was meant to be worn that way. The neckline is finished with a beautiful hand applied border of gold metal filigree cut out, faux pearls and gold beads. The skirt has that same beading detail and this is done in wide borders that surround the unusual slit pockets that sit towards the center of the front of the skirt. This picks up and balances the neck detailing perfectly and add a touch of high glamour to the piece. The skirt has a deep inverted front pleat running down the center for volume. The two together are gorgeous and typify that Old Hollywood, glamour that this decade was so well know for. Excellent condition with a couple of tiny notes below

Both pieces are fully lined in a matching silk. The top closes down the side with a painted metal zipper and the skirt snaps to close down one side. Perhaps the most minor of marks to the velvet here and there where the beading pressed in to if from being folded in storage but this is to be expected with the age of the pieces. These will soften as its hung properly. It looks like the hooks on the waist may have been moved at some point to make the waist a touch bigger. Where the corners of the arm opening meet there is the teeniest of nick to the velvet on each side. Please review the photo after the label shot. The interior is made to haute couture standards and appears to be all hand done with hand finished curved couture seaming. The label is numbered but it is very faded. 

Top
Bust: 17.5" flat across from side seam to side seam
Waist: 12.75" flat across from side seam to side seam
Length: 19" from shoulder to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 28" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3352

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

This dress is the twin of the one from the 2013 runway. During this time period both Maria Grazia Chiuri and Pierpaolo Piccioli were acting Creative Directors. On the runway this piece was shown worn under a matching coat. Vogue's Nicole Phelps reviewed the collection and said in part:

Maria Grazia Chiuri and Pier Paolo Piccioli's Valentino dresses make girls swoon....On the runway the clothes were more intimate in feeling than last season's folk-influenced show. Credit for that goes to the slip dresses that were the collection's foundation (in both senses) as well as the simple tone-on-tone embellishments the designers chose.

This dress was perhaps the most unusual of the slip dress variations that walked the runway that season. It is made out of a paper thin snakeskin that is treated like a regular fabric. The dress is suspended from tiny straps that attached to a low and wide cut bodice. It is gathered through the waist and then the skirt flares out with a contrasting finish to the very bottom portion. The dress is not perfect. It looks like the snakeskin at the waist was perhaps heated and it is puckered to one side more then the other. This gives the dress a slight twisted effect that actually looks kind of avant garde. Inside it looks like the is the remnants of glue on the inner chiffon. It would have costs thousands and thousands new and this one is priced at a steal because of this small flaw. Its still very wearable and a wonderful piece of Valentino.

Fully lined in a black chiffon and closes with a back hidden set zipper. Side pockets on each hip. Please read the description above and review all photos. Sold as is and final sale. It is shown on a size 0-2 dress form

Waist: 12" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 27" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3350

Reference Photos: (1) Aline Weber in Valentino. Photo by Catherine Servel, Vogue Russia, February 2013.  /  (2) S/S 2013 Valentino Collection, Look 33, Model Vanessa Axente.

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 fabulous faux fur coat is a very rare piece indeed. It is a wonderful example of Thierry Mugler's work with its amazing over-sized hood and nipped in waist. The exaggerated narrowing of that cinched waist is made even more so by the curving line of the hips that flare out dramatically. The excess amount of fabric used n the lower part of the coat makes it even more dramatic and that combined with the thickness of the faux fur cause that flared out line to happen from every angle you see it from. The color is a very creamy ivory with a touch of a yellow tone to it depending on the light. There is a hidden snap under the belt at the front and another at the tip of one collar so you could potentially close it right up. The collar is wide and full and this extends out to a fabulous deep hood. The waist is cinched in with a faux leather belt with a silver colored metal buckle. This is an early foray by a high end designer into attempting to find a substitute for real fur and so has historical importance from that perspective as well. Excellent condition

Fully lined in an pale gold toned silky satin and has two hidden snaps at the front as described above. It then belts with the original accompanying belt. Pockets on each hip. Hand set rounded padding in each shoulder. Tagged a vintage Mugler 40. Because of the way it is cut it should work on a variety of sizes

Sleeves: approx 22-24" from natural shoulder
Dropped shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 31.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C527

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

This wonderful cape is from the Fall 1970 collection. A similar cut coat version with a shorter cape  and its twin was photoed on Francois Hardy for Vogue in 1970 and this cape has that same feel. That and the label it has tell us that it is from around that same time period. It is made of a gorgeous, deep purple wool and is cut to be fitted and sleek through the inner body. At the lower portion of the inner coat part, it flares out dramatically when you move because of two high slits that run up the hem on both sides. There are two pockets on each hip and it buttons up the front with big glossy domed buttons. This inner part is unlined so your arms are left free and easy. Over this is a wonderful and full cape that is attached around the neckline. This is cut so that it hangs longer at the center of both the front and back. There is a tin of fabric in it so that when you move you get wonderful movement from the fabric. It is a good weight and warm so practical as well. This is a very unusual and rare color that I have not seen before. Normally you see these in black or browns only. The cut is impeccable and it is a great piece of fashion history. Excellent condition with a minor note below

Unlined and buttons down the front to close. Pockets along the side hips. There is one teeny pinhole that is hidden under the cape when its on and a couple of tiny nips on the very top of the fabric near the shoulder. These are very faint. It should fit a variety of sizes

Inner bust: to 19.5" flat across from side seam to side seam
Waist: to 20.5" flat across from side seam to side seam
Hips: to 23.5" flat across from side seam to side seam
Length: 57" from neck to hem
Slits at the sides: 21" from hem up
Cape: to 35" from neck to longest point

Modern Sizing Equivalent: SML-LRG

Item# C526

Reference Photo: (1) Francoise Hardy wearing a coachman's coat with small cape by Yves Saint Laurent for Vogue, August 1st, 1970.  /  (2) Yves Saint Laurent Cape, 1969.  /  (3) Cherie, Owner of Shrimpton Couture. (Cherie is also wearing a c.1997 YSL Hat - click here to shop that)

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

This was the first ever pre-fall collection for Dior and was done under the creative direction of Raf Simons. It was presented in Tokyo in homage to the growing presence of the brand there. Raf said of the show to Vogue "I tried to imagine a woman who was very much into the language of Dior, but she also has her garden, and she has her boyfriend with a motorcycle in the city, or she's with her kids by the sea, or out with her dogs." Vogue also specifically mentioned the sequin turtlenecks that were shows layered under other pieces all through the show "The other side of the story was told by the second-skin sequin turtlenecks that Simons layered with most of the looks, giving the show a sensual, futuristic edge. Sure to be the season's hands-down must-haves (high street will try to knock off these babies in no time), they peeked out from the neckline of Bar coats and sleeveless Bar dresses and showed up with long fur vests with a 1960s zing"

A version of this dress with sleeves was seen on Rosie Huntington-Whiteley and the same dress but in a different sequin color was worn by Cressida Bonas. The dress is extremely easy to wear. The sequins have been applied onto a stretch fabric so it conforms easily to the body under it. It has that signature turtle neck with a sleeveless shift silhouette under that. The sequins have a pinkish cast to them. They feel a true sillver in some lights and then are a far more pale pink in others. Take a cue from the runway and wear it layered under just about anything to expand its use to day time wear. Pieces from the Raf Simons years are already rapidly climbing in value and I think the new owner of this will look back at buying this and think what a steal. Especially on this particular piece with its excellent documentation and being from a historical first pre-fall collection. Excellent conditon 

Fully lined in a white stretch fabric and closes at the back with a hidden set zipper. Tagged a US6, FR38, UK10. The fabric has stretch

Bust: 16-19" flat across from side seam to side seam
Waist: 16-17" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Length: 32" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3324

Reference Photos: (1) Pre-Fall 2015 Dior Runway, Look 7, Model: Waleska Gorczevski.  /  (2-3) Cressida Bonas at the 2016 Dior Cruise Collection.  /  (4-5) Rosie Huntington-Whiteley, April 2016.

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

The twin of this dress in a green and blue colorway walked the spring 1993 runway and I have included that footage here for you to see it on and in action.  It is very representative of that season and I am very pleased to have this example in the shop.

The dress is made from a crisp cotton that has enough weight and structure to it to perfectly fall into the line that Yves desired it to have. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s. The vivid color ways from the 1980s are still there, but the shape is softening and becoming simpler and less of a sharp angle from the shoulder. It is cut to skim over the body. On the runway it was worn belted for more shape and you could easily do that to this one. The base is a bright pink that in person is a little softer then how it photoed. This is then edged with a wide grosgrain ribbon in turquoise. The neckline is cut in a high V and the dress crosses over itself at the front. It begins to button at the base of the V and then closes sown that one side. The buttons are large and each is a combination of a gold toned metal with poured red enamel. It is amazing on the body and a rare find. Excellent condition with on tiny note to review below

Fully lined in a matching pink silk and closes with the buttons as seen. Padding in each shoulder. Tagged a vintage YSL 38. There is a small, faint mark on one shoulder which I have photoed and shown after the label photo. It appears to have been let out a touch along the hips at some point.

Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 36.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3319

Reference Photos/Video: Spring 1993 Yves Saint Laurent Runway.

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

Vogue said of the Spring 2013 Emilio Pucci presentation; "When Peter Dundas inherited this historic Florentine house—famous since the 1960s for its kaleidoscopic prints—he made reworked archival patterns a major part of his story line. Last season and this one, though, he's started inching away from them. These days, the label is just as well known for Dundas' confident, louche brand of glamour as it once was for its founder's graphic swirls and geometries. For Spring, Dundas filtered his style signatures through the lens of Vietnam. The designer ... showed bomber jackets (some embroidered with the house logo), sheer veiling (and) tattoo embroideries."

On the runway, the dragon motif was used on several pieces including a similar dress to this one, but in black. This dress was one of the pieces produced based on the amazing embroidery work seen in the collection that season. The dress is a simple shaft through the body. This straight and easy silhouette makes it simple to just throw on and go. The sleeves have tremendous volume and the pouf and balloon out above their buttoned cuffs. They are cut extra long which only emphasizes their shape. At the back there is a long, curved slit below the buttoned neck. This is where you get that sexy glimpse of skin. The base fabric is a white crepe and onto this is the elaborate embroidery that you see with fantastical dragons and mythical creatures covering the entire surface of the dress including the sleeves. The colors used range from a crisp white thread to metallic gold, copper, black and a pale pink. It is gorgeous on and even has pockets hidden along each side of the hips. Excellent condition with a small note below to review.

Unlined and slips over the head to wear. Buttons at each cuff and at the back of the neck. Tagged a modern Pucci US10, UK12, FR40, IT44. Pockets alomg each hip. Note that there is some signs of grubbiness to the inner collar and along the top edge of the collar. The teeniest touch of color run around the head of the front bird. Please review the final two photos after the label shot. Priced well under current value as a result.

Sleeves: 26"
Slightly dropped shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 37" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3315

Reference Photo: S/S 2013 Emilio Pucci Runway Collection, Look 32. Model: Jourdan Dunn.

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

This is the second time I have had this red version of this Ossie Clark and I love even more now.  This is one of those classic Ossie Clark for Radley pieces that are recognizable in a flash, even more so after Rihanna wore hers a few years back. The dress is made from a red moss crepe. Moss crepe was his signature fabric and it really allowed Ossie the freedom to create the drape and shapes that he wanted his dresses to have. This one has a barely there halter top, created from two triangles of fabric that come out from the high cut waist. These extend into long ties that ties behind the back of the neck. They plunge low and wide at the front and at back it is left entirely bare and open. The waist is shaped to follow your curves and then the skirt widens out towards the hem with several yards of fabric used. Buttons are set off side under the bust and run down the front. Excellent condition with a minor note below

Unlined through the skirt and backed in a red silky rayon behind the halter. It ties at the back of the neck and buttons down the front. There is the very tiny occasional pill on the fabric - this is very normal with moss crepe and impossible to avoid. Extremely minor. The buttons could be moved to adjust the fit.

