Christian LaCroix launched his Haute Couture house in 1987 and was instantly adored and revered. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always an exotic, lavish affair and his inspirations spanned the decades with their eccentric, exotic glamour. His atelier closed in 2009. This dress is from the Spring 2003 collection. I love that for production they went with this stunning color rather then the graphic black and white that it was shown in for the presentation that season.

This dress is wonderful with its bias cut that hearkens back to the Old Hollywood days of high glamour. It is made entirely from a fine, bias cut silk. The color combination is gorgeous, with a deep raspberry red mixed with pink. Part of the pattern has large dots that curve over the surface and highlight the cut of the dress. The fine, curved seaming done on the dress is a nod to the type of costumes being worn by starlets of the 1930s and designers working with bias cut fabrics like Madame Gres and Madeleine Vionnet. It really has that same feel once on but the graphic dot print in those vibrant colors gives it a modern touch. The bias cut and curved set seams allow the dress to both hug the body and still move with you so it is extremely light and comfortable when on. The bodice is hand draped across the bust with one side cut to sit a little higher. The dress is suspended from a tiny strap on the side that dips down, while the higher set side curves up into a wider strap. At the back it is the wider strap that dips low down the back to leave an expanse of skin while the thinner strap acts to anchor the fabric higher on the back on that side. It is cut to curve around your body, skimming over the waist and flowing softly into the long skirt. The construction of the skirt is remarkable. High slits sit on either side of the front panel of the skirt for a peek of your legs. At the back of the skirt, there is an extra panel of silk set over the inner skirt. This panel cascades down the back and extends into an offset train of silk to one side, perfectly balanced by the wider strap. It is absolutely beautiful and a dream to wear. Excellent condition

Fully lined in a matching pink, textured silk chiffon and closes with a hidden, side set zipper. Tagged a size 42. Finished to demi-couture standards. The bias cut will allow it to fit a larger range of sizes, though if you are small busted and a smaller frame you will almost be sure to have to adjust the straps to fit perfectly. Note the color on the mannequin is closest to the true color.

Bust: 15-20" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 63" from shoulder to front hem, 73" to end of train at the back

Modern Sizing Equivalent: SML-LRG

Item# DD2803

Reference Photos: (1) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is also wearing a 1920s Reversible Cape (sold), (2) Christian Lacroix Spring 2003, Look 5.

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

Richard Blackwell launched his line in the late 1950s and even then his dress sold for between $800 and $1000 (or up to $10,000 in the modern terms). He dressed many of the stars of the day including Jane Russell, Dorothy Lamour and Jayne Mansfield. His 'custom' line was the pieces that were made to order, and were one of a kind and were fitted to a specific client in the demi-couture tradition.

This dress is from that part of his design label and is a spectacular example of his work. It is a wonderful dress regardless of its label and rarely do such fine examples of this time period, with this level of glamour, come to market anymore. The cut is simple but dramatic. It is cut in that classic bombshell, hourglass shape and it was made to hug every curve. The dress is suspended from two sequin covered straps and the neckline is cut simply at the front and scoops in the back. The bust is shaped and wired and glides into a nipped in waist. The hips are cut in a curve to follow the curve of the body and the skirt narrows in. The back has a fishtail hem so that you can actually walk. The entire dress is densely covered with hand placed pink sequins. These are so heavily applied that they overlap and crowd over each other haphazardly for a 3D effect. I love that the bottom hem is finished with the polar opposite as far as the placement of the sequins. Here they are laid out in precise rows with each sequin placed exactly over the one on either side so you get the smoothly finished contrasting hem that covers the final 10" of the dress. It has a matching silk chiffon scarf that is partially sequinned with the same orderly row effect as the hem. It is amazing. Excellent condition.

