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.

I have two of these dresses available and both are the same size. Once both are sold the listing will say it is no longer available.

This Lanvin dress from the Spring 2015 collection is wonderful. From his very first collection for the Fall of 2002, Alber established what would be one of his most recognizable signature aesthetics - plenty of draping. This dress is based on just that with seemingly little structure at first glance, but once it is on you realize just how masterful that so called simple draping is. The dress is suspended from one shoulder and the bodice drapes across the bust and back in a way that utilizes the chevron pattern to its best. On the side with the shoulder you get a bit of a scooped feel down that side. The fabric is cleverly laid across the bust in a way that it shape the body and makes it feel long. It has an elastic waist and is incredibly comfortable and accommodating once on the body. Pockets are hidden along each hip for a touch of ease to the design and the skirt is cut super model long. I actually own the twin of this dress and can personally attest that it stands up to travel exceedingly well and will remain virtually wrinkle free straight out of a suitcase. It is also very versatile with the ability to go from day to night with a simple change of accessories. This one looks to have never been worn. Excellent condition

Unlined and slips on with an elastic running through the waist. Pockets along the seam of each hip. The measurement range below is the comfortable range of the fabric lying flat. It is very accommodating and will should fit a variety of sizes. Tagged a modern 42. It appears to have never been worn, or worn very little

Bust: 18-21" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
Hips: to 27" flat across from side seam to side seam
Bodice: 17.5" from top of bodice to waist but will come up a bit on the body to sit on the natural waist
Skirt: 47" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3164

Reference Photos: (1-2) 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.

This is dress is the twin the dress that walked the fall 1986 Yves Saint Laurent Rive Gauche runway. I was so pleased to find a shot of it on because it really shows you just how much it comes to life when worn

This gorgeous dress mixes a solid black velvet with a velvet that has a printed effect to it. The effect is created by parts the velvet being raised up slightly higher that the base. The patterned portions of the velvet have been used for the sleeves and the skirt and when it catches the light is gives the suggestion of a leopard print. This particular velvet was one of the signature fabrics of this collection and he also used a version of these same velvets in the 1985 Haute Couture collection. To add some contrast to the textured parts he kept the bodice in a solid black velvet and gave it a corseted feel. It has a curving sweetheart neckline that drapes low at the front and curves up to highlight the bust. The bodice nips in to the waist and then continues to just over the top of the hips for shape. The dress still has its original matching velvet tie so that you can cinch in the waist as much as you want and add that extra bit of texture there. The sleeves are incredible. Each is made out of the patterned velvet. They are cut to be very full and pouf out above the elbows. The skirt is also made of the patterned velvet and it falls to the floor in a pretty sweep of fabric. It is softly gathered in around the hip seam and this gives it an extra touch of volume that you see more of as you move. Excellent condition

The bodice is lined in a black hand set silk and the skirt is interfaced with a black silk chiffon. It closed with a back zipper. Each sleeve has elastic as its cuff and each shoulder has light padding. Has its original matching printed velvet tie belt. It appears to have never been worn, or worn very little. Tagged a vintage YSL 34. There is about 2.5 inches turned up under the hem if you needed more length

Sleeves: 22"
Shoulders: 14"
Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 16.5" across lowest seam at very top of hips, open under that
Bodice: 14.5" from neck to waist, 4.5 from waist to lowest seam at very top of hips
Skirt: 39" from waist seam to hem including the 4.5"velvet portion under the waist seam

Modern Sizing Equivalent: XXS-XS

Item# DD3163

Reference photos: (1) F/W 1986 Yves Saint Laurent Runway Collection.  /  (2) F/W 1985 Haute Couture Yves Saint Laurent Runway Collection.  /  (3) F/W 1985 Haute Couture Yves Saint Laurent dress in The MET Online Collection.  /  (4) Catherine Deneuve and Yves Saint Laurent, 1985

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

I have had a version of this dress in the shop before and I think I love it a little more with each version I find. This one has an attached wrap tie belt in the same fabric that helps to give it added shape. I love these metallic lurex knits from the seventies and when a designer like Bill Blass got his hands on some the results are just magical. The dress is cut long and lean and the design that runs over its surface is a swirl of taupe and chocolate mixed with gold thread so the entire dress has a subtle shimmer. The bodice of the dress has a simple, high rounded neckline. This flows over the bust to nip in at the waist where the wide attached belt in the same fabric acts like a sash to wrap and cinch in the waist. The skirt flows to the floor under that and is cut so that it gently widens out as it reaches the hem. The sleeves are cut so that they widen slightly as they reach the cuffs and they are the star of the show. Each cuff ends in an explosion of drama. Two types of feathers are mixed with gold tinsel strands that all woven together and hand dyed to pick up the colors of the fabric. Really an outstanding piece and beautifully constructed. Excellent condition

Fully lined in a deep ivory cream silk and closes with a hand set back metal zipper. The sash detailing at the waist is attached around the front to the sides and then extends into long ties that wrap to cinch the waist in as much as you wish. There is a good 4" of fabric turned up at the hem if you needed more length. The cut is meant to be looser through the body and then bright in with the sash. If you are not terribly broad across the shoulders a larger size might be able to fit this one as well

Sleeves: 23" to actual end of sleeve, approx 29-30" including the feathers
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 16" from neck to waist seam under sash
Skirt: 41.5" from waist seam under sash to hem

Modern Sizing Equivalent: SML-MED, Maybe a small shouldered LRG

Reference Photos: (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (3-4) 1973-1977 Bill Blass Ensemble from Kent State University Museum.

Item# DD3160

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

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 featured in the video we have included here for 'Throwback Thursdays with Tim Blanks'. In the  introduction to the video Blanks states: "The designer was famous for his runway spectacles, but this one in particular lingers with our Editor-at-Large, not because it featured a rookie model by the name of Gisele Bündchen, but because of its extraordinary emotional resonance. 'It's proof that he was a magician.'". Vogue's review of the collection that year explains how the name of the collection became 'Untitled'; "While there was plenty of pain in Alexander McQueen's work, there was usually pleasure, and often some poetry as well. Such was the case with spring 1998’s Golden Shower show, renamed Untitled when the sponsors balked at the lasciviousness of the former title. Models walked down a runway made of water-filled Lucite tanks wearing tight snakeskin dresses and tailored intarsia suits. They were dressed in all white for the finale and were treated to a shower that made their mascara run and their all-white clothes see-through."

This suit is one of the the versions produced from that show and mentioned in Vogue's review above. His very early pieces are more rare and this one is a fabulous find that is still extremely wearable and highly collectible. It is in remarkable condition and is a bold statement piece. The fabric is the same as a men's suiting and it has a blue pinstripe that runs through it. Depending on the light, the base looks either black or a deep deep blue-black.  The lining is a periwinkle blue so when the jacket opens you get a flash of that bold color. On the pants the blue is used even more boldly, borrowing from the runway, with a wide inset ribbon in a blue checked wool insets into the fabric. This inset of fabric runs down one leg and then another wraps all the way around the hip. The tailoring has a strong nod to a menswear suit in its cut and the the lines are precise. The trousers are flat fronted and straight legged. The jacket has a beautifully tailored cut with a notched in waist line and strong shoulder. I love how he has set the two buttons on each cuff right at the bottom edge of the sleeve and that the cuffs on the pants are precisely 1 1/4". Excellent condition

The jacket is lined in a fine grade periwinkle silk. It closes with buttons at the front. Each cuff has two buttons and the buttons holes are finished but decorative only. There is an extra button sewn inside the waist band. Pockets at each hip of the pant and hidden pockets lie along the seam of the jacket. There is also a buttoned interior pocket and one exterior pocket on the breast. Both pieces are tagged a vintage McQueen 44 but check actual measurements below for sizing

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 27" from neck to hem

Pants
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 41.5" from waist hem
Inseam: 31.5" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD1985

Reference photos: (1) Alexander McQueen S/S 1998 Runway.  /  (2) Amanda Lee Shirreffs 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.

This deep yellow cape is wonderful. It is by Yves Saint Laurent and is a beautiful and easy to wear piece that will fit virtually any size. It's twin walked the Fall 1988 runway and is very representative of the work he was doing during this time period especially after the success of his famous 'Russian' collection of 76-77 that predominately featured capes. The cut is very simple. It has one single button and loop at the neck and then simply falls into place over the body from there. I love the color that gives it the absolute wow factor that you see and makes it feel so dramatic. The fabric is a wool that has an almost felted look to it. It is the type of item that you can throw over almost anything. Overall excellent condition

Unlined and has a button & loop at the neck with no other closures. Tagged a 38 but there are no true defined shoulder seams and that combined with the open fit endure that will fit pretty much anyone. There are very small scattering of tiny marks and I found one tiny pinhole - I photoed that and the worst of the marking in the shot that is just after the label shot. There are some teeny scuffs and tiny areas of thinning to the fabric here and there as well but its all extremely minor and mentioned more for accuracy then anything. It is all the outcome of natural aging and use. Note that the color in person is slightly deeper and more towards a mustard color then how it photoed.

Length: 53" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# C500

Reference Photos: (1-3) Fall 1988 Yves Saint Laurent Runway.  /  (4-8) Cherie, Owner of Shrimpton Couture. (Photos 1-3 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.

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

The dress is almost beyond words in terms of how beautiful it is and it is almost outrageous with its level of opulence. It is constructed to couture standards and the workmanship and quality of materials used in its construction are amazing. The impact of that soft purple combined with the elegant cut and then the opulence of the embellishments is a fantastic combination. A George Halley design always starts from the fabric and embellishment choices. The skirt is made from rich silk with a satin finish in a soft lavender. It is is very full and he has set it higher up the bodice so that the waist seam lies under the bust but not quite high enough to be a true empire. The skirt falls from there in a widening expanse of fabric and the skirting has tremendous shape and volume. Underneath here is an attached silk organza underskirt that helps to hold the shape and fullness you see. It is important to note that most of the shape is created by the deep inverted pleats that sit at the back and the soft wide gathers at the front. The underskirts are there as support rather then to create the shape. A small but important distinction as it speaks to the high level of workmanship the dress was made to. At the front there is a huge bow in the same fabric as the skirt. This is attached to a wide band of silk that curves around the waist. It is set so that it is partially attached around, snd then snaps and hooks into place under the bow so that all the closures are hidden and there is nothing to break the line. Each snap has been hand covered in silk and set into place by hand. The bodice is a work of art with a floral design made entirely of heavy glass crystals, beads and rhinestones. Each piece of the design has been set by hand to follow the pattern of the pale lavender lace underneath. The bodice curves up to a high neck and the collar has been densely covered with the jewels to create a contrast to the rest of the bodice. The sleeves are cut so that they slightly widen out as they near the wrist. Each cuff has its own densely beaded finish to match the collar. The bodice is completely covered in the crystals and these catch the light with your slightest movement. It is incredible. It is very heavy because of the dense glass bead work on the bodice but once on, somehow feels extremely comfortable. This is a remarkable dress that would be impossible to replicate in our modern world. This would have been a custom piece made for a specific client. The is one of the best examples I have seen of his work outside of a museum. Excellent condition with two small notes to review below.

The dress has an attached inner stiffened organza skirt and the outer skirt is interlined with a matching purple silk. The bodice is fully lined in a hand set inner cream silk and layer of nude silk sits between that and the outer embellished lace layer. It closes with a hand set back zipper. The band around the waist is partially attached and then closes with hand set silk covered snaps and hooks into place under the front bow. Each sleeve has a hand set zipper at its end. There are two small breaks in the netting close to each other on the back of one shoulder. There is a tiny variation to the colour under the folds of the pleats on the skirt, the silk is a darker shade of purple all along and under each fold. You only see then when you open the folds and it is very even so does not detract. Please see the last three photos after the label shot. 