Band under bust at top of the band: 14.5" flat across from side seam to side seam
Waist at bottom of the band: 14.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: approx 13" from neck to bottom waist seam + 3" band
Skirt: 41" from bottom of the waist band to hem

Modern Sizing Equivalent: SML-MED

Item# DD3311

Reference Photos: Rihanna in Ossie Clark, New York, September 2013.

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

The twin of this dress was used for the 1993 ad campaign that season shot by Helmut Newton. I was also able to find a wonderful shot of it being worn by muse, Loulou de la Falaise. In addition I have included the runway footage from that 1993 presentation. This was one of the iconic pieces of that season and I am very pleased to have found this example.

The dress is made from a chunky knit that gives it enough structure for it to keep that slightly oversized, boxy shape that Yves desired it to have. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler, shorter shapes for the 1990s. It is short so can play double duty as both a tunic or a micro mini if you dare. The color combination is amazing. He has paired a bright coral orange with a deep periwinkle. Mixed in with those two yarns is a woven gold yarn and those little flashes of metallic give it that perfect tough of high glamour. The cut is a simple boxed shape. It slips over the head with a wide set coal neckline and boxy shape through then body. The neckline is slightly scooped and set in a wide crew neck. Each sleeve is cut wide and extra long, adding to the oversized feel it has. I love the fringing detail that finished the collar, he,m and each sleeve. These are an extension of the color used in the pattern above it so are a mix o the gold, orange and purple. It is amazing on the body and a rare find. Excellent condition

Unlined and slips on to wear. It appears to have been worn very little if at all.It is meant to been worn oversized and the loose and easy cut should fit a variety of sizes. The knit has some give

Sleeves: approx 29" from natural shoulder
Dropped shoulders: 21"
Bust: 23-25" flat across from side seam to side seam
Waist-hips: 21-23" flat across from side seam to side seam
Length: 31" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3306

Reference Photos: (1-2) F/W 1993 Yves Saint Laurent by Helmut Newton (featured in the ad that year).  /  (3-4) F/W 1993 Yves Saint Laurent Runway.  /  (5) Loulou de la Falaise.

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

I am always on the look out for this style of dress by Halston. It is one of the most iconic of all of the Halston silhouettes. Countless women have been photoed in a version and I have included many of those reference photos here. Versions have been exhibited and there is always one included in every and any book on Halston and his work. This is a jersey version that is extremely easy to wear and travel with. These were issued in a variety of colors including this wonderful red version.

Halston was a master at this cut. There is a certain sexiness caused by the illusion that the entire dress sis held in place with that one little tie at the front. And it actually is. Undoing the front tie would cause the entire dress to drop in a puddle around you. It is constructed from a red synthetic jersey and it skims over the body in a long sheath. The entire dress is cut to gather up and towards the bust so it falls in soft drapes all the way to the hem. At the bust there are two attached short ties that you can cinch in as needed to hold the dress in place. I love the long lean line that this creates and it is amazingly sexy despite the fact that it is not tight fitting. This is heightened further by your bare shoulders adding the perfect contrast to that covered feel below. This is an iconic dress by Halston that is easy to  care for. It is wash and wear and virtually wrinkle free which makes it perfect for traveling. It is very easy to style too - a quick change of shoe takes it day to night in a snap. Excellent condition.

Slips on to wear and ties as seen at the front. These will fit a variety of sizes since they are not cut to be super fitted and the jersey does have some stretch.

Bust: to 18" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 58" from top of the bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD3302

Reference Photos: (1) ‘The Strapless’ in Women’s Wear Daily, August 1976. / (2) ‘The New York Collections: Easy Winners!’, Jacques Malignon for Vogue, September 1976. / (3) ‘Your Night to Star’, Ladies Home Journal, December 1976. / (4) Elizabeth Taylor in Halston at the 1976 Oscars. / (5) Marisa Berenson in Halston, Vogue 1976. Photo by Richard Avedon. / (6) "Yves Saint Laurent + Halston. Fashioning the 70s" Exhibit at the Museum at FIT, 2015. / (7) Halston's original sketch for the tie-front strapless dress & Lee Radziwell, 1976.  / (8) Rachel Zoe in Halston at the Zoe Report Dinner, 2014.  /  (9-10) Cherie, Owner of Shrimpton Couture.

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

This dress is from the Fall 2013 collection from the house of Valentino. During this time period both Maria Grazia Chiuri and Pierpaolo Piccioli were acting Creative Directors. It was the finale dress of the runway presentation. The runway pieces were shown and styled with removable collars and cuffs as mentioned in the review below. Vogue's Nicole Phelps reviewed the collection and said in part:

Vermeer's Girl With a Pearl Earring stared out from Maria Grazia Chiuri and Pierpaolo Piccioli's mood board this season. At a preview, the Valentino designers were making connections between what they called the severe yet sensual portraits of the Dutch masters and their exquisite new collection for Fall. "We wanted to capture women in a private moment," Chiuri said. "In this show, the face is very important. Making a study of white collars, Chiuri and Piccioli added them to many of their familiar looks. The collars came in laser-cut leather encrusted with beads or in "Calvinist" plain cotton piqué, and they decorated the simplest pieces. This is Valentino we're talking about, of course, so in the end there was no lack of intricacy in the details. There were gowns galore, many of unsurpassed beauty, and some too beautiful not to bring up. But to prattle on describing them would be to defeat the point. They weren't the news; the austere grace was.

This dress is one of the best example of that 'austere grace' that Phelps describes above. It was also the gown chosen to close the show and this is always an important piece to look to as it leaves us with the final impression that the designer wished us to have of the show. It is almost stark and severe in its simplicity and it is gorgeous. It is made from a fine cotton with just a touch of silk in it. The choice of cotton gives it the weight, slight stiffening and structure that the fabric needs to hold its shape while the addition of the silk gives the fabric a lightness and very subtle touch of sheen. The cut is minimalist with a high neck with a small and neat collar. The bodice is fitted and the sleeves are long and slim. There is a hidden set button at the end of each sleeve and I love how this button is set towards the inner lining so that not even here is the line broken in even the slightest of ways. The skirt is maxi length and widens out as it nears the floor. Beginning at the waist and running right to the hem is a long, deep inverted pleat that gives the skirt width, structure and volume. At the back, the hem curves down and is cut a few inches longer then it is at the front. It is amazing on and and is finished with all the meticulous attention paid to it that you would expect from the Valentino label. It appears to  have never been worn or worn very little. Excellent condition

Fully lined in a black silk throughout and has a hidden set zipper at the back. Tagged a Valentino 42

Sleeves: approx 22"
Shoulders: approx 15" but no true defined seams
Bust: to 18" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: open
Length: 61" from neck to front hem, 65" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3300

Reference Photos: (1) F/W 2013 Valentino Runway Finale Look. Model: Maud Welzen.  /  (2) Cherie, Owner of Shrimpton Couture.

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

This is the last from a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of the pieces that I have shared were custom made or tweaked in design specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This might be my favorite look from all of the pieces and is an exemplary example of the work that Bill Blass was doing in this time period. We were able to date it exactly with a family photo that my client shared with me. Additionally, a version of the skirt with a different top appeared in the September issue of Vogue that year on none other then Jerry Hall. The skirt is made out of a beautiful ivory colored silk satin that is edged in a wide silk ribbon at the hem that is done in a pale pinky nude blush color. The color of the ribbon at the hem exactly matches the detachable wide silk satin sash that has a large bow at the front and ties that trail almost to the hem of the skirt. The skirt is very full and for these shots on the dress form I did not use any additional crinolines under the skirt. The fullness that you see is all done through the way it is cut. The choice of the silk satin helps it to hold the shape while still keeping it fairly light in weight. The top that goes with it is amazing. It is made out of a semi-transparent, ivory colored silk chiffon that has a gold lame thread running through it on a diagonal. This really gives it a bit of glitz and sparkle. It is made with elastic through the waist which makes it insanely comfortable to wear. I love that you can wear it tucked in or with the hip peplum out and than add the belt for more shape to it regardless of which way you decide on. Each sleeve is very full and voluminous. The cuffs end in a deep ruffle of the same fabric for a wonderful effect. The neckline is finished with a high ruffle and at the back it buttons into place above a long slit opening that runs from the neck to about midway down the back. You could probably even wear the top the other way around if you preferred. Over this is a hand knit vert that is made out of a gold and ivory yarn in a beautiful woven finish. Onto this are hundreds of tassels. Each hand made and hand attached in precise little rows. These move when you do and add the perfect balance to the skirt. The volume and drama of all the pieces worn all together is amazing. Having the separate pieces like this also makes it extremely versatile as you can wear them all together for the full Blass look, or mix and match with other modern pieces from your wardrobe. Each component of the set is exquisitely made and wonderfully extravagant. This would even make an amazing wedding piece for a bride not wanting to go the traditional route. Excellent condition

All three pieces of the set are unlined and beautifully finished inside. The skirt closes with a metal and nylon zipper and a hook & eye at the waist. There are silk covered snaps that circle the waist band that you attach the ribbon belt to and the hem is finished with a wide inner band of stiffened netting. The top slips on with elastic through the waist. It has a covered button at the back neck and each cuff buttons to close with a fabric covered button and loop. The sash snaps into place and closes with hook and eye. The vest has no closures. All pieces have hand finishes. The color in person is even better then how it photoed with a slightly more ivory feel to it  and the gold has more impact in real life.

Top
Sleeves: approx 28" with no defined shoulder seam
Bust: to 23" flat across from side seam to side seam
Elastic waist: 12-20" flat across from side seam to side seam
Length: approx 26" from neck to hem and the elastic waist falls at approx 17"

Vest
Bust-hem: 16-19" flat across from side seam to side seam
Length: 16.5" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 47" from waist to hem
Matching ribbon belt: 29.5" from end to end and the hooks could be moved up or down as needed

Modern Sizing Equivalent: SML-MED

Item# DD3296

Reference Photo: (1-2) Fall 1977 Bill Blass Ready to Wear Advance.  /  (3-4) Fall 1977 Bill Blass Presentation.  /  (5) Bill Blass Ad, 1977.  /  (6-7) Cherie, Owner of Shrimpton Couture.

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

The twin of this dress was photoed with Yves Saint Laurent himself, backstage during the Fall runway show by Roxanne Lowit. This was one of the main pieces of that season and I am very pleased to have found this example.

The dress is made from a gold wool and metallic thread brocade that has an embroidered gold design woven through the fabric. This is done so that it has a slightly raised feel to it and gives the dress the beautiful texture that it has. The two parts of the design also allow for a play on the tones of gold used and the raised parts have a more metallic, lame feel to them which makes the brocade pattern really pop. The dress perfectly represents this time period and you can see the transition from the opulence and over the top feel of the eighties slowly moving into simpler, sleeker shapes for the 1990s. That touch of excess from the 1980s is still there through that gold fabrication, but the shape is getting sleeker and more powerful in feel. The neckline is a simple scoop. Vertical seaming runs down the front and back on to create the slightest of shape through the waist but there is no break in the line that a waist seam would have made. The skirt is cut slim and straight. The sleeves end just below the elbow. The cut is restrained and simple so that the amazing gold fabric takes center stage.  It is amazing on the body. Excellent condition

Fully lined in a gold silky rayon through the body and the sleeves are unlined. It closes with a back, hidden set zipper. Light padding in each shoulder. Tagged a vintage YSL 40 and has a generous cut through the waist and bust

Shoulders: 17"
Bust: 19" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19.25" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3295

Reference Photos/Video: (1-2) Yves Saint Laurent, Avenue Marceau à Paris, March 1991. Photo by Roxanne Lowit.  /  (3) Fall 1991 Yves Saint Laurent Runway Collection.