Fully lined in a pink silk and closes with a back, painted metal zipper. Boned and shaped through the bodice. The matching scarf has one small area of fading on the sequins and the silk. I see no areas of sequin loss on either piece and it looks to have been worn very little if at all. This is very fitted but will work on a curvy girl fabulously.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 56" from top of shoulder to front hem, 60" to the longest point at the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD2982

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 Chanel dress is wonderful. The cut is simple and classic and will easily work for day or evening. It is made from a soft black and white, lightweight stretch knit that has a gingham print feel. The fabric is light in weight but with enough substance to hold the shape and give it the wonderful drape through the skirt that you see. It has a bit of a seventies feel to it with its ruffle edges and full length through the skirt but it is a more modern piece. The bodice of the dress is suspended by straps in the same fabric that curve over each shoulder. The edge of the bodice and the waist are finished in a 'ruffled' feeling trim that is also made from the same fabric. Under this, the skirt skims over the hips and then falls to the floor and gently widens out as it nears the hem. The bottom hem has a wide panel that flares out more and is set into the skirt and also finished with trimming . The skirt is quite full and the dress moves wonderfully around you when it is on. The double C logo sits on the waist on one side. The construction is immaculate. Excellent condition.

The bodice has a double layer of the same fabric acting as its lining and it zips to close at the side with a hidden set zipper. The fabric does have some stretch. It is tagged a Chanel 38

Bust: 15-18" flat across from side seam to side seam
Under Bust at seam: 14-16"
Natural Waist: 13-16" flat across from side seam to side seam
Hips: 18-23" flat across from side seam to side seam
Length: 61" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD2477

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

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

Metal discs in gold are mixed with rows of silver to create this iconic, museum worthy Paco Rabanne dress. The discs are hand linked together one by one to create the shape and form that you see. The shoulder straps are topped by big oval metal plates that have hidden hooks under them and act as closures to the dress. Another large oval disc sits at the back just above the keyhole. The bodice is square cut and the shape is almost like a gladiator's tunic, that ends in a short mini length that shows miles of legs. The center of the dress, with its draped gold toned aluminum chains, is the focal point of the piece. The cut out leaves your entire midriff bare and the chains add unexpected movement. Most examples from this time period are a monochromatic silver and it is unusual and rare to find a mix like this one. Early examples of his work like this dress are held mainly in museums around the globe and pieces rarely come to market. It is exceptional. It's modern day provenance includes being worn by Naomi Campbell and Samantha Angelo. Excellent condition

Slips on to wear with hidden hooks under the oval plates at each shoulder and the back. The discs give it an almost bias cut in the way it sits on the body so it will fit a variety of sizes.

Bust to hip: approx 17-19" flat across from side to side
Length: 31" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD2077

Reference Photos: (1) Photographed for creative purposes by Ted Belton, Stylist: Amanda Lee Shirreffs, Hair & Makeup: Erin Heather.  /  (2-3) Naomi Campbell photos by @hamishbowles and @naomicampbell on Instagram.  /  (4-5) Samantha Angelo by Keziban Barry. Click here to see more photos and our full blog post on this >  /  (6) Photo of Paco Rabanne piece featured in an auction at the Hotel Drouot, Paris  /  (7) Paco Rabanne adjusting one of his disk dresses with pliers, 1966.  /  (8) Paco Rabanne with a model in one of his link dresses, 1966.

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 exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. It was in the late 1960s that was doing these wonderful metallic detailed dresses and the results were stupendous. The silk chiffon base on this one has a print that has pops of a pale blue worked through the design. Woven through that silk is a gold lurex thread to give the dress its metallic finish. The gold is used to highlight the lines and cut of the dress and catch the light as you move. The neckline is a cut into a square off shape and the bodice is balanced by long slim sleeves. The gold thread is placed to follow the neckline and also run down each sleeve in rows. On the skirt the gold is placed on the top of each pleat that runs down the length of the skirt. When you stand still the skirt looks like a column of gold but when you move and the pleats open you get the contrast on the printed silk chiffon. The dress has its original matching belt to cinch in the waist and on the belt are the same gold horizontal stripes that circle the hem. made to demi-couture standards. Excellent condition.