Sleeves: 23"
Shoulders: 14"
Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 47.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3152

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

George Stavropoulos was known for his evening wear and his signature looks often involved draping and the use of multiple layers of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns 'seemed to float on air'. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His gowns are almost entirely made by hand and are made to couture standards. By the early 1980s one of his dresses started at around $8500 and they went up in cost from there. That price point equals to around $26,000US in today's dollars. When you buy a vintage Stavropoulos gown you are getting incredible value for your money.

This dress is a wonderful example of his work. The print that covers the exterior layer of silk  chiffon is a beautiful combination of different shades of purples mixed with greens. The dress is completely made of a bias cut silk chiffon. The skirt is wonderful with four layers of silk chiffon laying under the top printed layer. The bias cut treatment of the silk gives the dress incredible movement as you move. The neckline of the dress is cut high on one side and it is scooped at on the other. It is so well made that you can easily wear it either way around. I have photoed the dress with the scoop at both the front and the back so that you can see it either way. It works both ways and I suspect that on each person one way will feel better then the other. Or, if you are lucky, you will be able to do both so it will be like you are getting two dresses in one. The sleeves are very full and each is caught up at the wrist so that they pouf out above the cuffs. The bodice floats over a wide band at the waist which gives you added shape. Below that the skirt flats to the floor and all of those layers of silk are hidden until you move. It is very romantic feeling and even better in person then how it photoed.  Excellent condition with one small note below.

The inner layers of silk act as the lining and there are a total of 5 layers of silk in the skirt. The bodice is lined in silk chiffon and the sleeves are left unlined. It closes with a low hand set, painted metal zipper on the inner layer and hidden snaps to cover the zipper on the outer. The color is slightly lighter and more pastel in feel then how it photoed. There is a teeny separation at the seam of the shoulder and the silk is just starting to shatter along the seam of that same side at the edge of the neckline. I have photoed this and it can been seen in the shot after the label shot. I have reduced the price on this from $1500 to accommodate for this small flaw

Sleeves: 28"
Slightly inset shoulders: 13"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner lining hips: to 21" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2806

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 1979 LaVetta was featured in Ebony magazine (click here to see it on our blog) and in that article she says "We're known for the dramatic drop dead entrance". Dresses cost upwards to $10,000 when they were produced, which was a remarkable price tag in 1979. At the time she was "the only black person designing and marketing her own line" according to that Ebony article. Legend has it that it was the scarf dress that relaunched her business after the heyday of the sixties and  Hollywood glamour had ended. Her business had died out by 1970 and she sat, dead in the water for two years, until a friend showed up one day in a thrifted dress made out of scarves that she had found in Europe. LaVetta made her own version, a buyer from Neiman Marcus snapped it up, she begged and borrowed money to meet the order, and boom, she was back in business. 

The sleeves are cut wide and full, in a manner that gives a nod to the kimono sleeve. Both the back and the front plunge quite low and it is cut so that the weight of the lower skirts keep it perfectly in place despite the lowness of the cut. The skirt is magnificent and literally has a full 360 degree sweep. This gives it incredible volume and movement. This one falls to just above the ankles or perhaps a little higher depending on how tall you are. The scarf printed silk that is used is light in weight and has wonderful drape as a result. The various prints and the way it is mixed over the silks is magnificent. Each of these dresses are entirely unique, with no two having the same mix of patterns and colors. Excellent condition with one small note to review below

The top portion is unlined and the skirt has an inner lining of a lingerie weight stretch nylon. No closures - it slips over the head to wear. The caftan/kimono like cut will fit a variety of sizes. There is a little bit of stress to the fabric near the edge on both the front and back. I have photoed both sides and these are shown after the label photo. Longer versions I have had in the past had a hand finished edge and this one does not so I suspect it was shortened for the height of its owner. That and the stress marks on the neckline allowed me to price this one quite a bit less then I normally would so its an incredible steal

Sleeves: approx 19"
Shoulders: no defined seam
Bust: variable as there are no defined side seams
Empire waist: to 17.7" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam of the inner skirt lining
Bodice: 11" from neck to mid waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3150

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.

When doing the research to date this lovely dress, I found two references to pieces where Sant'Angelo used the same wood bead fringe that this dress has to finish an edging. One on a jacket photoed on Verushka for Vogue and the other edging a vest that is held in the permanent archives of the Metropolitan Museum. Both were dated to 1968. I found no other images where he used that wood fringing so am confident that this was something particular to that year's collection. The dress is wonderful and embodies all of that artisanal, bohemian spirit that the best of his early work captured. The dress is made from a purple velvet that is the detailed with brocade & metallic lame ribbons and fabrics. I suspect that some of the fabrics he used are antique bits and pieces that he would have collected and then re-purposed. The cut is loose through the body with a deep plunging neckline that closes with a series of hidden set snaps under its front edges.The combination of those colors and materials gives it lots of visual impact. The hem is finished with that amazing row of dangling wood beads and these make a fabulous sound when you move. This is a rare and wonderful piece of his early work. Excellent condition

Unlined and slips on with a series of hidden set, fabric covered snaps running down the front. Each sleeve snaps to close. Note that the cuffs seems very small for where they would sit on the arm. I do not know why and you could just flip them up I think, but am noting this so you are aware before buying. Each is approx 6.75" around once snapped. You could move the snaps to get to about 8" around or perhaps have a button and loop added to get more room altogether

Sleeves: 22"
Shoulders: 13.5"
Bust: 16" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 47" from neck to bottom of wood bead detailing at the hem

Modern Sizing Equivalent: XS-SML

Item# DD3146

Reference photos: (1) Verushka for Vogue, April 1968 / (2) The Metropolitan Museum of Art Collection, 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.

The black version of this dress walked the runway for the Fall 2001 Couture show and I have had a black one in the shop but never the ivory until now. Versions of this piece have been a constant throughout Alaia's history and similar gowns featured prominently both in the Alaia exhibit at the Groninger Museum and accompanying book 'Alaia- Azzedine Alaia in the 21st Century,'.

This long and sexy silhouette is perhaps one of the most iconic of all the Alaia designs and most certainly one that is instantly recognizable as being his work. It is a look that feels as fresh to wear now as it did when it was created. The dress is made from his signature stretch viscose jersey. This fabric molds to the body once on and is cut to hug every curve through the bodice and the waist. Under that it flows out into a very long, full length skirt that is made of yards and yards of fabric. The contrast of being fully covered and yet having your every curve show is signature part of his genius in covering the female form. The bodice of the dress is cut into a slightly higher neck and back and has low dipping sides. Raised seam work highlight the curves of the dress around the body and also create and emphasize the bust and waist. More seams curve around the backside and hug the body. The color is a creamy ivory. This dress would also make for a wonderful wedding dress for someone looking for something not as traditional. Excellent condition with one very minor note below

Unlined and closes with a hidden set side zipper. There are also hook and eye hidden at the top of one shoulder. The gown is bias cut so does come up in length a touch once on. It is tagged a vintage Alaia size Small and Alaia does run small. The knit will stretch a bit and allow for a bit of range size-wise. I have given the range laying flat and stretching out to its comfortable max - you might be able to squeeze a touch more if needed. There is a teeny bit of a very faint mark near the base of the zipper but it is extremely minor. Please see the photo provided after the label shot

Bust: will stretch to 16" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 14-18" flat across from side seam to side seam
Length: 67" from top of shoulder to front hem, 70" to back hem

Modern Sizing Equivalent: XS-SML

Item# DD3145

Reference Photo: (1) F/W 2001 Alaia Haute Couture Collection, Look 18.  /  (2) Alaia in his Paris Atelier with his long-time muse Naomi Campbell.  /  (3) Book: Alaia, Azzedine Alaia in the 22st Century, BAI publishers, Groninger Museum.

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

This exquisite Fall 1952 Christian Dior Haute Couture dress is a beautiful and rare example of Christian's work from this time period. Christian wrote of the Fall 1952 collection, "In the Autumn, the silhouette took inspiration from modern techniques with the 'Profile Line'. This 'Ligne Profilee' was inspired by the shapes modern life surrounds us with" ... owing its shape to "natural curves refined and profiled with care"..."Molded to the body, their goal is first and foremost to thin down and lengthen". Vogue said in part in their review that, "The designing of seam is like a lesson in the construction of a beautiful building... His completely slim profile follows the curve of the ideal body". The New York Times noted "Dior calls the waistline 'unbroken'. It is never cinched. The cut is so perfect, the look so custom-made that description cannot do justice to the simplicity of high tight collars, smooth long sleeves and buttons down the center front". It is a becoming exceedingly rare to find such wonderful examples such as this and I am very pleased to have it in the shop.  A similar gown from this same collection that seems to be a simpler version of this one (and in a far less desirable condition then this one) is held in the permanent collection of the Metropolitan Museum.

The dress is constructed from an ivory silk that has a slight ribbing finish to it. The cut is simple and deceptive in how it makes the many Haute Couture finishes appear to be effortless in their execution. The top is cut straight across at both the front and back. It is molded to the body with wide straps in the same silk curving up and over each shoulder. Clear faceted buttons, that I believe are glass, are places at the outer edges of the top seam and then gently curve in towards the waist. This draws the eye inwards and gives the illusion of an even smaller waistline. The buttons continue on that inward line once they  past the waist seam. On either side of the buttons are simple little slit pockets whose inner construction in quite intricate, These follow the curve of the hip and help add volume there without adding bulk. The skirt billows out to a beautiful fullness and the shape is built in through layers and layers of silk netting and tulle underneath. For the majority of the photos I have added another separate crinoline so that you can really see the volume that can be achieved through the skirt. The last two full photos of the dress before the label shot is of the dress with only its built in skirts. The inner construction of the dress is absolutely exquisite with a boned and silk net corseted interior. Attached to the inner silk skirt there are various layers of silk tulle attached at different lengths. A scattering of beads and crystal rhinestones on the front of the skirt offer the final finishing touch.

It is a beautiful example of Christian Dior's early work and a wonderful example of the golden years of Haute Couture. The dress is not perfect and I have gone through the condition below so please review those notes carefully and review all of the provided photogrpahs. I also took an extensive set of videos when I steamed out the inner parts of the dress and these show the inner construction wonderfully and in detail. I did this through my Instagram stories and saved the series as a tagged highlight "Dior Steaming" that can be access on my bio page there.

The majority of its issues are simple grubbiness. My cleaners felt that the inner parts of the dress would have to be removed and then re-attached in order to clean it properly and the decision was made to leave it in as found condition and leave the original stitches. They did feel that it would clean beautifully so if it is purchased to be worn or perhaps as a wedding dress, it is 100% cleanable and perhaps there is another cleaner out there that may have a different solution. That will be the decision of the new owner regardless.

Fully lined with built in interior silk skirts that have attached tulle layers. There is a built in netted corset that is boned. The interior corset closes with a series of hook & eye. The dress zips to close over that. The dress has general grubbiness over its entire surface with most around the commonly touched by skin areas - around the pockets, the upper bodice and the hem of the skirt. There is a bit of yellowing under one packet and one a couple areas of the skirt. I do not see signs of any major alterations though I suspect that the hem was let down at some point in its history. There are tiny little rust pinpoint marks scattered over the front and some tiny pulls to the fabric. The interior tulle edges are left raw. There are some scattered holes in the tulle of the skirt and a couple in the netting of the inner corset but nothing that compromises its stability. It is mainly just grubby. Note that the color has perhaps a touch more cream to it then how it photoed.

Note that because of the rarity and value of the dress it is offered as a final sale to lessen the possibility of multiple shipping trips. Please buy accordingly and ask all questions before purchasing

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3144

Reference photos: (1) The Metropolitan Museum of Art. Quotes in first paragraph from the book Dior Catwalk

This garment is in as found condition. Please review all condition notes, descriptions and photos provided.