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

The twin of this dress was used for the 1992 ad campaign shot by Helmut Newton that featured the beautiful Karen Mulder. It was also featured in Vogue that season on the equally stunning Beverly Peele. What’s interesting about the Vogue piece is that it tells us that the original retail price of the dress was $1695, the equivalent of $3009 USD in today's dollars. Pricey then, pricey now, but a bargain as a pristine and collectable vintage piece. This was one of the iconic pieces of that season and I am very pleased to have found this example.

The dress is made from a soft silk that has a slight texture to it. It has just enough weight and drape to it to perfectly fall once on the body, skimming over your curves in a chic and simple line. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s while still retaining the emphasis on the shoulders that the eighties had. That touch of excess from the 1980s is still there, but the shape is softening. The neckline is scooped and set wide so that you get a glimpse of collar bone. Vertical seaming runs down the front on either side so that is has some shape but there is no break in the line that a waist seam would have made. The skirt is slim and straight. The sleeves are the star of the show and each has an elastic at it end and lots of gathered fabric above that that gives it the volume you see on the dress form and the two reference photos provided.  It is amazing on the body and a rare find. Excellent condition

Fully lined in a black silk through the body and a silk chiffon through the sleeves. It closes with a side set zipper. Elastic at the end of each sleeve. Tagged a vintage YSL 40 and has a generous cut  through the waist and bust

Sleeves: 10"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3290

Reference Photos: (1) Karen Mulder for Yves Saint Laurent, Spring 1992. Photo by Helmut Newton.  /  (2) Vogue US, March 1992.

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

I am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This gorgeous full length sequin skirt and amazing silk organza top set is a wonderful example of the work that Blass was doing in this time period. We were able to date it exactly with a family photo that my client shared with me. The skirt is a work of art with thousands of sequins hand applied onto a silk chiffon. The sequins range from a deep green to a navy and then to a glossy black. These are applied in a checked pattern and the combination of the three colors that he used gives it a extra layer of depth. They also catch the light fantastically and in person it has far more life and impact then my photos could ever convey. It has an attached, wide silk taffeta sash at the waist that is finished with a large bow. The skirt wraps and secures along the waist to close. The front edge curves up towards the bow for the prettiest of lines. It falls to the floor in a sleek column but the wrap really allows you movement and the occasion flash of leg when you sit or stride. The choice of the silk chiffon that the sequins are applied, with a second layer of silk crepe behind that, keep it from being see though between the sequins while still keeping it light in weight. The top is amazing. It is made out of a black semi-transparent silk organza and the volume that he has created in it is at a couture level. It is cut more straight through the body so that you can wear it tucked in, loose and easy, or with a belt to really cinch it in. The main body of the top is a double layer of the silk so that you have just enough opaqueness for it to not be scandalous but still feel light and airy. Each sleeve is tremendously full and voluminous and the cuffs are finished with a double ruffle of the same fabric. At the neck there are two ruffles above and below the collar and hidden under the front ruffle is a silk satin bow detail that you just get a glimpse of. A large ruffle  detail on each shoulder's top is the perfect finish. Having the two pieces makes it so versatile as you can wear it all together for the full Blass look, or mix and match with modern pieces from your wardrobe. It is beautifully made and wonderfully extravagant. Excellent condition

The skirt  has a second layer of silk crepe under the sequin later and it wraps to close with snaps and flat hook & eye at the waist. You could easily move the snaps and hooks up or down or the perfect fit. The top buttons down the back as seen. The attached sash at the waist closes with flat hook and eye.

Top
Sleeves: 24"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23" from waist to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam, but will open more
Length: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3288

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

I am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This gorgeous ball gown skirt and top set is a wonderful example of the work that Blass was doing in this time period. We were able to date it exactly with a family photo that my client shared with me. Additionally, a version of the skirt with a different top appeared in the September issue of Vogue that year on none other then Jerry Hall. The skirt is made out of a vivid hot pink silk satin that is edged in a wide black silk ribbon at the hem. The color in person is even better then how it photoed and has more depth and richness in real life. It has a detachable wide silk satin sash that has a large bow at the front and ties that trail almost to the hem of the skirt. The skirt is very full and I have styled it with a full length crinoline under the skirt for these shots (I also included a shot of it without so that you can see that it is still very full). The fullness that you see once it is sitting over the underskirt is all done through the way it is cut. The choice of the silk satin also helps it to hold the shape while still keeping it fairly light in weight. The top that goes with it is made out of a baby soft, light cashmere feeling wool that has a slight texture running through it. It is made with elastic through the waist which makes it insanely comfortable to wear. I love that you can wear it tucked in or with the hip peplum out and than add the belt for more shape to it regardless of which way you decide on.  Each sleeve is very full and voluminous. The cuffs end in a ruffle of the same fabric for a wonderful effect. The neckline is finished with that same ruffle and at the back it hooks into place down a long slit opening that runs from the neck to about midway down the back. You could probably even wear the top the other way around if you preferred. The volume and drama of the three pieces worn all together is amazing. Having the three pieces also makes it so versatile as you can wear it all together for the full Blass look, or mix and match with other modern pieces from your wardrobe. It is beautifully made and wonderfully extravagant. Excellent condition

The top is unlined and the skirt fully lined in a matching colored silk. The skirt closes with a metal and nylon zipper and a hook & eye at the waist. The top slips on with elastic through the waist. It has hook & eye down the back and each cuff buttons to close with a fabric covered button and loop. The sash closes with hook and eye.

Top
Sleeves: approx 26" with no defined shoulder seam
Bust: to 23" flat across from side seam to side seam
Elastic waist: 14-20" flat across from side seam to side seam
Length: approx 24" from neck to hem and the elastic waist falls at approx 17"

Skirt
Waist: 13.75" flat across from side seam to side seam
Hips: open
Length: 46" from waist to hem
Matching cummerbund: 30" from end to end and the hooks could easily be moved up or down as needed

Modern Sizing Equivalent: SML-MED

Item# DD3284

Reference Photos: (1-3) Fall 1977 Bill Blass Presentation.  /  (3) Jerry Hall in Bill Blass, Vogue US, September 1977. Photo by Chris Von Wagenheim.  /  (4-6) Cherie, Owner of Shrimpton Couture.

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

Renato Balestra launched his alta moda, Haute Couture label in Rome in 1951. His work quickly gained international fame and was one of the cornerstone ateliers of the Italian couture 'Alta Moda' movement. On their website they state: 'The Balestra brand blends the mastery of the artisans and the style of the designer to express its vision to the fullest, thanks to hundreds of hours of craftmanship and the highest attention to details.' This is a beautiful example of his work and is in remarkable condition.

The dress is made from a fine silk chiffon that makes it feel feather light. Mixed with that is a fine black silk net that is then fused with a glitter that gives the dress is sparkle and glitz. The bodice is simple and perfect with a crossed over front that plunges into a deep V. There is no backing through the bodice at all and this gives it a semi-sheer transparency. The skirt is cut with a touch of fullness and is lined all through the part where it is the plain black chiffon. It is set so that it appears to wrap and tie around you but this is all created by clever seaming and cutting as it is actually all attached through the waist and then only open under that along the wrapped over edge. The top edges of the bodice and down each side are inset with that black netting. Onto that silk netting the glitter has been fused and this all is laid out in a beautiful and intricate design. The workmanship to attach the netting to the silk chiffon cannot be underplayed as this would have taken hours of meticulous hand work to accomplish. I love the effect of this one on the body. The bottom portion of the skirt picks on this same effect of the tops edging and it is finished with a full 17" panel of that wonderful fused glitter on net technique. I also love how the very bottom edging is finished to follow the pattern of the design and is done in the deep pointed scalloping that you see. A matching, attached silk chiffon sash cinches in the waist for added shape. The couture workmanship is exquisite and the play on transparencies is very sexy. Excellent condition

Unlined through the bodice and fully lined through the skirt from the waist to the top of where the netting begins on the lower skirt. Attached matching silk chiffon sash at the waist. It closes with a series of tiny snaps up the side and has an inner waist stay that closes with hook & eye. Made to haute Couture standards

Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 41" from waist to longest points of hem

Modern Sizing Equivalent: XS-SML

Item# DD3283

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 collection was inspired by Zandra's trip to China. She came back with sketchbooks filled from her travels there and was particularly struck by "the trellises and fretwork used by the Chinese, framing everything, making squares, bordering each simple visual plane." This became the foundation for her 'Chinese Square" print that we see here on this dress. In between the angular print is her signature 'scribble heads' print that appeared in several earlier collections. The overdress part of this piece appears on page 158 of the book 'The Art of Zandra Rhodes with her catalogue identification of 79/89.

This is one of my favorite pieces by Zandra that I have had in the shop. The bold color combined with the historical significance of her work during this time period make it a string collection piece. The silk she has used for this dress is the red that she used throughout the collection that year. The shade was a very specific red that she developed and was based on the red that she fell in love during her trip. The outer layer of the dress is made from a red silk chiffon with a high rounded neckline that ties at the back. The sleeves fall to the elbow and I love how their shape is blocked out by the hand painted Chinese Squares print. Each sleeve is then finished with an edging of beads. More beads trim the edges around the panels that make up the top layer of the skirt. The bodice is cut loose and easy and is lined in silk. This inner silk lining at the top changes to a light jersey for the inner skirt. That jersey is then overlaid with a long printed silk panel that runs down the front and another down the back. At each hip there is a shorter panel of silk that ends just below the hip, somewhat like an exposed pannier. The way that these panels are set are a nod to the manner in which traditional Chinese skirts are constructed. Everything is attached at the elastic waist so that it just simply slips on. It is extremely easy to wear despite that it looks so highly structured and ornate. A remarkable and rare piece from one of her key collections. Excellent condition with a small note below

The dress slips on the wear with an elastic waist and a tie at the back of the neck. Hand beaded and hand rolled hem. A small repair near the neck. There are a couple of areas were the beads the edge the panels of the over skirt are missing or have lost their coating, but none so bad that you would notice unless specifically hunting for it.

Sleeves: 14" approx.
Shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Elastic waist: 11-15" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Bodice: 14" from neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2826

Reference Photos: (1) Page 158 of the book 'The Art of Zandra Rhodes'.  /  (2-3) Fall 1979 Zandra Rhodes Runway.  /  (4-5) Jennifer Beals at the Costume Designers Guild Awards, January 2020.

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

This amazing blue silk Halston dress is a beautiful example of his earlier work. Halston was a master at combining function and ease but without sacrificing glamour. He did this with the very minimum of seaming. His pieces that were bias cut, like this one, seem to almost be shapeless and not very exciting when you see them on the hanger. But, once you slip them on, they drape and settle into place the way they were intended and the transformation is remarkable. There is true genius on their simple cuts and they are addictive. A similar dress in cut was photoed for Vogue in 1974 and that reference photo is included here.