Fully lined in a brown silk with the sleeves left unlined. It closes with a back painted metal & nylon zipper and hook & eye at the neck. Each sleeve has a hidden snaps at the cuff. The belt closes with a combination of hook, grommets and snaps and is stamped Christian Dior on the back. Hand finished. Note that it was too small to properly close at the back on my mannequin - on the right size girl it will of course close perfectly at the back.

Sleeves: 23.5"
Shoulders: 13"
Bust: to 18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips of the inner lining: to 20" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2560

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

This is one of the holy grails when looking for and finding vintage Missoni. It is a metallic lurex floral caftan dress. Similar, but less dramatic pieces with this floral print appeared in the 1972-73 season in Vogue and telegraph magazine and I have included those reference photos here.  The caftan is made from a pinky rust colored metallic lurex that has bands of flowers circling the fabric every 6 inches or so from top to bottom. The fabric is feather light so wearing this feels like wearing air and it is coll and comfortable even in warm climates. I myself own its twin and have worn it several times on vacation and closer to home. It is wonderful and easy to wear and very flattering. It is seamed down each side so unlike a traditional caftan it gives you shape and defines your curves. A long fabric belt of the same fabric cinches in the waist and gives it a modern twist. That belt also cleverly camouflages any tummy you have so you feel lean and sleek in it. I love the sides - they are left open from the outer edge to the inner seaming so you get that feel of a true caftan and all the decadence and flow that a caftan would have. You see these very, very rarely and this one is exceptional with its stunning colorway. Excellent condition.

The dress is unlined and slips over the head to wear. There is stretch to the fabric so it will allow a variety of sizes to wear it. The smaller you are the more it fits like a loose caftan. The dress has seaming down the sides so the measurements are from side to side of the inner seaming. The belt is original and in excellent condition.I see one tiny repair to the back of the one of the caftan sides that has no impact once on. Mentioned for accuracy only. The fabric does have some stretch. The cutt will allow it to fit a full range of sizes.

Shoulders: no defined seams
Bust: will stretch to about 19" flat from side seam to side seam
Waist: 14-15" flat across from side seam to side seam, has belt to cinch
Hips: will stretch 19-21" comfortably flat from side seam to side seam
Length: 59" from neck to bottom hem
Full width across: 48"

Modern Sizing Equivalent: XS-LRG

Item# DD2969

Reference Photos:  (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (3) Model (on right) in Missoni, photo by Duffy for Telegraph Magazine, September 1973.  /  (4) Moyra Swan wearing a Missoni skirt. Photographed by Barry Lategan from Vogue 1972.

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

This Thea Porter caftan dress was made in 1975 and was one of the dresses that I lent from my archives for the 2015 exhibit "Thea Porter 70s Bohemian Chic" at the Fashion and Textile Museum in London, curated by Laura McLaws Helms. The mix of textiles used in the construction of this caftan was specifically noted upon on the display card that accompanied this dress in the exhibit. The card stated: Abaya, c. 1975, Designed by Thea Porter. Additional notes from Louise Fennell on Thea’s ingenious mixing of fabrics stated: ‘She’d often just put different bits of material on the floor and looked at them, and moved them about a bit; tried different things with different things – sometimes you thought, “Ooo, really??” but it always worked brilliantly.’

Of all of Thea's pieces, her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector. By the end of her life she had amassed a large collection that was auctioned off through Christie's in 2011. Most of the caftans in that auction fetched well over the $20,000USD mark. Barbara Bach was photoed in a similar one for the cover of the Sunday Telegraph in 1977 and that photo has become an iconic representation of the era. Each of Thea’s caftans ere made by hand and no two are alike. This one appears to have never been worn and looks and feels like it is straight off a shop rack.

Thecaftan is very beautiful and is made from a combination of mix of green fabrics. Metallic shot velvets on silk chiffon are mixed with panels of silk brocades. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs. I think that some of these panels are some of her found antique fabrics. The wide metallic brocade ribbon that borders the main front panel feels like it could be a bit of older ribbon rescued and re-purposed. The caftan is unlined and once it is on you realize that all the side panels of chiffon and velvet fused chiffon are semi-transparent. This see-through quality makes is very sexy despite the full coverage it has. The main front and back panel of brocade has a slightly stiff feel to it still since it has not been worn expect for my photos in it and when it was in a mannequin in the exhibit. This fabric will soften as you wear it. A chiffon tie loops though skits hidden on either side of the front panel to add some shape. If you decide not to tie it the slits are done along the seam and are not apparent. A very special piece, worthy of its Museum exhibited provenance. Excellent condition.