John Galliano was moved over from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. The collection from about 2000 to 2011 are covered in full but the ones prior to that are harder to find the full information on. I believe this is from the Fall 1998 collection but it may be a season or two on either side. I did have a reference photo for this at one time years ago but unfortunately it was lost and I was unable to find it again. I recently saw just the dress of this set listed for $6200USD. Mine is for the full proper set, the dress, the cuffed tunic and the removable fur collar.

 The dress and tunic are made from a black netted knit fabric that has rows of an 'eyelash' knit applied to it. The fabric and the way it is cut allows it to cling like a second skin once it is on as it both molds and hugs the body. The same fabric used on the tunic allows for the incredible, voluminous draping that you see. The dress is cut to cling to your every curve and the semi-sheerness of the fabric gives it an added sexuality. It is suspended from little straps made out of the same fabric. The tunic is cut to be oversized and dramatic. It is basically cut in a giant T frame with wide sleeves and a loose, over-sized cut through the body. The ends of each sleeve are finished with a dyed to match knitted fur that I believe is fox. The cuffs are set all the way around the wide cut sleeves and are a full 7" high. The set also has its last finishing piece, the knit fur collar that slouches into place and perfectly balances the sleeves. This is an entirely separate piece so the set can be worn with or without it. It is extraordinary and a very rare and complete set of his early work for Dior. It appears to have never been worn. Excellent condition

Both the dress and tunic are unlined and slip on to wear. The fabric has stretch. The dress will fit a range of sizes and I have included the comfortable range when laying flat of those measurements. The tunic is basically a one size fits all so the sizing is designated by the dress only. Note that I am not a fur expert so referring to  the fur cuffs and collars it as being fox is is my best guess

Dress
Bust: will stretch to about 16.5" flat across from side seam to side seam
Waist-hips: will stretch to about 19" flat across from side seam to side seam
Length: 66" from top of shoulder to hem but will come up some when on the body

Tunic will fit any size
Measures 54" across from end of one cuff to another and is 18" from neck to hem

Collar
7" wide and 30" around

Modern Sizing Equivalent: XS-SML

Item# DD3142

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

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 found a reference photo for a similar version of this dress that American Socialite Slim Keith wore to the Metropolitan Museum of Art Gala in New York City, in December of 1979. Barring the fact that she could have pulled this from her closet, that effectively dates it to the fall of 1979.

This dress is magnificent and I personally own the twin of this one so I can attest to how wonderful it is once on. The dress has elements of his work that he would touch on continuously over the coming decades. It is also a wonderful example of  just how sophisticated and glamorous he could be. The silk chiffon he used for the base is feather light and has a fine gold, metallic lurex thread that is woven through the silk to create vertical stripes. On the skirt, hand applied sequins are scattered over the fabric and follow the gold lines of the fabric. The sequins catch the light beautifully and add another dimension and texture to the dress. There is a subtle leaf print that runs through the silk. The design is done so that is is very light at the top of the dress and then it gradually deepens and takes over the red until it graduates to a chocolate color around the hem. The dress has a nod to the 1930s in its cut but he has exaggerated some of the elements to keep it modern. The bodice crosses over itself and there is a silk chiffon inset under the semi-sheer exterior layer of silk. The sleeves come out from the bodice and each widens as it nears the cuff. The cuffs are both finished with an 18" band of fur that is either a mink or a sable. This finishing touch gives them weight and helps to hold the wide bell shape. Note that for those opposed to fur it would be an easy task to remove then as the sleeves are finished properly underneath.. The effect with the cuffs removed would be more like the reference photo of Slim wearing hers. They could also be switch out for a faux fur for the same effect. A brown silk ties cinches the waist and the skirt has a slit up the front to balance the plunge. Excellent condition.

Fully lined in a brown silk chiffon inner, attached slip. It closes with a back painted metal set zipper. An inner waist stay inside hooks to close. Hand finished and hand set sequins.All hand finished to demi-couture standards. The cuffs have perhaps the slightest of wear to the edges but are soft and supple.

Sleeves: 24" approx.
Shoulders: no defined seam
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15.5" from neck to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2800

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

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

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 recently got a one shoulder dress by Blass in the shop that has the same fringe treatment as this one and it is from the same 1974 collection as the dress is.

The surface of this Bill Blass set is entirely covered with glossy black sequins that give the set an almost liquid feel. Not a single inch of it is left uncovered. The outfit is made of up of two pieces that when worn together look like a full length dress. Being two pieces makes it extremely versatile because you can mix and match them with other pieces in your existing wardrobe. The long, floor length skirt is a classic Bill Blass cut. It has a high slit up the back, which is both practical for walking and also adds a little sexiness when your leg flashes through as you walk away. It slips on with an elastic that runs through the waist for maximum comfort and ease despite its high glamour feel. The tunic is equally fantastic. It skims over the bust, waist and hips and is finished all the way around the hem with a long beaded fringe. It is just long enough to be able to wear as a mini if you felt extra daring. The fabric that the sequins are attached to has a bit of give so its very comfortable. A superb and early Bill Blass that packs a tremendous impact once on. Excellent condition with one small note to review below

Both pieces are fully lined with a black silk chiffon. The tunic closes with a hidden set side zipper and there is a hook & eye at the top of one shoulder. The skirt has elastic through the waist. The base fabric the sequins are on has a slight stretch to it giving it almost a bias cut feel once on the body. There is one area on the side of the tunic where a few fringes are missing. You would only ever notice if its worn over something white like my dress form is. See photo after the label photo for a detail shot of this areas.I have recently seen just the skirt by itself from this set listed at what I have the entire set priced at.

Tunic
Bust: 17.5-18.5" flat across from side seam to side seam
Waist: 17-18" flat across from side seam to side seam
Hips: 19-19.5" flat across from side seam to side seam
Length: 31" from shoulder to hem

Skirt
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18-19" flat across from side seam to side seam
Length: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2325

Reference Photo: Fall 1974 Bill Blass Runway.

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

There are few collections with such instant recognition as this one had when it came out, and still has to this day. This look was not shown on the runway but was one of the production pieces that hit the sales floor that year. It is made out of a single layer of bias cut silk chiffon that sits over an inner layer of a black silk. The inner layer is also bias cut and the two layers float over each other perfectly to drape over the body. The fabrics used are as light as a feather so that the caftan feels wonderful once on the body. It has a gathered pleating detail that runs along the front neckline. At the back it closes with a single button above a small keyhole slit. It is cut very long and falls even longer at the back. This gives the caftan a trained effect and results in a more evening feel then had the hem been cut the same length all the way around. There are slits on either side to slip your arms through but the sides are closed otherwise. It is cut to slightly taper in as it nears the hemand is immensely flattering once on. It is tagged as a size 40 but between the caftan cut and the bias cut silk it will fit almost any size. It is truly a remarkable dress that is hands down one of my favorite pieces ever. Excellent condition

Fully lined in a black silk and clips over the head to wear. Has one button to close at the back of the neck. Appears to have never been worn or worn very little. Tagged a 40.

Shoulders: no defined seams
Bust:-Hips: open
Length: 58" from shoulder to front hem, 70" to the back hem

Modern Sizing Equivalent: OSFA

Item# DD3139

Reference Photos: (1-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (4) S/S 2002 Yves Saint Laurent Runway, Look 39, Model: Caroline Ribeiro.  /  (5) Photo by Craig McDean for Harper’s Bazaar, January 2002. 

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

Sybil Connolly was based in Dublin and her first major fashion show as a designer in her own right was in 1953 and quickly became a darling of the American market. Jacqueline Kennedy wore  Connolly for her official White House portrait and Connolly was a particular favorite of Carmen Snow, the editor of Harper's Bazaar. In 1957 she launched her couture label. She created Haute Couture pieces made from Irish textiles and in particular she became famous for her distinctive use of  pleated handkerchief linen. This excerpt from the FDIM Museum explains Sybil Connolly's techniques:

"Sybil Connolly's trademark gowns required a tremendous amount of fabric. To construct one pleated evening dress required between 72 and 90 yards of Irish handkerchief linen. After undergoing a secret pleating process, this initial yardage became 7 to 10 yards of slightly irregular, narrow linen pleats. Like the early 20th century designer Mario Fortuny, Sybil Connolly was very protective of her pleating process, swearing that it was a secret she would "carry to the grave." In her designs, Connolly usually oriented the pleats horizontally, covering the seams with self-fabric cording. The cords also lengthen the overall line of the garment, providing a counterbalance to the horizontal pleats. As Connolly tended towards solid colors, the stiff cording also provides a necessary visual contrast to the soft linen pleats."

Connolly was named the 'Dior of Dublin' by the press and rightly so. This dress is not 100% perfect but still a stunning example of the pleating techniques as described above. This best matched the sketch of the dress that Connolly named the 'Non-Chalance'. I found a sketch of it within the permanent collection of the Hunt Museum in Ireland and there is also a similar gown held in the collection of the Irish Linen Centre & Lisburn Museum. Sybil worked directly with the cloth when she did her design work and rarely did any preliminary sketches so it is a pleasure to have found one to reference. I found a quote that referred to the Irish linen she used to be 'of a quality so fine it was almost chiffon-like in weight' and that’s description is very accurate. This dress has a very formal feel to it that is heightened by that strong red color that the linen has been dyed to. The elaborately layered cuffs are a made from the same fabric but here the pleats are more a traditional tiny pleat and they are set vertically, rather then the horizontal pleating of the dress. They are dramatic and very full with their two layers stacked on top of each other. They add a touch of romance and whimsy to the dress and give it a lovely movement when you move your arms. This same treatment circles the hem as well and adds a touch of a flounce to the other wise structured skirt. The dress is otherwise kept to simple lines so that the pleating technique takes center stage. The bodice is fitted, with a slightly scooped neckline. The waist cinches in for shape and then the skirt billows out to a beautiful strong line that allows the many yard of fabric used to take full center stage. Soft gathers at each side of the hip and around the back create more volume. It is wonderful and rare example of her work. The gown presents as excellent condition at first glance but does have some condition notes below to review.

The dress is fully lined in a matching red hand set silk and closes with a back painted metal zipper. The hand work done can clearly be seen throughout the interior. I see some shattering to the silk around each arm but other wise the inner silk appears to be strong and stable. The small amount of shattering does not affect the exterior at all. There are areas of darkening/discoloration to the fabric present. I see an area on the front skirt under the waist. A smudge on the piping edge of one sleeve and a darkening to an area on the front bust. One small smudge on the back of the skirt about half way down. Inside, there is a tiny bit of fading to the seam under the arm and the inside neck. There is a tiny repair to the base of the arm seam on each side. The dress is strong and stable otherwise. The discoloration ranges from a subtle darkening to a deep darkening of the fabric as photoed. You could easily get away with wearing it as is if you don't mind a piece that is not perfect. Please review the photos shown after the label photo. It is cut slightly narrow through the shoulders.

Shoulders: approx 14" but no true seam
Sleeves: approx 18"
Bust: 17-18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist
Skirt: 44" from waist to front hem and 46" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3137

Reference Photos:  (1-2) Sybil Connolly Design Sketches from The Hunt Museum.  /  (3) An original Sybil Connolly creation. Copyright Irish Linen Centre & Lisburn Museum.  /  (4) Portrait of Jacqueline Kennedy by Aaron A. Shikler. Oil on canvas, 47 x 31 inches, executed between 1968-1995, from a Private Collection, courtesy Davis & Langdale Company, Inc., New York.  /  (5) 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.

The twin of this jacket is held in The Met Museum's permanent collection and I am very pleased to have one here as they are very hard to come by. This is is in perfect condition too making it that much more desirable. It is that sense of humour and drama is what defined the very best pieces from Moschino. The label had the ability to provoke and challenge all while making exceptional pieces of clothing. Francis Moschino launched his label in 1983 and was on the forefront of making environmentally sound choices long before it was common.