This dress is entirely cut on the bias with that minimal seaming signature of his best work. The color is a beautiful royal blue that is flattering on most skin tones. It is feather light and you are barely conscious of wearing anything once it is on. The cut through the body is extremely loose and easy, running in one long bias cut sheath to the floor. It is very long and I love the slits that run up each side of the dress. The bias cut gives the dress the slightest of shape as it drapes around your body. The neckline is cut into a V for some skin to show. The neckline, the sleeve edges and those slits on the skirt are all hand rolled and stitched. The work to get this as perfect as it is would have been astounding - there is no trickier fabric to hand stitch then this. Each sleeve is soft and full, the dress laid out flat is a T-shape and the sleeves when laid out are blocked out. Once on these fall in soft and flattering folds. I am pleased to have found a runway reference photo from the show that same year and also a photo of a similar version that was worn by Lauren Hutton. Excellent condition

The dress is constructed from one single layer of a liquid bias cut silk. It is entirely bias cut and just slips over the head to wear. Hand rolled and finished edges. The easy cut will allow it to fit a full range of sizes.

Sleeves: 18" from dropped shoulder seam
Slightly dropped shoulders: 18"
Bust: to 19-21" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of bodice to dropped waist
Slits: 20" from hem up

Modern Sizing Equivalent: SML-LRG

Item# DD3271

Reference Photos: (1) Model Naomi Sims for Halston Runway Show, 68th St Salon, December 7, 1971. Photo: James Hamilton.  /  (2) Karen Graham, Halston Silk Caftan, Vogue, November 1971. Photo: Irving Penn.  /  (3-6) Cherie, Owner of Shrimpton Couture.

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

In 1923, Jacques Heim took over the family business and started producing a line of couture that used original fabrics, most notably, those of Sonia Delauney. In 1930 the official Haute Couture label, Jacques Heim, was born, Jacques remained at the helm of his business until his death in 1967. The label was shuttered by 1969. This dress was sold to my client many years ago from the famed couture vintage seller Didier Ludot and was dated by him to that final year of Heim's presence at the label. I have included a photo provided to me by the owner.

I love the classic but still mod cut of this dress that reflects what was happening in fashion during this time period. It is cut to skim over your curves of the bodice and then the cut out under that sits higher up under the bust. The waist nips in and the skirt is cut so that it flares out as it reaches the hem. The base of the dress is a fine black velvet with a dense pile so it almost seems to absorb the light. This is in perfect contrast to the transparent panel set around the waist and that details each cuff. These panels are a fine black silk chiffon that is intricately hand detailed with glossy black bead work and those amazing and huge glossy acrylic pieces you see, It is simplicity mixed with a masterful seaming and extraordinary detailing. His pieces are very rare from this rime period and this is a real treat to have in the shop. Excellent condition with a note on the bead work below

Fully lined in a fine black silk and closes with a back painted metal zipper. Hand finished throughout. All of the bead work and those tremendous glossy, thin acrylic pieces are hand set. All but two of the large plastic cut outs have breaks. All are fully intact with no pieces missing but they have cracked over the years. It is for this fact that I have priced it lower but I would like to emphasize that it is perfectly wearable and there are no huge gaps or missing pieces. The cracks are so fine that when on everything sits really well still. I have included a couple of closer shots of the breaks after the label photo.

Sleeves: 21"
Shoulders: 15'
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 11.5" from shoulder to top seam of transparent band
Transparent band: 4.25"
Skirt: 17.25" from bottom seam of transparent band to hem

Modern Sizing Equivalent: SML-MED

Item# DD3269

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

I am very pleased to begin presenting a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made or tweaked specifically for her and all of them are in exquisite condition, having been stored and cared for properly over the years. These are rare and hard to find example of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity.

This is one of the best known of Bill's pieces during this time period. Lynn Wyatt was photoed wearing the jacket alongside of Bill himself and it was also featured in the book 'Bill Blass: An American Designer'. This version is even more special because my client's mother had the skirt made in that same gold brocade that the jacket is made out of. The lines of the suit are beautiful and I am glad to have found reference photos that give you an idea of just how great it is once on. The fabric is beautiful and the design covers every inch. It is a rich silk brocade on black and I love how you can see the threads within the gold and how these add to the texture of the pieces. The jacket is sleek with lightly padded shoulders and long sleeves. The waist curves in and the hips are cut on a rounded curve that is quite beautiful. I love the inverted pleat that opens out on either wide of the waist. This adds to the rounded curve around the hip. The skirt has a bit of that same rounding curve through the hip. The waist of the skirt is brought in by vertical seaming and then falls to about the knee in a simple and chic sheath. Everything about the cut and line of the suit is done to allow that gorgeous fabric to shine. Excellent condition

Both pieces are fully lined in silk. The skirt closes with a side set zipper. The jacket closes with hidden snaps at the front and hook & eye at the neck and waist. It looks to have been worn very little if at all

Jacket
Sleeves: 24"
Slightly inset shoulders: 15.5"
Bust: 20" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 29" from neck to hem

Skirt
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3259

Reference Photo: (1) Angela Shelton wearing gold, silk brocade dinner jacket by Bill Blass, Fall 1991. Photograph by Gideon Lewin. From the book 'Bill Blass: An American Designer'.  /  (2-3) Bill Blass & Lynn Wyatt, March 5th, 1992.

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

I love this Yves Saint Laurent piece. The color of the blue sequins is amazing and every square inch of the piece is finished with them. It is also a little extra special because it can play double duty. It can absolutely be worn as a tunic but if you are brave and don't mind showing off a mile of leg it is just long enough to be worn as a micro mini. Especially with the addition of a pair of tights underneath. The neckline is slightly scooped and set wide across the neck which allows for a little bit of skin to show on the top of your shoulders. The shoulders themselves are lightly padded so you get a touch of structure. The sleeves are long and the body of the tunic dress is cut to skim over the body in an easy, relaxed way. The sequins are a brilliant blue and in person the color is far better then how it photoed. I love the detailing around the cuff of each sleeve and the bottom hem. It creates the impression of a ribbed sweater but this is all actually done with hand placed tube beads. Excellent condition

Fully lined in a blue silk and slips on to wear with no closures. Light padding in each shoulder.

Sleeves: 24"
Slightly dropped shoulders: 16"
Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 29.5" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3257

Reference Photo: Fall 1985 Yves Saint Laurent Runway.

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

For his second ever collection for the Saint Laurent label, Anthony Vaccarello stayed true to himself. Vogue's Mark Holgate said of the collection in his review: "Yves Saint Laurent is of course one of those houses where everyone has an opinion and no two are alike. It’d be nigh impossible to ever reach a consensus on what it should, could, needs to be; everyone is a yay-sayer, or a naysayer, just depends on who you ask. Vaccarello, for his part, realized that his way forward was to be referential, respectful even, just don’t ever get trapped into being reverential. As with last season he was, he said, inspired by one particular dress, an haute couture number with huge sleeves which dates from the early ’80s. “I always relate YSL to parties, to evening,” Vaccarello said backstage. “I couldn’t do a show without those golden years, but I wanted to take that further.” This dress is the twin of the one presented as Look 61 on the runway.

This dress is extraordinary and feels extremely futuristic. The cut is bold and sexy and the color is jaw dropping. The dress is made from a high gloss patent coated leather that molds the shape over you rather then you creating the shape as you would in a more 'normal' fabric. It fits over the body with a startling sculptural silhouette. The shoulders are extreme in their shaping and the top of each shoulder is constructed almost on a completely flat plane. Extra long sleeves fall from there and each is set on a slight curve to mimic the shape of the arm. It zippers up the front and has the ability to completely unzip so that you could potentially wear it as a layered piece. It skims over the body to a short mini length. There is the suggestion of shaping through the waist created by the gathering in towards the center zipper. Along that center line are two rows of ruffles set on either side of the zipper. These are constructed from the same patent as the rest of the dress and feel almost alien in the way they run down the front. It is a daring design made out of an incredible and bold use of leather. Never worn and still has part of the original tag still attached. Excellent condition

Fully lined in a black silk and closes with a front set zipper. Tagged a FR40. Part of the original tag is still present and the dress has never been worn. It has a skinny cut and the blue is even better in person as it is richer and has more depth. The color is more close to the runway photo in real life

Shoulders: exaggerated and are 17" across
Sleeves: cut extra long at 27"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 16" flat across from side seam to side seam
Length: 32" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3255

Reference Photo: Look 61 of the F/W 2017 Saint Laurent Runway Collection. Model: Adut Akech.

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

This is an extremely rare silk jersey, full length Hermes dress that dates to 1972. The print is by Julai Abadi and is an elaborate version her famous 'Cliquetis' design that has since become an iconic representation of the house and appears on an entire range of their silk scarves both then as now as a re-issue. It is exceedingly rare to find such a wonderful piece from this time period of the atelier's history that is as striking and beautiful as this dress is. This is very rare opportunity to own a rare piece of fashion history that is made even better by the sheer beauty of the dress itself!

The dress was most likely a custom made piece and has been cut supermodel long. It is made from a fine silk jersey that has incredible drape. The length, combined with the stunning lines of it, make you wonder what fabulous woman this must have been made for. The print is incredible and I was very please to have been able to both date and find the artist's name who created it. The dress has straight cut, just past the elbow, sleeves and the bodice drapes and crosses over itself at both the front and back. The crossing of it drops quite low. When I originally received it, it had been tacked into place on both sides but it was readily apparent that this had been added at some later point and it was not really a well done addition. I had it carefully removed as I feel that should its new owner wish to do that same, she should place the the new securing tack, or a hook and eye, where it falls best on her. If you use the inner strips of fabric that sit inside the shoulder and attach these around your undergarment, you may find needing to tack it is not necessary. The waist is cinched in with attached tie belts and leaving these looser or really cinching the waist in gives the dress a slightly different vibe. The skirt is marvelous, with yards and yards of silk jersey used on its construction, all printed with that stupendous design by Julia Abadi. It is absolutely incredible and a real work of art. It appears to heave been worn little and is one of the best vintage Hermes clothing pies I have ever seen. Excellent condition.

Unlined and closes with a metal and nylon side set zipper. Has attached belts that wrap to cinch in the waist further. There are little straps that snap into place on the inner shoulders to go around your foundation garment snaps to help hold the dress in place on your shoulders. One set of the snap is missing on the one side and the snap that was there at some point is what discolored the label at the one end as you can see in the photo. I can add another snap before it ships upon request. The fabric has some stretch and the measurements below are the comfortable range of the fabric while lying flat. This will allow it to fit a variety of sizes.

Sleeves: approx 16"
Shoulders: no defined seams
Bust: 14-18" flat across from side seam to side seam
Waist: 12.5-15.5" flat across from side seam to side seam
Hips: open
Bodice: approx 19" from shoulder to slightly dropped waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3248

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

This wonderful gown with its exquisitely beaded bodice and attached cape is a numbered Haute Couture piece designed by Pierre Balmain. Both pieces would have been  made entirely by hand at the Paris atelier and the bead work done by Lesage. We found a similar gown from that same Couture collection that was featured in Harper's Bazaar that year It is an extraordinary example of the work being done during this time period of the label's history and is very beautiful.