This jacket is exceptional and showcases everything collectors love in a Moschino piece. These have become very hard. The jacket is from his 'Fur For Fun' label and is of course a faux fur. It combines a shorter pile. soft ivory faux fur with the starkly black longer and thicker, glossy faux fur that forms the cuffs and collar. The collar is cleverly cut to form a question mark that wraps around the neck and down the full length of the other side. That longer side ends in a soft point and dangling below that is a flattened ball that forms the base of the question mark. The cut is loose and easy and cropped. Only the waist is fitted and everything above that very generous in size. It looks to have never been worn, or worn very little and is absolutely fabulous. Excellent condition.

Fully lined in an ivory silky satin. It closes with a fur hook just above the base of the question mark and slight wraps over the other side. Tagged a vintage US6, IT40, FR436. The loose cit will allow it to fit a variety of sizes. Note the color is person is a touch more ivory then how it photoed but no where near as dark as the Met reference photo (which looks to have been done in poor lighting)

Sleeves: approx 21"
Shoulders: no defined seams
Bust: open with no true side seams
Waist: to approx 17" flat across from side seam to side seam when the front hook is closed
Length: 19" from neck to longest point of back hem, the front comes up a bit with the curve

Modern Sizing Equivalent: XS-MED

Item# C494

Reference Photo: 1994 Moschino Coat from The MET Online 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.

An oft forgotten period of the YSL history are the three ready-to-wear collections designed by Alber Elbaz, Fall 1999, Spring 2000 and Fall 2000. The fit was not quite right and he was ultimately replaced by Tom Ford. It is an interesting little blip in the labels history and a fascinating example of Alber's work during this time period as well. This dress is from the second collection he did for the label and is one of my favorites out of all of the dresses he designed during his tenure. It was worn to perfection on the runway by Maggie Rizer and photos for the February issue of Vogue that year as well.

The dress is strapless with sleek and simple lines. An inner shaped and sculpted bodice holds and fits it into place and then the exterior fabric flows over that, from the top of the bodice to the floor, in a sweep of fabric. The shape gradually widens out as it nears the hem in a beautiful line. There are two curving inverted pleats on each side of the dress that begin just under the arm and extend right to the hem. These give the dress more movement and volume as you move. You get an idea of just how much fabric is hidden away by the runway photos included here. I love the textured fabric and the little white square 'dots' that cover the dress from bust to hem. It looks to have never been worn. Excellent condition 

There is a structured inner bodice that is boned and slightly stiffened. This closes with its own side set zipper. The exterior fabric is unlined and closes at the side with a hidden set zipper. Tagged a YSL vintage 40. It appears to have never been worn.

Bust: to 17" flat across from side seam to side seam
Inner corset waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 47" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3132

Reference Photos: (1-2) S/S 2000 Yves Saint Laurent Runway Collection, Look 30, Model: Maggie Rizer.  /  (3) Photo by Arthur Elgort, Vogue US, February 2000. 

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

Sybil Connolly pieces are very rare things to find and this particular dress is extra special. When we did our research on it we found the original illustration that Connolly did from The Hunt Museum in Limerick, Ireland. The sketch included the name that Sybil gave to this particular design. The Hunt Museum in Limerick, Ireland has a large collection of her sketches and the original sketch for this piece, named 'Cream Puff' is one of them. The notes that accompany the sketch state: A full-length dress with a centre seam running from neck to hem. There is a round, plain neckline. The sleeves are fitted to elbow and then flare out with bias cut fabric lined with lace. There is a bow detail at the end of the sleeve where the bell-like cuffs are attached.

Sybil Connolly was known for creating Haute Couture from Irish textiles, particularly finely pleated Irish linen, but she also worked with textiles like the silk that makes up this dress. She held her first major show in 1953 and launched her couture label in 1957. Elizabeth Taylor and Jacqueline Kennedy were clients and her dresses were highly sought after. The dress is as described in the museum notes above, but with additional layers of silk organza set inside those extravagant sleeves. The added layers of black silk are finished with hand rolled edges and made of a fine, semi-sheer silk organza. Four full layers of this silk has been hand cut and placed inside the sleeves so that when you move you get this remarkable effect that combines color, texture and volume. The color of the body of the dress is remarkable color - a hand dyed pink salmon that is bright and true. The shoulders and upper arms are cut slim and then dress widens as it nears the hem. Really a fantastic gown and highly collectible. Excellent condition with one note to review below

Lined in a fine pink silk and closed with a back painted metal zipper. Written tape tag that has faded but seems to hold the fabric content (silk) and perhaps the date and name of the dress but it is very hard to decipher anymore. Hand done throughout. Note that there is the slightest overall mottling of the color. The silk is hand dyed and I expect that this is a natural patina. It does not appear to be a flaw, nor are there any areas outstanding - its a very subtle overall effect of natural aging of this particular fabric. The color is slightly more vibrant in person

Sleeves: 23"
Shoulders: no defined seam
Bust: 19.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 21.5" flat across from side seam to side seam
Length: 54" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2664

Reference Photo: Photocopy of design sketch, "Cream Puff", by Sybil Connolly from The Hunt Museum.

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

Sybil Connolly was based in Dublin and her first major fashion show as a designer in her own right was in 1953 and quickly became a darling of the American market. Jacqueline Kennedy wore  Connolly for her official White House portrait and Connolly was a particular favorite of Carmen Snow, the editor of Harper's Bazaar. In 1957 she launched her couture label. She created Haute Couture pieces made from Irish textiles and in particular she became famous for her distinctive use of  pleated handkerchief linen. This excerpt from the FDIM Museum explains Sybil Connolly's techniques:

"Sybil Connolly's trademark gowns required a tremendous amount of fabric. To construct one pleated evening dress required between 72 and 90 yards of Irish handkerchief linen. After undergoing a secret pleating process, this initial yardage became 7 to 10 yards of slightly irregular, narrow linen pleats. Like the early 20th century designer Mario Fortuny, Sybil Connolly was very protective of her pleating process, swearing that it was a secret she would "carry to the grave." In her designs, Connolly usually oriented the pleats horizontally, covering the seams with self-fabric cording. The cords also lengthen the overall line of the garment, providing a counterbalance to the horizontal pleats. As Connolly tended towards solid colors, the stiff cording also provides a necessary visual contrast to the soft linen pleats."

Connolly was named the 'Dior of Dublin' by the press and rightly so. This dress is not perfect but is a stunning example of the pleating techniques as described above. I believe this is a version of the dress she named the 'Non-Chalance' that I found a sketch of from the permanent collection of the Hunt Museum in Ireland and I found a similar gown that is held in the collection of the Irish Linen Centre & Lisburn Museum. You can see the similarities on all but the hem in those examples. Sybil worked directly with the cloth when she did her design work and rarely did any preliminary sketches so it is a pleasure to have found one to reference. I found a quote that referred to the Irish linen she used to be 'of a quality so fine it was almost chiffon-like in weight' and that’s description is very accurate. This dress has a very formal feel to it that is softened by that lovely soft pink color that the linen has been dyed to. The elaborately layers cuffs are a made from the same fabric but here the pleats are more a traditional tiny pleat and they are set vertically, rather then the horizontal pleating of the dress. They are dramatic and very full with their two layers stacked on top of each other. They add a touch of romance and whimsy to the dress and give it a lovely movement when you move your arms. The dress is otherwise kept to simple lines so that the pleating technique takes center stage. The bodice is fitted, with a slightly scooped neckline. The waist cinches in for shape and then the skirt billows out to a beautiful strong line that allows the many yard of fabric used to take full center stage. Gathers at each side of the hip and at the back create more volume. That wonderful sweep of the back is stunning and the back hem is cut just a touch longer then the front. It is wonderful and rare example of her work. The gown presents as excellent condition at first glance but does have some condition notes below to review.

The dress is fully lined in a matching pink hand set silk and closes with a back painted metal zipper. The hand work done can clearly be seen through the interior. Some shattering to the silk on the inner bodice, under each arm and some small areas of the inner skirt. This does not affect the exterior at all. There are areas of a yellow discoloration present. A large one to one side of the skirt at the hem that is roughly 7" x 4" and some scattered areas on the front skirt under the waist. The edges of each sleeve show some discoloration. Inside, there is a tiny bit of fading to the seam under the arm and the inside neck. The exterior underarms are perfect and the dress is strong and stable otherwise. The discoloration ranges from a light fading of the pink to a yellowing of the fabric as photoed. You could easily get away with wearing it as is if you don't mind a piece that is not perfect. All the flawed areas are photoed and shown after the label photo. It is cut slightly narrow through the shoulders but of you are small through there it may fit more a medium as well.

Shoulders: 14.5"
Sleeves: 26"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist
Skirt: 44" from waist to front hem and 46" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3130

Reference Photos:  (1-2) Sybil Connolly Design Sketches from The Hunt Museum.  /  (3) An original Sybil Connolly creation. Copyright Irish Linen Centre & Lisburn Museum.  /  (4) Portrait of Jacqueline Kennedy by Aaron A. Shikler. Oil on canvas, 47 x 31 inches, executed between 1968-1995, from a Private Collection, courtesy Davis & Langdale Company, Inc., New York.  /  (5) 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.

This stunning and rare gown was designed by Bob Mackie. Mackie was best known for dressing Cher and for his undying love of opulence and bead work, both of which he incorporates heavily into the best of his designs. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. I think he secretly always designed for the big screen and the bygone glamor of Hollywood as his work is always over the top and extravagant.

This is an amazing gown that is heavily beaded and extremely sexy and flattering once on. The base of the gown is made of a black silk chiffon that has hundreds of vertical bands made of blue and black beads laid out in curving rows that follow the lines of the dress. Mixed into this are huge pink Orchids that curve up the front of the dress, highlight the lower half and sit on each sleeve. There are also flowers on the neckline and even on that dips out an past the scoop of the back so that the beaded flow sits on your bare skin. These are made up of beads and sequins in a mix of pinks and purples. Iridescent green tube beads form long trailing stalks and leaves. This combination of the glass tube beads and sequins give the gown an extra layer of texture and glamour as every inch of it catches the light and sparkles. As a result the dress is very heavy off the body because of that extensive bead-work, and yet once on the body it lies and drapes in a way that it is balanced and not at all unwieldy. The bodice is cut to skim over the chest with a wide cut neckline. The sleeves are cut wide and straight so that there is enough area to really show off the orchid design that trails down and around each sleeve. The back plunges in a V with that overlay flower that sits off on your skin as mentioned above. I love how the waist is gathered in by hand across the back just slightly so that there is a bit of shape created but at the front its left with no stitching added so that the front remains a ling unbroken sheath. The skirt is incredible and is cut with a high curve so that one side falls to full length and then other curves up to show the leg. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. If you even remotely love it in the photos you will dance when you see it in person as it is so, so, so much better in real life. Extremely well made and made to demi-couture standards. It is so well made I think you could even wear it with the V to the front and it would still work. Excellent condition.

Fully lined in a black silk chiffon crepe including the sleeves. It closes with a hand set back zipper. Hand finished throughout. Incredibly heavy as it is fully beaded from top to bottom with glass beads but feels balanced when on and comfortable. Perhaps the occasional bead missing but nothing that detracts - I see a couple missing beads at the back near the hem and a bit of a row on the back of the curved hip side. You would never notice this when the dress is on.

Sleeves: 24"
Shoulders: 14.5
Bust: to 18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 43" from waist to longest point of hem. 16.5" from waist to highest point of the curved side

Modern Sizing Equivalent: XS-SML

Item# DD3127

Reference Photo: Spring 1983 Bob Mackie 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.

The twin of this dress is held in the archives of the Philadelphia Museum of Art and it was photoed for Vogue Magazine for the November 1970 issue giving us the exact date for it. The version here no longer has its ODLR label but is clearly the same dress. I have included the reference photos of both those examples.

The dress beautifully combines several textures to work together wonderfully. It really showcases the the genius of Mr. de la Renta's work and attention to detail. The dress has a beautiful elegance to it and is quite striking. This sense of refinement is a constant in Oscar's work and I particularly love the earlier examples of it. You can see how many of the elements you see here carried through his entire career and body of work. The bodice of the dress is made from a sheer black silk chiffon that is backed in a nude silk. This gives it the illusion of being quite bare underneath. It also gives the perfect backdrop to really showcase the hand applied, glossy black sequins that trails up from the waist and circle all the way around the back and front of the bodice. Each sleeve is left unlined for a touch of transparency and each is finished a glossy black feather cuff. These explode at the end of each sleeve and add a touch of high drama. A silk satin ribbon with a bow finish sits at the waist and below that the skirt falls to the floor, widening out as it nears the hem. The skirt is made from a rich jet black velvet that is then covered with an intricate, densely applied sequin design. Here too all the work is done by hand and each sequin meticulously placed. It is a beautiful example of his work during this time period. Excellent condition

Fully lined in a nude silk chiffon through the bodice and a black silk taffeta through the skirt. The sleeves are left unlined. It closes at the back with a hand set, painted metal zipper. Hand finished through out. It looks to have been worn very little if at all

Sleeves: approx 21" including cuff
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# E489

Reference photos: (1) Dress in the Philadelphia Museum of Art archives.  /  (2) Oscar de la Renta Dress in Vogue, November 1970.

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

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

I have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced by designers like Ungaro during this time period. This was the beginning of the movement of treating fur more like a fabric and making coats that had far more style to them then the previous norm. I am no expert on furs but believe this it is a sheared mink or perhaps a sheared beaver. The color is a rich deep ivory or cream that has an undertone of a soft taupe to it. The fur is supple and very very soft. What is remarkable is that the diamond pattern you see on the back and front of the bodice has been achieved by cutting into the fur rather then piecing it together. I love this as it lessens the potential for damage as it ages and is probably part of why it is in such amazing shape still. It also gives the coat an added bit of texture and pattern. It is cut in an almost military great coat style with a far more flared out bottom skirting to it then a normal coat would have. There is actually quite a bit of volume to it that you will see when you have it on a move. The bodice above that is more fitted and close to the body. It does up at the front with smooth oval buttons and the neckline is high around the neck. The sleeves are cut straight and full and pockets sit along the seam at each hip.  It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition with a minor note below to review.

Fully lined in a soft taupe silky rayon and closes with the buttons down the front to the low set waist as seen. Slip pockets on each hip. I see no bald spots or shedding, the pelts are supple and soft. The fur has no odd odor, is still supple and is stable with no signs of any shedding that would indicate that it is breaking down. Any dark areas you see in any of the photos are lighting.

Sleeves: 24"
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to inner waist seam
Skirt: 31" from inner waist seam to hem

Modern Sizing Equivalent: SML-MED

Item# C491

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

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

This is a great example of the jersey that was being used in the 1960s and also showcases the more sporting side of the Lanvin house. The Lanvin client not only dressed for evening but also vacationed and played. This would have been the perfect solution - a wash and wear, bright colored romper that would pack and travel exceptionally well. It still looked chic and refined but fun at the same time. The romper is cut with a scoop neckline and  the body is almost like a little A-line dress in shape - it is cut loose and easy through the body and widens out as it near the hem. Little shorts are built in and it still has its original, piped tie belt that allows you to cinch in the waist. The print is down in bright pops of pinks and green that really jump off the yellow backdrop. It's amazing and a rare piece of the more sportswear side of the Lanvin atelier from this time period. Excellent condition.

Unlined and closes with a back set zipper. Has its original tie belt. Looks to have been worn little, if at all. The fabric does has some stretch and the measurements provided are the comfortable range of those lying flat. The loose and easy cut will allow for a range of sizes and the belt cinches in the waist as needed

Bust: 16-19" flat across from side seam to side seam
Waist: 16-18" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: approx 34" from neck to hem
Inseam: 7"

Modern Sizing Equivalent: XS-MED

Item# DD3124

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

James Galanos made couture-level gowns with a level of craftsmanship that left France’s most esteemed couturiers with their mouths agape. The immaculate construction of Galanos’ gowns oozed luxury, privilege, and high society (with price points to match). He was a master cutter and he used couture techniques in his gowns. Here he combines a deep yellow silk crepe with a silk chiffon  in the same shade to create one of a beautiful dress that effortless combine sensuality with decorum. That element of sexuality hidden behind illusion is a trait that the best of his dresses share. Galanos was particularly known for his work in silks and chiffon and this gown combines the two brilliantly. The main body of the dress is made of a silk crepe and this fabric choice is especially brilliant as it has a touch of stretch to it that makes it very comfortable to wear despite its sculpted look. Underneath the plunging halter cut of the bodice is a layer of silk chiffon that allows for the dramatic plunging cut that goes right to the waist while still keep your modesty. The back is left bare under the single layer of silk chiffon that covers that, and a long keyhole slit down the center of the back allows for a glimpse of skin. I love the billowing sleeves above each cuffed wrist that are the perfect balance to the fitted bodice. The skirt fits slim around the hips and the bias cut of the silk crepe give it the perfect drape as it cascades to the floor and widens out as it nears the hem. If you love it in the photos you will be thrilled when you see it in person. It is so much better on a real body. Excellent condition with one small item to note below.

The interior silk chiffon layer on the bodice is unlined and also act as the lining behind the silk crepe parts. The skirt is interlined in the same silk chiffon as we see on the bodice. It closes with hook and eye at the back neck and a low hand set painted metal zipper. Each sleeve closes with hook & eye. Bias cut through the skirt so there is some play with the measurements through the hip. Silk ribbon interior finished seams. There is a tiny area of thinning to the fabric near the seam of the cuff on one sleeve - it is stable and went through cleaning no problem. Made to demi-couture standards and almost entirely hand finished

Sleeves: 27"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Bodice: 14.5" from neck to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2356

Reference Photo: Spring 1972 James Galanos 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.

At the age of 31, Stephane Rolland took over as Artistic Director for the Jean Louis Scherrer Haute Couture atelier, making him the youngest of the 20 official couturiers at the time. That was in 1997 and he continued as the head of the Couture division until the last showing in 2005 when the house closed is couture atelier. This gown and feather cape is from the Fall 2004 Haute Couture presentation and is the actual runway sample that was presented and worn on the runway, Look 35

I love when I have any Haute Couture piece in the shop and to have the actual runway sample is even that much more amazing. The dress is absolutely stunning and neither the photos on the mannequin or the runway photos really do it full justice. In person the impact of the color of the blue silk and blue feathers of the cape is far more then what a photo could ever convey. It is made up of yards and yards of silk chiffon and this creates the most beautiful movement when you move. The silk is set to flow down from the structured bodice and is as light as the air so that it billows and flows around you as you move. It is very sexy and made more so by the way the silk is wrapped and secured to the base of the bodice structure. It is down to leave a slit that opens almost scandalously high when you walk or sit. .The silk through the skirt is also unlined so it has a sense of semi-transparency to it. It is meant to be worn with just a body suit underneath so that you are just draped in silk and nothing else. The bodice is highly structured and formed with a full inner structured boned and shaped bodice that zips to close at the back. It is highly corseted and structured inside to firmly hold the dress onto the body and give you shape. I absolutely love the way the back is shaped to be more like an attached cape then anything and it also creates a trained feeling behind you. Topping this masterpiece is a unstructured capelet that you just hold in place. It is covered in hand dyed feathers and adds the final touch of absolute glamour to an already high glamour ensemble. It is an incredible piece of modern Haute Couture. Excellent condition

The bodice is fully lined in a blue silk and closes with a back zipper. It is a highly structured, formed, boned and shaped corset and is wired around the inner top as well. The skirt is unlined. Hand work appropriate to runway sample level work throughout (see the photo after the tag for the way it is hand tacked onto the main corset. The hand written runway sample tag is present. The father cape is back in a black silk and the feathers are hand applied to a white organza on the front side. There is a little loop for your hand and for hanging it. It is Couture runway model size tiny - probably closest to a true zero or even less then that!

Bust: 14.5-15" flat across from side seam to side seam
Inner waist: 12" flat across from side seam to side seam
Hips: open
Inner corset: 10" from top of bodice to inner edge at the waist
Length: 57" from top of bodice to shortest point of the front hem, 61" from top of bodice to longest point of the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3122

Reference Photos: F/W 2004 Jean Louis Scherrer Haute Couture Runway Collection.

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

This gown was the one used for the 1970 ad campaign that ran in several of the major magazines that year. inclding Harper's Bazaar. The twin of the dress is also held in the collection at the Goldstein Museum of Design (the last two photos are the ad campaign photo and the collection archive photo respectively) and a version is held in the Chicago Museum’s permanent collection as well. This is the second time I have had this dress in the shop and I think I love it even more this time around.

The gown is a masterpiece and I feel that it really is one of the highlights of Oscar's career and truly showcases what a talent he was. It really demonstrates aspects of his work that he touched upon again over the coming decades until his passing.  It has that certain line that he favored, that always felt refined and elegant. It also showcases his ability to mix color and texture and of course, shows his love of rich, expensive looking fabric. He chose only the best and this dress is made from one of the best fabrics I have seen used on one of his pieces. The lines of the dress and the mix of textures used are extraordinary, The gown is full length and is made out of a  silk brocade that combines a deep, charcoal black with a yellow and silver design woven into the fabric. The skirt falls to the ground in a gently widening curve of fabric. The bodice crosses over itself near the waist seam, with a band of large rhinestones hand placed on a band of silver bead work to accent the plunging neckline. The sleeves are long and each ends in a rich and luxurious sable cuff. For those opposed to fur, these could be easily removed and replaced with a modern faux or worn without as the sleeves are perfectly finished underneath. A wide and extra long sash is attached and can be wrapped and tied around the waist to cinch it in for the perfect refined finish. This is real treasure and important piece of well documented fashion history. Excellent condition

Fully lined in a black silk and closes with back painted metal zipper. Each cuff has a hidden set zipper to close. Hidden side pockets on hips.

Sleeves: 23"
Shoulders: 15.5"
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3120

Reference Photos: (1) Oscar de la Renta ad, Harper's Bazaar, September 1970.  /  (2) Oscar de la Renta dress from the Goldstein Museum of Design Collection.  /  (3) Cherie, Owner of Shrimpton Couture, by Erin Leydon (plus the ad campaign photo).

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

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 is still one of the most memorable that Miuccia has done to date and this particular dress was the stand out piece of the season. I remember drooling over it as it hung in all its $15,000 dollar glory at the Prada boutique and it is a true pleasure to have an example of it in the shop. The dress sold out world-wide shortly after being released in extremely limited quantities. It was featured heavily in the ad campaign for that season, was worn by Lily Allen and it graced the cover of the January British Vogue on Eva Green.

The dress is an amazing testament to the couture level construction techniques that the house of Prada employs in its runway pieces. The bust is fitted to the body and the construction is quite remarkable. It has a built in, boned corseting inside to hold the dress in place. It zips down the front and then a secondary out layer of the silk buttons over that. The top of the outer layer at the front folds back to reveal the upper part of the zipper for a more modern twist on the traditional corset. The waist is nipped in with the boning and gives you shape despite the tremendous volume of the skirts below. The skirt is a masterpieces - it is meticulously shaped with great swoops of fabric that are draped and then caught up over each hip. The silk all swoops and curves up to meet in a pleated point that sits on either side of the front zipper. Under these draped panniers is an inner skirt that is finished with a very wide ruffled hem for extra flounce. The skirt is extremely full and if you wished you could add extra crinolines underneath for a more defined bell shape. It is absolutely gorgeous and a true piece of fashion history. Excellent condition.