The impact that this gown has cannot be denied. You instantly get the feel of Ancient Greece and yet is has a touch of modernity to it as well. It dress is made out of a very fine ivory silk chiffon. The neckline is high and the skirt flows to the floor with two layers of of silk chiffon over an interior silk skirt. The bodice is covered with hand placed glass tube beads that is most likely the workmanship of the famed Lesage ateliers. Eash bead has been carefully placed by hand and then they are mixed with a real metal gold thread that has been used to outline the design created with the beads. More of that same metallic thread is used to create a gold and ivory braiding that runs down the front and back and highlight the neckline. The cape detail on this one is unusual and really what makes it extra special. This cape is made of that same high end ivory silk chiffon. It ties at the front neck but it also is secured to the shoulders so that it stays perfectly in place no matter how you move, stand or sit. It is attached by tiny snaps, hidden under the inside collar of the neckline. There are endless couture level details put into this one and the workmanship throughout is perfectly and meticulously done. It is an amazing example of the fine workmanship and attention to detail of Haute Couture. and it is a true piece of fashion history. Excellent condition with one small note to review below

The dress is fully lined in an ivory through the bodice and innermost skirt. The skirt has two layers of silk over the inner lining. There may be the occasional loose or missing bead or thread. Both pieces have their numbered tag present under the main label and both bear the same number of 764027. Hand finished. It closes with a hand set, back painted metal zipper. I see one tiny yellowed spot on one tie and a pinpoint of a spot on the cape. There are two teeny smudges on the lower portion of the skirt. None of these detract - I am just being super picky. There is a slight darkening to the silk around the waist under the seam. I have photoed it all the way around and you can see that after the photos of the Couture label.

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem
Cape: 57"

Modern Sizing Equivalent: SML-MED

Item# DD2945

Reference Photo: Gleb Derujinsky in Pierre Balmain, Harper's Bazaar, April 1961.

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

This extraordinary caftan dress has no label but the work that has gone into creating it is absolutely at the couture level. It is truly a wonderful find and a study in the art of creating fine textiles. The dress is a good heavy weight, not so heavy as to be uncomfortable to wear, but the kind of heavy that gives you an instant clue that this is a high end garment. The weight is because it is entirely made from real metal thread in gold and silver. This is applied onto a threaded supported backing so it has a touch of structure and holds its shape. In between the pattern it is entirely open so you will see whatever color you choose to wear underneath it clearly. It buttons down the front, though I use that term lightly as I think you could just as easily wear the buttons so they are running down your back. The neckline is slightly scooped and the sleeves widen out as they near their ends. I love the effect that those wide cut sleeves create. The rest of the caftan skims over the body and widens out as it nears the hem. The workmanship is astounding and there are areas of 3D metal thread that create patterns within the patterns. The gold and silver is mixed with a masterful hand and it gives the dress an overall muted, molten feel. I have included lots of detail shots as the work is so wonderful it really deserves to be seen. A once in a life time piece that is surely a high level designers work. Excellent condition

Unlined and slips over the head to wear. Buttons up and those buttons can be worn to the front as seen, or to the back. Perhaps the smallest break here or there and easily find with a stitch. The cut will fit a range of sizes

Sleeves: approx 23"
Dropped shoulders: approx 17"
Bust: to 19" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 56" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# E664

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

This dress is from the Spring 1995 collection as worn by Carla Bruni for the runway show. I have included a photo form the show and also you can watch the clip of the show to see it in full action. Supermodel Helena Christensen also wore it on the cover of British Vogue in June of that year. It is am amazing piece of fashion history and the dress is stunning and very sexy.

The dress is a beautiful example of Ferre's work during his time as Creative Director for Dior. The dress is cut to fit and show off every curve. The bodice has built in cups and the neckline curves down in a slight scoop. At the back it does that same low scoop. The straps curve up and around the shoulders from there. The straps extend up from the fabric of the dress so there is no seam to break the line of the eye. From there the dress hugs the body like a second skin until it reaches the hem. The hem is set just with just a touch of a flared finished so you get a bit of a fluted shape that adds to the hourglass effect of the dress. The fabric is a soft, sueded finish feeling jersey that has just a touch of stretch. The dress curves down from the neckline in an unbroken line, curving in at the waist and then curving out and over the hips. The tag is numbered and it is a rare piece of fashion history. Overall excellent condition with a note to review below

The dress is fully lined in an ivory silk. It has built on cups that are formed and with under wiring built in. It closes with a side, hidden set zipper. The tag is numbered 97127. Note that there is some slight color run to some of the white parts around the bodice area. I have included a photo of the side it is the worst on and the strap where it also shows. These are shown after the shot of the label. Because of the graphic nature of the print it is not something you notice when it is on as it feels more like a play on the light. It is priced with this taken into account. The fabric has some stretch but the cups do not. Note that if you are thinner the length will fall a little longer on you. My dress form just fit this so the length came up a touch

Bust: 15-16.5" flat across from side seam to side seam and the cups are best suited for an A - small B
Waist: 13-16" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Length: 54" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3238

Reference Photos: (1) Carla Bruni for Christian Dior S/S 1995 Runway Show.  /  (2) Helena Christensen in Christian Dior, Vogue UK, June 1995.  /  (3-4) Rihanna wearing this dress in California, August 2019.

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

Thea Porter combined exoticism, embellished ornamentation and luxurious fabrics in her pieces and her work was a phenomenon during her day. She dressed many of the most fashionable woman in the world. Eliazabeth Taylor was a noted fan, as was Sharon Tate, Faye Dunaway, Brit Eckland and many, many more. Her legacy continues to this day and great examples of her work are harder and harder to find. In 2015, the Fashion and Textile Museum in London showcased her work in the exhibit "Thea Porter 70s Bohemian Chic" and over a dozen pieces were pulled from my archives for that show and for the accompanying book. This is a more recent acquisition to the shop and it is one of the best I have seen.

This is an astonishing, high glamour dress that combines elements of both her Faye dress, named after Faye Dunaway and the iconic Gipsy dress. Both of these were made in various versions from 1968 onward. I suspect that this one was custom made for a client, or perhaps was just yet another unique version of one of her dresses dreamed up by Thea herself. It is without a doubt one of the most beautiful Thea dresses I have seen in person. The color alone makes it a stand out, never mind the extensive embellishments. The bodice is made from a panel of antique brocade - here it is a pink and gold floral brocade that is very beautiful. This is finished with a combination of silver and gold metallic piping that highlights the neckline and runs down the front to the waist. The sleeves are incredibly full and are made from a deep fuchsia silk chiffon that has a slightly ribbed finish to it. These billow out above elastic ends and are very voluminous. Below the waist there are two layers of silk. The innermost layer is the same silk that was used to make the sleeves. Over that lies a top embroidered silk layer and it is this layer that makes this dress especially wondrous. It is a brighter pink silk Sari fabric that has been heavily embroidered with real silver metal thread and matte silver sequins. This fabric was most likely vintage even at the time of making the dress and both the quality of the silk and the workmanship are extremely fine. All of the work is hand done. The skirt is very full and there are yards and yards of the silk used in its construction. The hem is left to lie at different lengths all around its edge. In person the dress is even better. The  combination of that vibrant deep fuchsia pink mixed with the metallic silver and gold have more impact in real life and the full effect of the dress is astonishing. Excellent overall condition with some notes to review below.

The bodice is fully lined in a purple silk and the skirt is made up of two layers of the silk as described above. It closes with a back painted metal zipper. The elastic in the sleeves may be slightly stretched out but they are fine as they are. I would not change them. I see a small vertical repair to the silk near the top of one shoulder and there are some small splits and areas of weakness to the silk there that will need to be reinforced at some point. There are two long areas of repair to the hem. I see some slight fading to the silk around these areas as well. There may be some other tiny splits or weak areas. With the volume of fabric in these areas, once on you would never notice any of these. They are all decently done and the silk seems stable but the areas around the repairs should be handled with care to not do any further damage. Her silks were very fine and this tends to happen to her pieces as they age. Please see the photos following the shot of the label. Note that this dress is sold as a final sale.

Sleeves: 25"
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Skirt: 40" from waist to longest points of the hem

Modern Sizing Equivalent: SML-MED

Item# DD3234

Reference Photos: Cherie, Owner of Shrimpton Couture.

This garment has been checked over, steamed out and it is sold in clean. as found condition.

American couturier, James Galanos, made gowns with a level of craftsmanship that left even France’s most esteemed couturiers astonished that an American could equal their craft. The immaculate construction of a Galanos gowns are amazing. His price points were high, but his clients were more then willing to pay for the quality of what they received. He was a master cutter and he used proper couture techniques to create his pieces. Galanos was particularly known for his evening wear and this is one of the most glamorous pieces I have ever seen from him. It is truly extraordinary and I have never seen another like it.

This dress needs an actual body in it to really come to life. As gorgeous as it looks in my photos, it will look even better once on. The fabric is amazing. It is a black silk net that has little explosions of gold and silver covering its surface. Each of these three dimensional 'dots' is make from silver and gold tinsel lame that has been set into the net and tufts out from it. These are densely applied over every inch of the dress and each would have been done by hand. The way that these catch the light and make the entire dress glint is wonderful. The dress is cut in a classic baby doll with a high thin bodice that sits low on the bust and is suspended from the shoulder by two thin straps covered in the 3D tinsel florettes. The bust is then detailed by a band of of hand applied matte gold sequins set just underneath the bust. The skirt explodes out from under that in a  full and voluminous curve to the floor. Once on an actual body, the effect of this volume is even more pronounced. Under the top netted layer is a base of gold knit lame that adds to the metallic feel of the dress. I love how the bottom hem is finished in the same band of gold sequins that sit under the bust, even though you just barely glimpse them through the netting that lies over the inner skirt. It also comes with a matching jacket made of the same gold and silver detailed netting. This is cut loose and wide through the body with no front closures. Each sleeve of the jacket is cut wide and full. It is an extraordinary set. Excellent condition

The bodice is lined in a nude silk organza and support is added by shaping seams and grosgrain. The body of the dress is lined in a olive toned, fine silk. It closes with a back painted metal and nylon zipper. The jacket slips on with no closures.

Dress
Bust: 16.5" flat across from side seam to side seam
Under bust seam: 15" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips at inner lining: 18" flat across from side seam to side seam
Bodice: 11.5" from top of shoulder strap to lower edge of the sequin waist band
Skirt: 46" from lower edge of the sequin waist band to hem

Jacket
Sleeves: 21"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist-hips: open
Length: 22" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3234

Reference Photos: Fall 1968 James Galanos Couture Runway.

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

When researching this piece I found the photo reference for it that I have include here, but have been unsuccessful in verifying the exact date of that photo. I also came across another dress just like this one that is being sold as from the Fall 1999 collection but the actual label in the dress stating that it was produced by Altas S.P.A. contradicts that as this label is only seen on items prior to 1998. In this particular case, butterflies were used predominately in a couple of collections within the 1995-1997 seasons so it surely falls within that range, making it the work of Gianni himself.

The dress is exactly what you think of when you think Versace from this time period - body clinging and made from a weightless silk that shows off every curve - it is the kind of dress that instantly demands your full attention. The dress is almost weightless once on the body, an effect achieved by the use of the finest, lightest silk chiffon there is. Two layers of this are finished over nothing but a nude netted interior so it has the very minimal amount of weight possible while still giving coverage. It is suspended from the shoulders from two tiny straps and then molds to the body underneath. There are gathers at each hip to hike the skirt up higher and at the back a panel of silk trails down to add movement and drama. The middle layer of the dress has rows of iridescent crystals fused to the silk and these catch the light and glitter even under the top layer of silk that lies over them. The silk itself is a deep salmon pink. The color you see in the photos is close but does not fully capture the richness and depth of the color. It is even better and a touch more vibrant in person. The silk is screened with hundreds of brightly colored butterflies that add little pops of color. The perfect finishing touch to the dress is the individual cut outs of butterflies that have been added to the straps and all over the body of the dress. They are attached only at their middles so the wings move with the slightest brush of air giving them a 3D, realistic feel. The effect created is that they seem to have just landed on the girl wearing the dress and could at any moment, fly off in a cloud around her. It is truly spectacular and that perfect combination of sexy and yet still innocence and girly that the House does so well. Supermodel worthy. Excellent condition

Fully lined in a nude net. The body of the dress has two layers of the pink silk over that. It closes with a hidden set side zipper. Tagged a 38. The fabric has a touch of stretch. It looks to have been worn very little if at all.

Bust: 15.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 32" from top of shoulder to front hem, the back panel of silk extends to approx 65" at its longest point but is bias cut so comes up from there a touch once on the body

Modern Sizing Equivalent: XS-SML

Item# DD3230

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

Vitaldi Babani founded the Babani atelier in Paris in 1894. Originally they imported art, furniture, embroideries, silks and exotic goods from China, Japan, India, and Turkey. By 1910 they were producing their own label garments. The designs were heavily inspired by the wares they were importing and they often incorporated some of the antique textiles that they were bringing into Paris. They were known for the exoticism of their designs and the heavy embroideries and high craft that was put int their garments. In 1928, Katherine Hepburn famously wore a white crushed velvet Babani dress with antique gold embroidery for her 1928 wedding to Ludlow Ogden Smith. This is a rare and wonderful dress by the House of Babani and it is remarkable in both its condition and its design.

The base of the dress is an inky black silk velvet that has the same weight and feel of the Fortuny's I have seen from this period. Which would not be a stretch given that the Babani company had a license to retail textiles and garments by the Venice-based designer. To have used some of those velvet's for their own label would not have been out of question. The shape is very loose and easy. It follows the tubular fashion of the day with the middle portion of the dress almost curving outwards a touch. On the body it looks tremendously modern and oversized. Even a small framed girl could wear this and just carry it off in a different way then someone closer to the garment's actual measuremnts. Onto the black velvet is an elaborate and intricate geometric design. This has been created by using thick gold metallic cording to create the outer edgings of the design. The inner parts of the design are then filled with a thinner gold thread. All of the thread has that feel of being made out of actual metal. This is an extraordinary opportunity to own a piece of rare fashion history from one of the most elusive of labels from this period. Excellent antique condition 

The dress slips on and is fully lined in a fine black silk. It has no closures. All of the embroidery work is present and fully intact. I see some waviness to the velvet under the arms where it has been worn and slightly folded over time. There is perhaps an area or two where the pile of the velvet has gone into a slightly different direction but there are no true flaws overall. For a garment of this age and this rarity it is in excellent antique condition

Bust: 22" flat across from side seam to side seam
Waist: 22.5" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Length: 43" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3225

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

This garment is sent in clean. as found condition

The Fall 2008 shows was perhaps the one that Pilati's time at YSL is most remembered for. The shocking bowl hair cuts on every model an the stark black lip were instantly seen around the world. Vogue's review of the collection, by Sarah Mower,  stated in part: "They looked like an army of futuristic female automata, marching out in identical black-bowl wigs and black lipstick, some with their eyes blanked out by narrow slivers of wraparound sunglasses...It made one of the season's most joltingly dramatic contributions to the current dialogues about tailoring and austerity.... it threw up some fine pieces, like jackets with swaggering, flying tails ... Something about the carapace stiffness of these garments, the sense that the clothes are molded rather than fitted, puts Pilati in line with other designers, like Nicolas Ghesquière, who are pushing fashion away from the body and toward something new. In Pilati's case, the impact—with its almost complete abnegation of romanticism and traditional femininity—was a shock. Still, fashion sorely needs those who dare, and this is a collection whose controversial content and implications will be discussed and dissected for months to come."

This was Look 37 in the show and was the second to last piece shown to close the show. It is a jacket that zips up at the front and has exactly what was described above, swaggering, flying tails, as well as exaggerated hip panels and a cut that glides away from the body to create a abundance of volume as it nears the hem. The front is just a touch too short to properly get away with it as a dress, though I did belt it with my own belt and then put it over dotted tights and a pair of boy shorts for the photo that I have included here of myself in it. On the runway it was layered over tapered pants and a thin, silk cami. It is collarless and zips up the front with a big chunky zipper that has the YSL logo embossed onto it. When the jacket reaches the hip, there is a angular panel of fabric sewn around the hips that create a tremendous pannier effect on either side. The way it is placed makes it feel like there are layers of the fabric there  and it is quite ingenious. It is also cut to feel very voluminous for its actual tagged size. The cut is very generous. The entire jacket is covered in hand sewn, glossy black metal sequins that give the coat its futuristic feel. It was never worn so like buying new. Excellent condition.

Fully lined in a black silk and zips to close at the front. Tagged a 38 FR but very generously cut through the body so if the shoulders work then it should fit a range of sizes

Sleeves: 23"
Shoulders:15 "
Bust: 19" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: open
Length: 32.5" from neck to front hem, 42" to the back hem. The longest points of the front hang to 45" from the neck

Modern Sizing Equivalent: SML-LRG

Item# C520

Reference Photos: (1-2) F/W 2008 Yves Saint Laurent Runway, Look 37. Model: Aline Weber.  /  (3) Cherie, Owner of Shrimpton Couture/

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

The Attico brand was founded by street-style stars Gilda Ambrosio and Giorgia Tordini and the line has a vintage vibe to it that is meant to be worn with a bit of a nonchalance attitude. This was one of the hardest to find pieces from the Fall 2017 season and was sold out worldwide almost instantly at the few places it was made available. This one has never been worn and still has all of its original tags. The coat was made in Italy from black glossed-leather embossed with contrasting crocodile and snake-effect panels. It has an easy, open shape to it that will allow it to fit a variety of sizes. There are no closures at the front, it just ties into place with the matching belt. The cut is very simple with no collar or cuffs. This is deliberate design choice in order to allow the glossed leather and that exotic print to take center stage. The leather has a slight stiffened feel to it that will soften as it is worn. It is brand new with all original tags still attached. Excellent condition

Unlined leather with no closures. It wraps and ties with the belt to close. Pockets on either hip. Tagged a size 40 or brand size 2. The cut is generous. All original tags and unworn. It is a true black in person

Sleeves: 26"
Shoulders: approx 17" and cut to drop slightly
Bust: to 21" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 47" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C518

Reference Photo: F/W 2017 Attico LookBook, Look 37.

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

In an amazing testament to construction and pure joy of form, this extravagant full length skirt by Yves Saint Laurent is perfection. The skirt is made of a rich combination of a black silk taffeta that has a scattering of little embellishments that to me look like little flames. Each of these are individually embroidered into the fabric with a coral red edging and a metallic gold thread center. These cover the surface of the skirt quite extensively and it is only as you get closer that you realize what those little pops of color represent. At the hem a dramatic flounce of ruffle made from the same fabric is the perfect finish. The waist is banded and cinched and it has an extremely long matching tie sash belt attached, that you can wrap, tie as you wish, and cinch the waist in even more. The skirt has yards and yards of fabric in it so is very full and you gets lots of lovely volume when you move. At the same time his genius cutting abilities make you look lean and long even when you are standing still. 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. This would have been similarly priced I am sure. This is a key look that had repercussions through all of Yves decades of work and a rare and important find.  Excellent condition

Unlined and closes with a side zipper and flat hook and eye at the waist. One pocket along the hip opposite to the zipper. Tagged a vintage YSL 40. It looks to have been worn very little if at all.

Waist: 14" flat across from side seam to side seam
Hips: open
Length: 44" from waist to hem
The sash is attached on one side of the waist only and it measures 4" wide and is almost 9' long

Modern Sizing Equivalent: SML-MED

Item# S865

Reference Photos: (1) Model in Yves Saint Laurent, L’Officiel, August 1981. Photographed by Claus Ohm.  /  (2) Model in Yves Saint Laurent, L'Officiel, August 1981. Photographed by J-F du Sel des Monts.  /  (3-4) Fall/Winter 1981 Yves Saint Laurent Runway.  /  (5-7) Cherie, Owner of Shrimpton Couture.

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

Harvey Berin opened his self-named label in 1921 and by the 1940s his label was considered to be a leader in American fashion. The pieces were actually designed by Karen Stark, his wife's sister, though it is said that all designs had to meet with Berin's approval before going into production. The dresses were made with high end finishes and were often based on the Parisian couture designs of the season. By 1952 Stark had won a Coty award. This dress is one of the best I have seen from the label and is extraordinary.

The dress is absolutely wonderful and could easily stand side by side with any of the couture dresses being produced in this time frame. The base fabric is a pale ivory with just the barest touch of blush to it. It then has a beautiful floral and leaf pattern worked into the silk that is made from a nude toned netting. The weave of the netting varies and these variations become a layer of the design itself. Over these fabrics the dress has been densely beaded with thousands and thousands of little white glass seed beads. These are applied by hand in a dense scattering cover over the main silk part. More beads are worked into dense ropes that follow the edges of each leave and flower. More beads are used to make up the inner design of the flowers and leaves. The heavy profusion of beads makes the dress feel that is has a good solid couture feeling weight to it. The cut is kept simple to off-set that amazing design. The straps are cut wide and curve over each shoulder. The bust is fitted with a sweetheart neckline at the front and a simple scoop at the back. The waist nips in and the skirt flares out to be very full under that. I put a light crinoline under it for the photos and I think you could go even fuller if you wished. In person the dress has far more impact and beauty then the photos could ever convey. You will honestly be floored when you see it in person. The color is a more true ivory-nude and the dress has more depth and a 3D effect in real life. It is wonderful and would perhaps even make a fabulous wedding dress for the bride looking for something non-traditional. Excellent condition with a couple of tiny items to note below.

Fully lined in a pale pink silk and closes with a side set painted metal zipper. There is a teeny tiny area of the slightest of darkening to the fabric under one arm and a couple of tiny storage spots. Nothing that I feel detracts in any way. I have photoed the areas and you can see then after the shot of the label. Hand finished throughout. There is a 4.5" hem turned up and it appears that someone has turned it up at some point already and this prior shortening takes up about 2.5" of the total

Bust: 18.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3218

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

This is an extremely rare Jeanne Lanvin Haute Couture dress designed by Antonio Castillo. Castillo started off his career at the houses of Paquin and Piquet. He also did a stint designing accessories for Chanel. In 1950 he became the head designer at the House of Lanvin. The press at the time lauded him, along with Balmain, Dior, Balenciaga, as the new generation of the Paris Couture designers. During his time at Lanvin the house was known for the simple and elegant lines of the clothes and his metallic embroideries were particularly sought after. This is a rare Haute Couture dress from that period and is very beautiful and representative of exactly those attributes. 

The fabric of this dress is the undeniable focal point of the dress and it is just wonderful. It is a very fine silk brocade woven with a very slightly raised pattern of flowers. Into the cloth are metallic threads of silver and gold and the give the dress an overall sheen that catches the light quite beautifully but is very subtle. In person this fabric almost seems to glow from within and it is very beautiful. The color is not quite captured in these photos and I think it is far better in person. The dress is cut to skim over the bust with a softer feel to it. The waist is shaped by a complicated crossing of flat ties that hook and snap into place. I tied it in the front but think it could be done to all sit flat as well. The skirt falls and flares out softly to just past the knee. It gently widens as it nears the hem and when you see it in person you will feel that there is more fabric in the skirt then how it photoed. The neckline is finished in a simple scoop that feels perfectly in tandem with its stark and simple line. It is made with masterful seaming and cut and the fabric is just extraordinary. Excellent condition.