The corset is boned and made out of a semi sheer black silk organza. It has an inner waist stay and zips to close up the front. It has no size tag but I would guess that it is about a  Prada 42 but of course check the measurements below. It appears to have been worn very little, if at all and is in mint condition.

Bust: 16" flat across from side seam to side seam, with room for a solid B, maybe small C cup
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 35" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3117

Reference Photos: (1) Resort 2008 Prada Collection, Final Look (Look 20).  /  (2-3) Prada Ad Campaign, Resort 2008.  /  (4) Eva Green in Prada for Vogue UK, January 2008. Photo by Patrick Demarchelier.  /  (5) Lily Allen at the National Portrait Gallery, February 2008.

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 one of Gaultier's most memorable runway presentations, the collection where Madonna closed the show pushing an antique pram from which she lifted a young puppy to the great delight of the audience. Vogue'a Laird Borrelli-Persson wrote in her review: “We designers think we’ve invented something, but we haven’t at all,” Jean Paul Gaultier told Vogue when talking about his Fin de Siècle collection, the subject of which was a century of fashion, from S-curve corsets to Lycra. Gaultier’s aim was not to replicate the past: “It’s not modern to do an exact copy,” he told Vogue. “You have to mix up the decades in order to achieve a modern silhouette.” If current fashion is defined by a high-low mix, that of the late 1990s was fixated on an old-new one. “A lot of young girls like old movies and dream to have old dresses that you can’t find anymore,” Gaultier told The New York Times. “I played with that.”

This is look 61 from that same show and true to the runway version. It is actually two pieces, an inner fitted mermaid skirt finish dress with a scenic net overlay that zips over that. The inner dress is made from a lingerie grade stretch Lycra and is cut to hug and fit the body from bust to where the low skirt flares out. The skirt is amazing and poufs out low on the leg in a cloud of silk chiffon over a built in tulle and net base. It is made of three layers of chiffon, white, nude and black over an inner layer of chiffon that is finished with a 4.5" wide stiffened mesh tape that holds it shape and gives it the volume you see. All of the edges of this are left raw as it was for the runway. The straps on this inner dress are clear lingerie straps and the body a deep nude color. The fabric stretches to fit and shape the body. A large chunky zipper runs completely down the back, right to the hem of the skirt. This inner dress is good enough to wear on its own, or you can pop the lace overlay for the full on effect. The lace piece is done in black and has scenes of Paris, the Eiffel Tower and his initials worked into the design that runs all the way around it. It also zips to close with a big chunky zipper and is cut to follow the lines of the inner dress. The back is scooped low on both layers for an unexpected expanse of skin. It is beyond amazing. Overall excellent condition with a special note on the lace overlay to review below.

Both the inner and outer dress close at the back with the chunky zippers as shown..The inner dress is lined in a black stretch chiffon under the nylon lingerie weight exterior. The skirt is comprised of layers as per the above description. The outer lace layer is unlined and there are a couple of tiny breaks in the netting. There is also a tiny area on the seam of the inner skirt that has come away from the seam. All these areas are photoed and follow the photo of the label. My client told me that these are deliberate and in line with the raw, unfinished feel that the skirt has and is how she bought it. I chose to leave it as found based on that feedback and the fact that none seem unstable or comprising tot he design or construction. Hand finished with raw seams at the skirt. tagged a vintage JPG 38. Note the inner and outer dress do have stretch and I have measured both flat to tjeir comfortable ranges. You may be able to get a bit more out of the stretch on a real body.

Inner Dress
Bust: 14-17" flat across from side seam to side seam
Waist: 11.5-13" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Outer Lace Layer
Bust: 16-18" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 15-19" flat across from side seam to side seam
Length: 39.5" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD3116

Reference Photo: S/S 1995 Jean Paul Gaultier Runway Collection, Look 61.

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

These net dresses are among the most coveted of all Giorgio Sant Angelo's designs. They are not easy to find anymore and are much prized by their fans when one appears. Out of all the bandage and fitted dress out there over the decades they stand at the top of the ranks for the title of the ultimate fitted and sexy dress. These all date to the 1989-1990 period and a version of this dress was photoed for Vogue Australia on Lana Ogilvie in 1990 by Anthony Gordon and also on Yasmin Le Bon for Elle UK

The dress is made out of two layers of the same back stretch netting with a stretch jersey layer under those. All of the layers are done in black so depending on how you adjust it you get an interesting effect of the fabric being almost opaque in some areas and more transparent in others. This is heightened by the sleeves being made up of only a single layer and parts of the bust are as well, with coverage given by wrapping the long attached ties around the bust, body or waist as you wish. The ties are extremely long so wrapping them can be done several times over, or you can tie and have them hang down at the front or the back. The mesh and fit allow you to make the skirt as high up the thigh as you dare or leave is as long as it will extend down the legs. I photoed is at both extremes so you can get an idea of how versatile it is. The sleeves are also cut extra long and can be pushed up to where you want to wear them. Excellent condition.

Made up of three layers of the same black stretch net through the body and one layer for the sleeves. The dress is almost impossible to measure as it literally will stretch to fit up and down. In 1990 the one pictured on Lana retailed for $1890 - or approx $4000 in modern US dollars.

Sleeves: 30" but meant to be pushed up
Bust: 10-17" flat across from side seam to side seam
Waist: 9-14" flat across from side seam to side seam
Hips: 10-18" flat across from side seam to side seam
Length: its full length off the body is approx 60" from top of shoulder to hem but can be adjusted up or down once on and will come up in length regardless as it stretches to accommodate the body underneath it

Modern Sizing Equivalent: XS-MED

Item# DD3114

Reference Photos: (1) Photo by Anthony Gordon for Vogue Australia, 1990.  /  (2) Yasmin Le Bon in Giorgio di Sant'Angelo for Elle UK, December 1990. Photographed by Robert Erdmann.

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 honestly do not think that there is a dress that was more photoed then this Spring 2017 dress. When I started to hunt for references for it I found all the ones that are here, plus there are perhaps a dozen more that I just do not have the space to include. If you do a quick Google or Pinterest search you will see many, many more. That combined with the recent wearing of the dress by Pixie Geldolf and the backlash and controversy of Hedi Slimane rebranding Celine, has once again put Phoebe Philo's Celine pieces back on the map. This particular dress to the forefront once again.

The dress is made from a stretch jersey and is a bright salmon pink in color. The bodice is fitted with a V neck at both the front and back, and no sleeves. The skirt is set under this and here is where the magic of Pheobe's vision begins. The skirt widens out into a loose and easy draping of jersey, but instead of ending at the hem, it extends past that and into a long looped panel. The jersey is one extra long panel of fabric that is sewn to create a loop with an opening in the middle. The ends of the loop are gathered and sewn for a touch of structure. Once you have slipped on the dress and stepped through this loop you sling the closed end over a shoulder or around your neck so that it hangs and drapes down. The jersey then balloons out when you walk creating an endless arrays of shapes. It is incredibly comfortable and easy to wear. The jersey has a lot of stretch so the size on the tag is almost meaningless. This one is a 38 but will easily fit a range of sizes from probably about a 4 to an 8 with ease. This is true fashion history and one of the most documented pieces I have ever seen. A testament to the genius of Phoebe and the impact of her work on fashion. Excellent condition

The top is made of a double layer of the same jersey and the skirt and loop a single layer. It has a hidden set side zipper and is tagged a 38. It still has part of its original hang tag and has not been worn other then for my shoot with it. The fabric has incredible stretch so will fit a large range of sizes. Note the color is a touch brighter in person

Bust: 16-20" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: open" flat across from side seam to side seam
Bodice: 17.5" from top of bodice to slightly dropped waist
Skirt: to 37" from waist to the shortest point of the hem, the rest of the length adjust depending on how you draped the loop panel

Modern Sizing Equivalent: SML-LRG

Item# DD3112

Reference Photos: (1) SS17 Celine Runway, Look 42. Model: Daniela Kocianova.  /   (2) SS17 Celine Ad by Juergen Teller. Model: Daniela Kocianova.  /  (3) Pixie Geldolf in Celine SS17 at Princes Eugenies Wedding.  /  (4) Evangelie Smyrniotaki (@styleheroine).  /  (5) Marie Claire, 2017.  /  (6) Bhumika Arora for Grazia UK, February 2017. Photo by Alex Bramall.  /  (7) Glamour US, March 2017.  /  (8) Harper’s Bazaar Arabia March 2017 by Ellen von Unwerth.  /  (9) Vogue Ukraine.  /  (10) Scene from the movie "Crazy Rich Asians".  /  (11) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is also wearing the "Alexandria" Magentic Midnight Headpiece - click here to shop.

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

Please do not buy. This item is sold

I love this colorful and fabulous dress. It is made by Gottex and is that perfect mix of sexy with a laid back bohemian feel. The colors are a gorgeous mix that will work for day to evening and in any setting. I love how the design is set over the dress to really highlight the cut with the majority of color set around the middle. It is cut full through the bodice with a deep plunging neckline. There are a series of hidden hook and eye to close it as it nears the waist so you can control just how deep that plunge goes to. The waist itself is elastic so  it is super comfortable to wear. The skirt flows to the floor, gradually widening out as it nears the hem. It is just amazing on and the light nylon fabric it is made out of keeps it very light and airy. I love the extra wide cut kimono sleeves that give it incredible drape and drama. It has just the slightest touch of sheerness to it and it has the added bonus of being hand washable. This would have originally been intended to wear as a piece for the beach or pool as a coverup, but you can definitely wear it out a dress on its own. Its a great travel piece that you can throw into your suitcase at one and and pull it out and instantly war it for day to evening at your arrival point. Excellent condition

Unlined and slips over the head. Elastic through the waist line. Tagged a small but the elastic waist and easy fit will allow for a wide variety of sizes. Hidden hook and eye at the front plunge to close or leave open.

Shoulders: no defined seams
Bust: no defined side seams
Waist: 11-18" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from neck to waist
Skirt: approx 45" from waist to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3110

Reference Photo: (1) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is also wearing the 'Sesen" headpiece from our Magnetic Midnight Egyptomania Collection - Click here to shop.  /  (2-4) Kate Hudson, while hosting the Ellen show, January 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.

The Spring 2017 collection from Etro was a hit with the fashion crowd. The reviews for this collection were also great. Luke Leitch's review for Vogue said in a part: "it was Talitha Getty’s footprint that seemed strongest, stamped on looks that played roughly textured leather and bead-trimmed caftans, ponchos, and cloaks against silk maxis, mid-length dresses, jumpsuits, and pants. A monochromatic opening saw interplays of stripes and paisley that sometimes seemed touched by the geometry of Art Deco... This was a lovely exercise in eclecticism given life by that paisley palm seed."

Launched in 1968, Etro has always been a family run business and has established its place in all things boho in feel with easy to wear designs that masterfully combine color and print. This is a lovely silk jacket that was Look 22 from the Spring 2017 runway. Etro's mood board that year featured images of the desert, Lucien Biart's travel books and paisley carpets and those were then translated onto the silks with pieces like this being the final result. The jacket is made from a washed-silk that's printed with an array of patterns both inside and out. It slip on with no closures and gives anything it is draped over an instant shot of high end glamour. Both the hem and each sleeve are finished with a neat plissé in the same fabrication. It is a fabulous piece to layer over just about anything or you can cinch it in at the waist with a belt to wear it as a dress as the reference photos show. It has never been worn and still has its original tags attached. Excellent condition

Fully lined in a pink printed silk. It has no closures and just slips on. It still has its original tags and is a size 44. The loose and easy fit will allow it to work on almost any size. Hand finishes. The original retail of this was € 3.001 or approx $3500USD

Sleeves: approx 24"
Shoulders: relaxed fit with no set seam
Bust: to approx 24" flat across from side seam to side seam
Waist- hips: open
Length: 46" from top of neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C486

Reference Photos: (1) S/S 2017 Etro Runway, Look 22. Model: Zhenya Migovych.  /  (2-3) Alisa Ahmann for Harpers Bazaar Turkey, April 2017.  /  (4-6) Photos from net-a-porter.

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

After the premature death of Jean Patou in 1936, his sister took over the house and eventually had other designers head the Couture side of the business. Designers have included Marc Bohan from 1954 to 1956 before going to Dior, Karl Lagerfeld from 1960 to 1963 and Jean Paul Gaultier from 1971 - 1973. Christian LaCroix was the last to join the label in 1981 until  he left the label in 1987. His departure also saw the Couture side of the house close at the same time.

The dress is a gorgeous example of how fabulous the right combination of colors on the a really high end silk can be. The dress is covered with a gorgeous bright floral print in shades of pink on an off-white backdrop. Pops of green are mixed in and the darker parts of the dress are actually a deep, blue, making for the perfect end result. When I first saw the dress I was sure that the buttons would close at the front but upon closer inspection I realized the the darts were done on the other side and the dress is actually meant to button down the back as I have shown it. That said, it is so well made I am betting that you could wear it either way and it would work. The collar is high and the sleeves are cut long with cuffs to catch them up at each wrist. The waist comes in and you can cinch it in further with the matching silk tie belt. The skirt has the appearance of wrapping over itself at both the front and back and I love how this is outlined all the way around the hem of the skirt with the solid border to highlight it. The buttons are set off to the side and run right up and into the shoulder where cleverly hidden hook and eye keep it perfectly in place. There is no label but the silk is signed throughout, and the interior, with all its hand finished edges and seams clearly show us that this us a couture piece. The ends of the couture tape that would have sat under the label are also still in place. Excellent condition

Fully lined in a cream silk and closes with the series of buttons, snaps, and hook & eye up the back to the side that you see. Each cuff buttons to close. The matching belt ties around the waist. It is unlabeled with just the ends of the couture tape still present inside. The interior seam work clearly shows its couture origins. I took detail shots for you to see the work there. Additionally, the silk is signed throughout giving us no doubt as to the designer.

Sleeves: 25"
Shoulders: 13"
Bust: to 19" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 14.5" from top of bodice to waist
Skirt: 17" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3109

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 has always been a bit of a holy grail for me to find. I have always loved the photo of Jean Shrimpton in this piece and it was not until I actually found it and saw the swimwear part of the Oscar de la Renta label that I did some additional digging into the actual issue of Vogue that it originally appeared in. In the caption there it is described as being a "long beach coat of flame and white print with a deep ruffled hem". I am so incredibly pleased to find this piece after so many years of loving this iconic photo. I would also to note that this apparently had a matching bikini - perhaps a vintage quest for its new owner to take on?

The coat dress is made of a cotton that has an almost canvas like texture to its finish. Onto this is that gorgeous red and white floral print. White plastic buttons run down the front in sharp contrast and these end at the dropped waist seam. beneath this, the coat is open with a curved line from the dropped waist to the hem. The entire front from that dropped waist seam to the hem and all the way around the hem, is detailed with ruffles. The ruffles are made from the same fabric as the rest of the coat dress and I love that print on print feel it gives. The skirt sweeps down the floor and sweeps out behind. The sleeves are cut long and slim. If this was meant for the beach, this is beach wear at it most elevated and glamorous moments. I absolutely love it and to have it documented in one of the most recognizable vintage images out there just makes it even more incredible of a find. Excellent condition

Unlined and buttons from the neck to the dropped waist. If you look t it from the back of the fabric you see a slight yellowing to the white here and there but from the front there is nothing that catches the eye or detracts.

Sleeves: 22"
Shoulders: 14.75"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Dropped waist seam: 16.25" flat across from side seam to side seam
Hips: open
Bodice: 21" from neck to drop waist seam
Skirt: 36" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3098

Reference Photo: Jean Shrimpton in Oscar de la Renta for Vogue, 1970. Photo by David Bailey.

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 have found not only the date of the collection that this skirt is from but the dramatic video clip showing the runway footage of the piece in action as it was twirled and show to its greatest advantage on the runway. The footage also shows the cape version of the piece though the way that this over skirt is constructed will easily allow you the freedom to let it play double duty and wear it as either. It is made from a silk taffeta that has a beautiful top stitch pattern worked over the seams of its construction and in a dense pattern adorning the waistband. This band crosses over itself and closes with a combination of snaps and hooks. Each side of the hip is gathered along an angle set pleat that gives it a slight pannier feel, and also creates the perfect bit of room for your shoulders if you choose to wear it as a cape. The back is cut longer then the front and there is an immense amount of fabric in it. This is from the last collection that John Galliano did for the house before being replaced by Alexander McQueen. Excellent condition

Unlined and closes at the band with a combination of hook and snaps.

The waist currently will fit about a 23-23.5" waist. The hooks could be moved at least a couple of inches if you need extra and you probably could even have a seamstress do something clever to extend or add some fabric to get what you needed from the waist since it is meant to sit open at the front anyway. The length is 45" from waist to shortest point at the front, 50" to the longest point at the back. The band adds another 4" at its widest point. The width is fully open. Tagged a 36. Note the fabric has a touch more ivory/cream tone to it in person.

Modern Sizing Equivalent: XXS-XS as it is now but the closure could be moved to accommodate a larger waist if needed so may possibly work on a SML-MED with alterations

Item# S833

Reference Photos & Video: F/W 1996 Givenchy Haute Couture by John Galliano Runway Show.

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 walked the runway for the Fall 1987 collection and a version of it pink was used for the fall ad campaign that year. I love the pink version as well but think that the all black is perhaps even more wearable for a larger variety of occasions and the velvet gives it a more luxe evening feel.

The dress is lovely with its strapless, curved bodice and fitted silhouette. The main fabric that makes up the body of the dress is a rich, lush black velvet that gives it depth and texture. This is then mixed with black silk organza ruffles that detail the dress. I absolutely love the ruffle detailing that finishes the edges and the contrast of the two fabrics. This is a classic YSL touch and gives it a flirty, girlie feel that it would not have without that finish. The ruffles edge the curving neckline, curve around to highlight the bust area, and then go all the way around the back. At the hem he has used three full layers of the ruffle set almost on top of each other so that you get a little explosion of volume there. Everything about the cut of the dress is done to highlight the curves of the body from the way the ruffles are set on the velvet to the fitted and curved lines of the body of the dress. It is wonderful. Excellent condition

Fully lined in a black cotton fabric and the interior bodice is lightly boned for shape and support. Inner waist stay that hooks to close  and the back closes with a fine metal zipper. Tagged a vintage YSL 44

Waist at inner waist stay: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 32" from top of bodice to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3092

Reference Photos: (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (3) Naomi Campbell for Yves Saint Laurent Rive Gauche, F/W 1987.  /  (4-5) Fall 1987 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.

This Michael Novarese could very well be a one-of-a-kind as most of his higher end pieces were made to order. On top of that, it has the added distinction of being the actual coat that Tracee Ellis Ross wore for her first time hosting the American Music Awards in 2017. Michael Novarese designed gowns for many of the Hollywood scene including Jane Russell, Liza Minnelli, Judy Garland, Dinah Shore, Elizabeth Taylor and others. His earlier pieces from the 1960s and seventies in particular are wonderful. As a designer he made the decision to create only high end pieces using beautiful fabrics and proper, couture sewing techniques. This coat is a great representation of his work. Full on vintage feather coats in such excellent condition are already a rare find, but the ones that are made completely from ostrich feathers, rather then the more typically seen down versions, are the holy grail. This one, with its gorgeous mix of ivory feathers tinged with a slight grey tone at many of the feather tips, in wonderful. Especially with that Hollywood Awards show connection, that has now forever given it a place in fashion & Hollywood history.

This is the coat that you will reach for over and over. It is made from ivory ostrich feathers that have the slightest touch of a grey graduation to them as they reach their tips on some of the feathers. The photos have lightened the color a touch and in person the depth and texture of all of those thousands and thousands of feathers have an even better effect. The feathers are set onto the base fabric in horizontal rows and this in a way creates a bias cut fabric like effect out of the feathers. This allows it to drape on the body underneath perfectly so that when you are wearing it, it moves with you wonderfully. You may remember that moment when Tracee dropped it on stage and it fell from her shoulder like a cloud (I have that moment captured on my Instagram if you want to pop over there to see). Once on, you get this long line and it always seems to sit perfectly in place no matter how you move. It definitely has volume but this just adds to its appeal. You could always recreate Tracee's backstage look and belt it. It feels like next to nothing on and is full, maxi coat in length falling right to the floor. It is truly just amazing. The feathers give it a rich, deep texture and you will be able to wear it over anything.  This is a very rare and special piece. Excellent condition

Fully lined in an ivory matte silk satin with no closures at the front at all. The feathers range from white to ivory to a pale grey. The colors are slightly darker in person and there is a hint of grubbiness to the feathers at the normal wear areas but very minor. There is only very minimal, normal shedding making it strong and stable. This is cut to drape and fit a variety of sizes. Note that feather pieces are final sale.

Sleeves: approx 25" including feather tips
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist-hips: open
Length: 1pprox 62" from neck to hem including feather tips

Modern Sizing Equivalent: SML-LRG

Item# C481

Reference Photos: Tracee Ellis Ross as she hosted the 2017 American Music Awards. Styled by Karla Welch

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

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

In an interesting turn of event, Alessandro Michele has recently re-issued the Flora and Fauna print that adorns this original vintage piece, including some dresses that bear a striking resemblance to the original. This dress is well documented having been featured in a couple of ads in its time period and versions of it reside currently in the permanent exhibit hall at the House of Gucci in Florence. The original  Flora print was created by artist Vittorio Accornero in 1966 and has become a house signature. This dress is absolutely gorgeous and is instantly recognizable. The cut is a forgiving shift shape that falls fairly straight from the shoulders to the hem. The neckline, cuffs and hem are finished with a gold toned silk border that anchors the print. The front dips down and I love the little horseshoe buttons attached to each other by a loop of chain that runs across. The print is spectacular and the colors are bright and vibrant. These naturalistic prints are said to have up to 37 colors making them, something that at the time was unheard of because of the high cost of using that many screens to create the prints on the silk. This is a true piece of fashion history and feels as modern now as it did when it was created. Presents as excellent condition with a note below.

Fully lined in a cream silk and slips on to wear. There is a modesty panel behind the front plunge that is sewn into place on one side and snaps into place on the other. Each cuff buttons to close. There are some faint marks under each arm. I photoed in on the dress form and also lying flat so that you can see how much of an impact it makes. It is very light and I feel that the dress is completely wearable as it is. Please review the provided photos of the area. They are the ones after the label and before the reference photos. Priced accordingly and otherwise is perfect. Gucci label present and the silk is signed as well.

Sleeves: 21"
Slight drop shoulders: 18"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 35" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3086

Reference Photos: (1) Gucci Ad, 1970s.  /  (2) The Gucci Flora Pattern Dresses, 1970s Ad.  /  (3-4) From the House Of Gucci in Florence.

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

On June 15, 1978 Lisa Najeeb Halaby wed King Hussein wed and she became the Queen of Jordan. She chose a Christian Dior gown, designed by Marc Bohan, for the ceremony and instantly became a style icon. Harper's Bazaar named the gown one of their 'The Most Iconic Royal Wedding Gowns of All Time'. That same year my client commissioned this version of that dress. I have also included a reference photo from the Metropolitan Museum of a top from the same collection that year that also has the open cut work 'ladder' technique. Charlotte Rampling was also photoed in a version for Vogue. The dress for sale today comes direct from the daughter of the original Haute Couture client who had it commissioned.