Fully hand lined in silk and fully hand stitched on the interior to Haute Couture standards. The dress closes with a side set painted metal zipper. The straps circle the waist and there is a combination of hook & eye and hidden snaps to secure them. Real metal thread has been used to create the fabric. Note that the way the ties wrap the waist is brought in to about 12" flat across - you could move where the ties are attached to get the full waist if needed.

Bust: to 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam but see above notes
Hips: to 24" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3217

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

This beautiful and regal feeling gown by Oscar de la Renta is even better in real life. I love the combination of the deep blue grey silk taffeta with the black velvet applique work over it and those spectacular sleeves. The neckline is scooped at the front and the black silk velvet bodice is cut to hug the bust and waist. The waist nips in with seaming to shape it inwards. The skirt flares out from just under the seam at the low waist in a beautiful curve of volume. Through the interior there is the addition of a stiffened fabric added all the way around the o]upper part of the skirt. This keeps that sculptural, shelf effect that you see, and hold the shape when you move so that exaggerated hourglass feel is kept from all angles. To showcase this part of the dress even more, the panel of silk at the top of the skirt gradually forms into hand placed applique work. These velvet applique trail down and circle the upper part of the skirt. The skirt has its own interior layers of silk and tulle lining and I used no additional crinolines to achieve the shape that you see. The sleeves are the perfect  dramatic finishing detail to balance the skirt. Each is cut with an elastic at the cuff and are a huge, tremendously full pouf above. A finish of the same applique that you see on the skirt circle each of the sleeves for the perfect finish and balance. It is absolutely gorgeous. Excellent condition.

Fully lined in a fine black silk through the bodice and a silk organza through the sleeves. The skirt is interlined in a black silk organza with an interior silk organza lining that has horse hair bands around the hip portion of this inner skirting. It closes with a back zipper. Each sleeve has an elastic finish Beautifully finished and appears unworn.

Sleeves: 17"
Shoulders: 14.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 60" from natural neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2838

Reference Photos: Fall 1981 Oscar de la Renta Runway.

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

This coat is extraordinary. It bears the Eisa label, originally launched by Cristóbal Balenciaga in 1917. The name came from the shortening of his mother's maiden name. During the Spanish Civil war the label briefly closed but then re-opened in 1939 until it was closed permanently in 1968. Cristóbal himself oversaw this line and items were made to couture standards. Based on the cocoon silhouette and the work he was doing in that time period this coat dates to approx the late 1950s, early 1960s. Cristobal Balenciaga was known for his fine tailoring and sculptural approach to design. The restrained and refined lines of this coat showcase exactly that aesthetic. Even Dior himself declared Balenciaga as 'the Master of us all' and Balenciaga's impact on fashion cannot be underestimated. He passed away in 1968 so any time I acquire a piece that pre-dates his death, I am especially thrilled.

The coat bears that elusive Eisa label and would have been made by hand n the atelier. It is extremely well made as one would expect. Cristobal was known for doing fitting with clients himself, from the initial muslin stage all the way through to the final fittings. This coat, having been constructed during the years he was alive, means that it would be one of those a garments that were fitted by him. It is cut with the volume and curving cocoon silhouette that defined the era. I love how the buttons run almost right to the bottom hem. This in itself is unusual and a clue to who designed it without even seeing the inner label. It does up right to the collar. When it is completely close the collar is a small and neat circle around the neck that wraps over itself. When it is unbuttoned it softens and becomes more pointed and feels larger. A clever little design detail. The seams are cut gracefully on a vertical line and kept to the absolute minimum. The cut of the coat is simple, yet extremely beautiful. The subtlety of the seams is fabulous in person. The shoulders  are dropped and curved. The arms cut tot just below the elbow. Volume is built in through the body. These are all classic elements of his iconic cocoon or egg coat. Front pockets are hidden along the seams that runs down the front. The fabric is a wonderful element all on its own in this coat. It is a nubby textured wool that has been dyed to a brilliant and striking orange with a hand dyed silk lining to match. The color alone makes it brilliant. It still feels insanely modern and is a rare and collectible piece of mid-century couture. Excellent condition

Lined in hand set orange silk taffeta. It buttons to close and has pockets on each hips. Each pocket is lined in silk. Proper button holes and hand finished. The easy cut will allow it to fit a range of sizes

Sleeves: approx. 21"
Shoulders: no defined seam
Bust: to 27" flat across from side seam to side seam
Waist-hips: open
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C510

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

Michaele Vollbracht began his fashion career working for Geoffrey Beene in 1969, where he eventually designed the Beene Bazaar line. He stayed there for two years and then moved over to Donald Brooks. After a stint there, he worked for Henri Bendel's and then Bloomingdales as an in-house illustrator. In the latter half of 1978 he decided to go back to fashion and launched his own label. By his second collection he had done so well that he earned a Coty award. Elizabeth Taylor was a huge fan and owned many of his pieces. The company folded in 1985 giving us a small, precise window to date this piece.  

This set is so spectacular that it really belongs in a museum and would certainly be the show piece of any collection or exhibit focusing on Vollbracht's work. It is made of a fine silk with a hand painted floral design that runs down each side the pants and down each side of the matching poncho top. Both the pants and the poncho are cut to fall loosely on the body and the beauty of the piece lies in the way it  drapes once on. It is far far better on an actual body then my dress form and really transforms. Both pieces are made from a fine lightweight silk. The pants are cut wide through the legs and by the time they reach the hem they are a full 29" around. They simply slip on with an elastic running through the waist. This makes them very comfortable to wear. I love how each pant leg is a divided into four quadrants with the two colors and how the hand painted flowers run down each leg, adding length to each. The poncho is equally amazing and also plays on that dual tone of blue and black. What I love about it, is that you can wear the poncho so any of the sides are facing the front. By changing what part of the poncho goes toward the front, it gives you a totally different look with each option. The poncho is made from one long rectangle of silk that folded and with a slit cut out for your head to slip through. One side hangs longer then the other which is what gives you the different options once it is on. You can see that I have styled it in each possible way. By turning it around it creates different lengths and looks from a crop top at the front, to a longer at the front, shorter at the sides, and with the bead design floating down either the shoulders, or the front and back. Onto the poncho is that same hand painted design on both main sides and then these are covered with extensive bead work that follows the pattern on the silk. This gives the fabric a bit of weight and helps it to fall into place perfectly once on. All the bead work is done by hand. The beaded part of the design combines silver and green glass tube beads and this gives the set a subtle added sparkle. There is also a charming little silver beaded butterfly added on both sides of the poncho that I love. The pieces look amazing together and are also very versatile as they can be split up and worn separately. Excellent condition

Both pieces are unlined and slip on the wear. The pants have elastic through the waist. Hand finished and the fabric of both pieces are hand painted and have his logo screened into the silk as well. I have marked it suitable for a variety of frames as I feel on a smaller frame they just drape more.

Poncho Top
Total Width: 25" from top to bottom on one side, 15" from top to bottom on the other side
Total length: 63" from side to side

Pants
Elastic waist: 12-18" from side seam to side seam
Hips: to 22" from side seam to side seam
Length: 43.5" from waist to bottom hem
Inseam: 31.5" from inner seam to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3210

Reference Photo: Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

I think our modern world forgets just how important Oleg Cassini was as a designer in his heyday. From his first film in 1941 he was responsible for many of the best looks on film, dressing stars like Rita Hayworth, Gene Tierney (who he married), Audrey Hepburn, Marilyn Monroe, Lana Turner and the list goes on and on. In 1952, he opened his own fashion house on Seventh Avenue. By 1961 he was appointed by Jacqueline Kennedy as her exclusive couturier. Some of his early works especially, were more on par with couture, using the same techniques and high fashion fabrics as the French couture houses.

This is an early example of his work and obviously one that was made with those exacting and meticulous high end techniques as described above. This is the kind of dress that is a rare find nowadays. This dress is a dream. It is made of a fine black silk faille. The fabric choice allowed Cassini to sculpt and mold it exactly as he wished. The bodice of the dress is shaped by a series of vertically set panels of fabric that expand and widen as they past the waist and form the skirt. Meticulous vertical seaming curves the dress around the bust, nips it in at the waist and skims it over the hips. The shape of the skirt is brought in a touch at the hem and this is achieved by inset pleats that are set along the vertical seams. These open just above the hem and below the waistline to give the skirt even more volume when you move. The neckline is phenomenal with flat strips of silk set to sweep up from the neckline and the one strap on one side. These then meet up at the top of the other shoulder where they are caught up in a flat bow. This is a once in a lifetime fifties find and it is wonderful. Excellent condition with one minor note below

Fully lined in a hand set interlining of black silk with a built in hip pannier that is attached around the inner waist so the volume of the skirt is achieved. This closes with hook and eye. The dress itself closes with a painted metal back zipper. Hand work throughout. Boning on each side of the bodice. It looks to have never been worn. The only tiny thing I see is a scattering of pin-size white dots on one part of the skirt. Please review the photo after the label photo. They are very very minor and tiny.

Bust: 17" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam. Note if you did not hook the inner pannier the waist could go to 13.5"
Hips: open
Length: 48" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3203

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

The Pucci beach caftan is one of those iconic vintage items that is synonymous with the 1960s and that carefree, jet set life that Emilio Pucci and his clients often lived. Variations of this example were heavily featured in the display at the Fondazione Emilio Pucci, Palaxxo Pucci, in Florence. There, they were displayed and encased under glass so that you could see then from every angle and each felt like a sculpture. They are very rare and hard to find as most were worn them extensively and most did not survive intact and in great condition. This example is in wonderful condition and the colors are still bright and true.

The piece is made of a terry cloth, toweling velvet and is a stunning example of this classic piece of Pucci's work during this time period. It has no sleeves and is meant to be worn layered over something else, whether that be a bikini, shorts, another dress or a skirt. The possibilities are endless.It has a geometric print in a gorgeous ocean theme that combines green, purple, a turquoise aqua, black and white. It completely unzips and opens at the side along one seam that I have photoed. This makes it extremely versatile and allows it to slip over just about anything or be worn as a stand alone. The front neckline sits on a V and the sides are open right to the waist. The print is vivid and bright and it one of his signature designs. The fabric is also signed throughout. These are hard to come by and a fantastic collector piece. Excellent condition with one small note to review below.

The body of the dress is unlined but it does have a fine cotton muslin interior border in a aqua blue hand stitched in place around all the edges. It closes with a hand placed metal zipper at the side that completely opens the dress. There is also a row of fabric covered, hand places snaps along the seam of one shoulder. Hand finished throughout. In person the color is more true and vibrant than how it photoed. There are two tiny smudges, one that you can see near the shoulder on the 8th photo and one on the back low hip that I photoed and it is shown in the final shot after the label photo. Both are extremely minor.

Bust: 17.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 55" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3197

Reference Photos: (1) Fondazione Emilio Pucci, Palaxxo Pucci, Florence. A display featuring terrycloth and cotton velvet capes in display cases in the Sala delle Muse. Photo: Santi Caleca/Emilio Pucci Archive, Florence.  /  (2) Photo by Henry Clarke, 1968.

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

This set is from the same Haute Couture collection as the linen jacket I also have listed in the shop. It is also from the same private collection coming to me from the daughter of the original Couture client. The look for the 1981 season, according to the book, 'Dior, Catwalk' was easy, flowing styles .. "the dresses often have short puffed sleeves and are scattered with cheerful motifs....Bohan has created styles that not only uphold the honor of couture but can be worn comfortably as well"

The attention to detail shown in every stitch is breathtaking. It is entirely done by hand and the silks used are of the highest possible grade and are as fine and light as a feather. The top is done in a silk chiffon that has a ribbon finish to it that adds pretty texture. It floats over the torso for an easy fit. It is unlined, which makes it semi-transparent. It has a finish of pleats that run down the front for a pretty detail. This makes the floral pattern that covers the silk even more interesting as it peaks through and over the pleats. The sleeves are short and puffed as the collection was noted as having. The skirt is a neat pencil and falls in a column of perfectly cut silk. The same pretty floral pattern is continued over the silk of the skirt and it feels just a touch deeper in tone since the fabric there is opaque. The skirt wraps over itself and hooks & snaps to close. There are even pockets on each hip. It is truly a wonderful example of Couture during this time period and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. Excellent condition with one minor note below.

The skirt wraps and hooks and snaps to close. It is hand lined in an ivory silk. The bodice is unlined and closes down the front with the buttons and then snaps nearer to the bottom. You could move the hooks and snaps at the waist of the skirt to adjust the fit a bit up or down as required. There is one very faint spot on the tip of the collar of the top. I photoed it and you can review that photo after the label shot. The color in person is a pure ivory with no yellowing to the fabric - any you see in the photos is from the lighting only. It is completely made by hand as the parameters of Haute Couture dictates. Proper Haute Couture label present in the top. Numbered 13660

Top
Slightly inset shoulders: 13.5"
Bust-Hem: to 19" flat across from side seam to side seam
Length: 24" from top of bodice to waist

Skirt:
Waist: 12.25" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3194

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

In the book 'Dior, Marc Bohan' there is a quote from Bohan during his period of time with the house from the eighties that states 'My aim is to make clothes that are sophisticated in their simplicity'. That goal is perfectly exemplified in this jacket. Every part of the line and cut of this jacket is perfection. This is true Haute Couture and part of a private collection from the daughter of the original Couture client.

The jacket is made of a beautiful starched linen that is just heavy enough to hold the shape but without adding even a touch of excess weight. In person the color is richer and deeper then how it has photoed and even better in my opinion. It is a deep Ochre that summons up thoughts of travels to exotic destinations. The choice of the linen adds to the luxurious feel. It is only lined through the sleeves so that they hang perfectly and feel comfortable on. It is perfectly structured and every single choice in its construction is from a Master Tailors viewpoint. This immaculate tailoring is helped along by the light starching of the linen fabric that gives it the ability to be sharply cut and tailored and yet still feel soft and easy. The shape is a slightly elongated box that sits perfectly on the body. The notched collar is restrained and neat. The double row of buttons are set low as are the pockets. This gives the jacket a touch of the twenties in feel and it also allows you to belt the jacket above the buttons if you wish. The immaculate seaming of the jacket creates the only detailing beyond the color and fabric choice. It is extraordinary beautiful in its simplicity and perfectly illustrates the art of high couture and ability to cut and tailor like nothing else. Excellent condition.

The sleeves are lined in a matching, hand set silk and the rest of the jacket is unlined with hand finished seams. It closes with buttons at the low front. made by hand to Haute Couture standards with proper couture label. Numbered 13658

Sleeves: 22"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 22.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# S853

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

The wonderful little piece merges a top with a jacket perfectly and is a beautiful example of Ferre's work during his time as Creative Director for Dior. The twin of this piece walked the runway and I have included the video of the piece in its debut as well as a still capturing it on the catwalk. The tag is numbered which for the boutique line label usually denotes a custom order or an order by an established client during this time period.

A cornerstone of Ferre's work was his ability to mix textures and fabrics so flawlessly that they created one seamless piece that you could not imagine being made any other way. Here he utilizes four distinct fabrications to make this gorgeous little jacket. The sleeves are cut to be very full and billow above the cuffs. On each cuff there is a filigree silver metal button, a signature of this particular collection. The sleeves are made from a fine silk organza and the execution of each is flawless. I particularly love how they are pleated across each upper shoulder. The back is a raw silk finished with a touch of sheen. The front is made of silk cord that is knotted and swirled. Finishing it off is waxed cord that is set as tassels all along the lower edge. It is remarkable, extremely well made and my client says that it was never worn. Excellent condition.

The front panels are lined in a silk chiffon and the back in a black silk. The sleeves are left unlined. It has no closures at the front. Each cuff buttons to close. The tag is numbered 49407

Sleeves: 24"
Slightly dropped shoulders: 16"
Bust: 17.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Length: 15.5 " from neck to hem at the back, 20" at the front

Modern Sizing Equivalent: SML-MED

Item# S851

Reference Photos: From the Christian Dior S/S 1994 Runway Show Video (below).

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

This beautiful dress by Yves Saint Laurent mixes a solid black velvet with a sheer black silk chiffon. It provides head to toe coverage but the sheerness and placement of the silk chiffon give it that twist of sensuality that runs through Yves' pieces. The mix of the fabrics also serves to highlight the lines of the dress and shape of the woman who wears it. The body of the dress, including the long fitted sleeves, is done in a soft, inky black velvet. The neckline is scooped at both the front and the back to offset the coverage everywhere else. It curves in at the waist and is seamed there so on the body the effect is even more brought in then how it appears on the dress form. The velvet then continues over the top of the hips and is cut to be fitted. This gives it a corseted, hourglass effect. Where the velvet and silk chiffon of the lower skirt meet is a wide 3.25" wide silk satin ribbon that again brings the shape in to follow the curves of the body. A bow details one side. Under that, the skirt falls to the floor in a generous sweep of fabric. It widens as it nears the floor with panels set horizontally to give it volume. As with many of Yves' pieces, showing them on a dress form really does it little justice. This is cut to work on a real girl's figure and is so much better on the body. There are parts of the skirt that are not perfect - please be sure to read the full condition notes below and review all provided photos. It is completely wearable as it is and is priced better then it would be if perfect. Excellent overall condition with notes regarding the skirt below.

The bodice is lined in a black hand set silk satin and the lower skirt is unlined. It closes with a back metal and nylon zipper. Each sleeve has a zipper at its cuff. Tagged a vintage YSL 38. There are three repairs to the skirt, all near the hem as well as some other small areas of thinning. I photoed each, and one shot also includes the largest area of thinning that is present. The three photos showing the flawed areas are shown after the label photo. The hem of the skirt does has a finishing stitched seam but is not turned up. It is very long so you could easily hem to the desired length if needed. When on the repairs are lost in the fold of the skirt so you do not notice them

Sleeves: 22"
Shoulders: approx 15"
Bust: to 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 18.5" across lowest seam at very top of hips, open under that
Bodice: 15" from shoulder to waist, 20 from waist seam to lowest seam of the ribbon under the hips
Skirt: 49" from waist seam to hem including the 29"velvet portion under the waist seam and to the bottom of the ribbon under the hips

Modern Sizing Equivalent: SML-MED

Item# DD3192

Reference Photo: Fall 1987 Yves Saint Laurent Look Book.

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 tunic dress was shot for the September issue of Madame magazine giving us the collection date. and there is what looks to be a very near matching coat that can be found in The Fashion and Lace Museum's collection. Who knows, maybe the girl that buys this one might one day find a version for her own so that she has the complete set. This is a remarkable example of his Haute Couture work during that time period. A piece in this shade of pink and in this exemplary condition is a rare find.

This beautiful, sculptural, numbered Haute Couture tunic is stunning. If you are the right size and height you could also get away with wearing this as a micro mini. It actually sits a bit tiny on my dress form and I suspect that given the other piece in the collection that year that I could find photos of that it would have been worn as a mini over tights. The fabric is that classic Courreges thick textured wool jersey that despite its thickness is still light in weight and wearable. The slight texture to it and absolutely superb seaming details give the dress a rich, luxurious feel. Each curved seam and the soft but sculptural cut create a beautiful line that curves in at the waist with a flared hip. A half belt detailing anchors the back and is detailed by two large white buttons. Tow more buttons sit on the front of the tunic and it wraps over itself and buttons to close. Each button hole, including the back one which are both completely functional, are finished to couture standards. It has no collar and the front plunges quite low with a hidden hook along the neckline to hold it perfectly in place. Very chic and very couture in feel. Extremely collectible and rare. Excellent condition.

Fully lined in a hand set ivory silk. The tunic crosses over itself at the front and buttons to close. Has an extra button sewn inside. Hand finished throughout. The color is a slightly different shade of pink - and even better I think - than how it photoed. Looked to have been worn very little, if at all. Numbered D7079

Bust: 16" flat across the back from seam to seam
Waist: 14" flat across the back from seam to seam
Hips: 20" flat across the back from seam to seam
Length: 28" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3189

Reference Photo: (1) Courreges Ensemble, Madame Magazine, September 1969.  (2) Courreges Ensemble, Vogue Italia, 1969.  /  (3) Courreges Ensemble, 1969.  /  (4) Courreges Coat, 1967. From Fashion and Lace Museum Collection.

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

This wonderful little dress and jacket set bears the Christian Dior New London label, making it a beautiful and early example of the Dior labels history. This is from the Spring of 1961, an important year in Dior's history as this would have been Marc Bohan's first collection for the house. The collection was called 'The Slim Look', and was noted as being a 'simple, young and streamlined style - his modern take on the New Look'. You can see a striking similarity to the design in the examples shown here from the Haute Couture collection from that same year. This set is from the Modele Original line which would have been custom made based on the Haute Couture presentation and special ordered through Harrods in this case. It is numbered and was made with many of the same high standard finishes that the Haute Couture pieces incorporated.

Bohan's inspiration for Spring 1961 was the 1920s. He underplayed the bust and dropped the waistline. Skirts had a slight flare and the jackets were soft and slouchy. It was a huge commercial success and a critical one as well. Here was have a set is made up of two pieces, an inner, sleeveless, dress with a soft cut jacket. Both pieces are made of a beautiful coarsely woven linen and silk mix that is just heavy enough to hold the shape but without adding any bulk or excess weight. In person the pink color is even richer and deeper then how it has photoed and is quite lovely. The cut of both pieces are wonderful. The dress is cut in a long sheath that gently flares out as it nears the hem. Slits are set on each side of the skirt so you get a bit of extra movement when you walk. It is sleeveless which is perfect for the warmer months and the waist is cut loose and easy. The front has a bibbed panel set over the inner dress. The detailing on it is remarkable - even though it is attached each of those buttons and button holes is 100% functional - though they serve no purpose in being so other then to have made the piece 100% properly. The neckline is a simple and collarless. The matching colored jacket sits over the dress and it too is kept simple but with immaculate seaming and top stitching creating the only detailing. It has no closures and is meant to sit softly on the body with little structure. It is beautiful and a remarkable example of his work during this pivotal collection for the house. Excellent overall condition with some minor notes below.

Both pieces are lined - the dress in a matching silk organza and the jacket in a hand set ivory silk. The dress closes with a back hand set painted metal zipper and the jacket has no closures. Hand finished throughout with silk covered seams in areas. The pockets on the jacket are functional. The pink color is deeper and much much better then how it photoed. Please note the following - the inner silk organza of the dress has some small tears and parts of it are missing through the upper bodice. It does not affect wearing it in anyway and rather then remove it I prefer to send as found. The jacket shows mild discoloration around the arms which does not go through - please review the photo provided after the shot of the label. There is the slightest grubbiness to the arms on the dress but very very minor and they would not photo even.

Jacket
Sleeves: 17.5"
Slightly dropped shoulders: 17"
Bust: 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Length: 20" from neck to hem

Dress
Bust: to 20" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3188

Reference Photos: (1) Model in Dior, Vogue, March 1961.  /  (2) Dior Haute Couture Presentation, Spring 1961.  /  (3) Dior 1961. Quotes from the book Dior Catwalk 

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