The attention to detail shown in every hand done stitch is breathtaking. It is entirely done by hand and the silk chiffon is of the highest possible grade and as fine and light as a feather. The top floats over the torso for an easy fit and is left unlined, which makes it semi-transparent. There is a double row of that open 'ladder' stitch edging the top portion of the bodice. The skirt falls in a column of bias cut silk chiffon. Detailing the lower half of the skirt are six rows of that same open ladder design that is used on the bodice so that it is in perfect balance. It comes with the original flower belt. The belt combines an antique gold metal thread lame that is then detailed with a huge silk flower. You can wear around the waist as intended or even choose to wear at the neck or as a head piece. I also photoed it without the belt so that you can see how versatile it could be. There is also a square silk chiffon scarf that came with it that is not photoed but will be sent with the gown. It is truly a wonderful dress and when you see it in person you will be astounded at the level of craftsmanship and care put into the construction. A masterpiece and fit for a modern day queen. Excellent condition.

The skirt is lined in second layer of the same silk used on the exterior while the bodice is unlined. It is completely made by hand as the parameters of Haute Couture dictates. It closes with a handset, low side painted metal zip below the waist and and above that the bodice closes with a series of hand set, silk covered snaps. Inner waist stay the hooks to close. Note there is no label but it is true Haute Couture Dior. Note the color has a slight hint of terra cotta to it in person

Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 18" from shoulder to waist but drapes to approx 15" when on
Skirt: 39.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2365

Reference Photos: (1-3) Spring 1978 Christian Dior Haute Couture Runway.  /  (3-4) Queen Noor in a Christian Dior Gown & King Hussain of Jordan on their wedding day, 1978 (credits unknown)  /  (5-6) Graco of Monaco in Yellow Christian Dior for the wedding mass of Caroline of Monaco, 1978.  /  (7) Princess Caroline of Monaco and Philippe Junot civil wedding, June 28,1978.  /  (8-9) Dior Evening Ensemble from The Metropolitan Museum of Art's Online Collection  /  (10) Charlotte Rampling in Dior, March 1978, Vogue US. Photo by Helmut Newton.

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and although his atelier was never formally designated as Haute Couture by the French, he certainly produced clothing that met the parameters of couture and he is often referred to  as one of the great American couturiers.

The gorgeous dress is made of a light weight black silk that is covered with a blue floral print. The blue that makes up the floral part is not a solid color, rather it has different shades of blue in its make-up. This is further enhanced by the pattern that runs through the silk itself. The final effect is so pretty and unusual. The silk used is very fine and light so dress feels like it weighs mere ounces. It is beautifully cut in a long column that skims over the body with a high 25" slit running up one leg. At the front the neckline is cut high and a the collar has a ruffled finish to it. A row of ruffles also angles down and follows the wide deep cut of the sleeves for extra detailing. That ruffled finish curves around to the back where it edges the opening there. The curved cut to leave the back completely bare. It is gorgeous and I am pleased to have photos of this exact dress on model, Lais Ribeiro so that you can see just how wonderful it is on a real body. Excellent condition

Fully lined in a fine black silk chiffon and closes at the back with a hand set zipper. Each cuff closes with a zipper. If you need more length there is approx 3" under the hem

Sleeves: 23"
Shoulders: no defined seam
Bust: no true defined seam because of open back and dolman sleeve
Waist: to 12.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 55" from neck to hem
Slit at one side: 25" from hem to top of slit

Modern Sizing Equivalent: XS-SML

Item# DD3077

Reference Photos: Lais Ribeiro at the Prada Linea Rossa Party for New York Fashion Week, September 2018.

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

For the Vogue review of the Spring 2016 Vetements show, Sarah Mower stated: "No doubt about it: The flagging spirits of Paris fashion have had a shot in the arm since the Vetements collective, led by Demna Gvasalia, came on the scene. Their channeling and upgrading of everyday street style into high style has exerted a massive influence as designers and brands both established and even younger have found it impossible to resist the gravitational pull of Vetements’s outsize tailoring, printed dresses, and thigh-high boots. The feeling that a young, outsider energy is rushing into the spiritual vacuum which currently exists at the center of the establishment is healthy, exciting, and perfectly timed...what was noticeable in this mix was that, rather than just being subversive for the sake of the gestural politics, Vetements means business. Its hoodies have a cult appeal in one direction, but for the fashion congregation there is also so much to believe in here: not just the wearable, desirable printed blouses and dresses, but also the hope that this is the beginning of a new chapter in the life of Paris fashion."

This dress was one of the favored among the street style set and was photoed endlessly it seemed for various editorials. It sold out world wide and was wait listed. I am very pleased to have sourced one that has never been worn at all, still has all its original tags attached and is absolutely perfect. Girls often cut the longer hanging bits that trailed behind the dress but this one is still entirely original. It feels as fresh and avant garde as it did then and will absolutely be a future collectible. The color is a deep blue base with a floral print over that and the cut is oversized. The shoulders are cut a bit more fitted and have a ruffled cap that extends their shape. The sleeves are ling and detailed int trailing, deconstructed, twisted ruffles. More of that  ruffles highlights the collar, the waist and the hem. It is remarkable and a true piece of fashion history. Original tags attached. Excellent condition.

Unlined in the same chiffon and slips on to wear with buttons at the front. Tagged a MED. The jersey has lots of stretch. It will fit a range of sizes because of this. Has an extra button

Sleeves: 25" to actual end of cuff
Slightly inset shoulders: approx14"
Bust: 18-21" flat across from side seam to side seam
Waist: 17-19" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29" from waist to shortest point of hem, 42 to longest and then the ruffled detailing hangs approx another 18" past that with strings that are even longer past that

Modern Sizing Equivalent: XS-MED

Item# DD3076

Reference Photo: F/W 2016 Vetements, Look 41.

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 an important piece from the 'Les Chinoises' Collection from Fall 1977.  This collection corresponded with the launch of Yves Saint Laurent’s new fragrance that year - Opium. The Musee Yves Saint Laurent site says of this collection: "China served as the couturier’s new source of inspiration, and its folklore fed his imagination. Saint Laurent drew on the colors, shapes, and materials of such places as Africa, Russia, Spain, and China for his own extraordinary creative journeys. Yves Saint Laurent, told in Elle Magazine in December 25, 1995; 'Beijing, however, remains a dazzling memory. The China that I had so often interpreted in my designs was exactly as I had imagined it. All I need for my imagine to blend into a place or a landscape is a picture book. … I don’t feel any need to go there. I have already dreamt about it so much.'" It is interesting to see that the fabric that was used for this dress was repeated on several pieces through out the collection showing he love for this particular pattern.

At first glance the dress seems very full but don't let its volume fool you, these can still be immensely flattering on if the proportions are kept in balance once on the body and styled properly. The silk used for the main portion of the dress is very light and fine so that it moves with the body when you move and shows off the curves underneath unexpectedly. It is seamed at the waist but this is dropped and does not bring it in shape wise but rather adds to the volume. The collar is magnificent and it is structured in stark contrast to the silk underneath. It almost feels like a piece of armor as it sit across the shoulders. It is made of a black velvet and detailed with heavy gold and black silk cording that edges the neckline and the outer edge of the velvet. Three huge tassels dangle off the front to give it movement and tie in the 'Les Chinoises' theme. At the back it closes with two knotted cord buttons and below that is a slit that runs down to past the waist for an unexpected flash of bare skin. The body is full and loose with the skirt brought in a bit around the knee for shape. It can be belted for a more defined shape. Each sleeve is cut full to pouf out above the cuff.  The deep copper gold print of the silk is gorgeous silk and the color almost seem to have an inner glow to it. It is truly a brilliant Haure Couture dress and it is from one of the most important of all of Yves' collections. A masterpiece. In excellent condition.

Unlined through the body and the collar is backed in silk with inner stiffening. All the interior seams are hand finished to Haute Couture standards. It closes at the back neck with two knotted cord buttons. Each cuff has hidden hook & eye to close. Small hidden pockets along the side seams at the hip. Finished to Haute Couture standards and entirely done by hand. Haute Couture label present and numbered 42477. The open cut will allow for a range of sizes

Sleeves: approx 23"
Shoulders: approx 15" and the velvet extends past that about an inch
Bust: to 20" flat across from side seam to side seam
Waist: to 19.5" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 43" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3073

Reference Photos: (1) Yves Saint Laurent A/W 1977 Haute Couture Collection.  /  (2) At right, model Lisa Taylor, wearing a long chrysanthemum print crepe de chine robe over an ankle-length skirt by St. Laurent; at left, model Beverly Johnson, touching Lisa's hair, wearing a floral print gown in crepe de chine over a back-wrapped blouson dress in black silk jacquard, by Yves Saint Laurent. Photo by Albert Watson for Vogue, 1977.  /  (3) Yves Saint Laurent Ensemble, autumn/winter 1977–78 haute couture, Polychrome printed black silk damask. Courtesy of Fondation Pierre Bergé – Yves Saint Laurent, Paris. Photo by Lia Chang.  /  (4) Collection board. Autumn-winter 1977 haute couture collection. © Musée Yves Saint Laurent Paris.

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

At the age of 31, Stephane Rolland took over as Artistic Director for the Jean Louis Scherrer Haute Couture atelier, making him the youngest of the 20 official couturiers at the time. That was in 1997 and he continued as the head of the Couture division until the last showing in 2005 when the house closed is couture atelier. This gown is from the Spring 2001 Haute Couture presentation and is the actual runway defile sample presented and worn on the runway, Look 36.

Have any Haute Couture creation in the shop is always a pleasure and to have the actual runway sample is wonderful. This gown is exceptional and I am grateful to have the runway photos of this piece to show you just how it works on a real body, because the photos of it on the dress form really do not do it full justice. From the front you are entirely covered in a black silk stretch jersey that hugs your every curve. It is sexy yes, but because of the shape underneath the fabric not because you are exposed. But, turn around and that changes in an instant. The back of the dress is cut out and open so low that it borders on being scandalous. The entire back is left bare and it extends down the back as low as Rolland dared to go. A gold leather, jeweled cross shaped strap holds in the sides and keeps the shape of the dress so that it perfectly contours to the body. The neckline is cut high and intricately wraps and hooks into place. Trailing out and behind you is a long panel of fabric that extends out from one side of the dress to create a train. A loop lies along one side of that train so that you can pick it up and hold it if needed. This hides a high slit that runs up the back that gives a flash of leg when you walk and also allows you to walk. The jersey is unlined and it is cut on the bias so that is hugs and highlights every curve. The cut and fit are done with a masterful hand and the final result is absolutely beautiful despite its shocking expanse of skin at the back. It is an incredible piece of modern Haute Couture. Excellent condition with one small note to review below.

Unlined and skips on. The neckline wraps and hooks into the place and the back waist strap also hooks into place. Hand work throughout and made to runway sample standards. The hand written runway sample tag is present. There are some very minor teeny repairs to the fabric near the lower seams of the hem, a slight dustiness across the shoulders and a see a couple teeny pills to the fabric - all extremely minor but mentioned for accuracy. The fabric has some stretch and it is one dressmakers size 6 dress form - it easily stretched enough to fit that but would easily fit a smaller size too and just not stretch as much.

Bust: 15-19" flat across from side seam to side seam
Inner waist: 11- 14" flat across from side seam to side seam
Hips: 14-18" flat across from side seam to side seam
Length: approx 62" from shoulder to front hem and approx 85" from shoulder to longest point of the train
Back Opening: extends down to approx 26" from the neck
Cross: 8" high x 9" from full side to side that shows

Modern Sizing Equivalent: XS-MED

Item# DD3070

Reference Photos: S/S 2001 Jean Louis Scherrer Haute Couture Collection, Look 36. Model: Inga Savits.

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