Unlined and slips on to wear. Has a matching chiffon fabric sash that you can slip through slits at the front to add shape. It appears to have never been worn, or worn very little 

WIdth: 59" side to side
Length: 53.5" neck to hem

Modern Sizing Equivalent: OSFA

Item# DD2966

Reference Photos: (1-2) From the Thea Porter 70s Bohemian Chic Exhibition at the Fashion and Textile Museum.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (5) Barbara Bach, in Thea Porter, photographed by David James for The Telegraph Sunday Magazine, April 3, 1977.  /  (6) Elizabeth Taylor's collection of caftans,  Christie’s auction house, New York, 2011.

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

That wonderful bow print on this piece was featured in an editorial for Vogue in 1987 and worn by Linda Evangelista. This dress is from that same collection with the added bonus of having that adorable print cover the entire surface. The dress is made from fine black silk screened with that white bow print from top to bottom. The bodice is fitted and hugs the body. There is a slight gathering at the top of each shoulder so that they puff up slightly at the top and are fuller through the upper arm and then narrow in at the wrist for a wonderful nod to the forties. Each cuff has a ruffle finish. The ruffle detailing is picked up around the neckline and the skirt as well. The skirt is cut to hug your hips and then it flares out in two flounced ruffled tiers. Each is a full 5.5" wide and circle all the way around. It retains its original fabric tie belt that you can wrap and cinch around the waist. It is quite lovely. Excellent condition.

Fully lined in a fine black silk and closes with a side painted metal zipper. Original fabric tie belt. Appears to have been worn very little if at all. tagged a vintage YSL 34.

Slightly inset shoulders: 13"
Sleeves: 23"
Bust: 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 23" from waist to hem
Tie Belt: 4" x 106"

Modern Sizing equivalent: XS-SML

Item# DD1005

Reference Photo: (1) SS 1987 Yves Saint Laurent Runway, photographed by Guy Marineau.  / (2) Linda Evangelista in YSL by Arthur Elgort, Vogue UK, May 1987.  /  (3) Amanda Lee Shirreffs. (See the complete blog post on this look here) 

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 trench coat with its patent finish is very well documented piece, appearing in editorials for both Vogue and Marie Claire back in 1973. It was dubbed a 'raincoat' by Vogue but it is not really your typical rubber slicker. It is a high fashion trench coat made of a cotton that has been coated with a high gloss, patent look finish. It is also a fabulous piece of Yves early work for the Rive Gauche line. The cut is sleek and simple and it is really the gloss of the fabric that is allowed to take center stage. It buttons down the front and has four large top set pockets for detail. The waist has elastic running though it and then there is a half belt at the front only that you cab buckle or tie to close and really cinch in the waist. I love the buckle and straps on each cuff and now the back feels so sleek. The perfect finish is that double vent at the back. It gives it a bit of a 'spy' feel and I love it. Excellent condition with one item to note below.

Fully lined in a black silky rayon. It buttons to close at the front. All pockets are functional. Elastic runs through the waist with a buckle half belt at the front. Note that the prong is missing on that buckle. I just tied it to cinch and that looks better anyway. Some light scuffing to the fabric here and there due to natural patina, one mark in the fabric on the pocket.

Sleeves: 22"
Shoulders: 17"
Bust: 20" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Length: 46" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C466

Reference Photo: (1) Gunilla Lindblad in YSL Rive Gauche by Helmut Newton, Marie Claire France 1973. (2) US Vogue, 1973.

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

This dress, along with the Patrick Kelly jumpsuit just put out, were listed in the shop before they were pulled and lent out for  the "Politics of Fashion" 2014 -2015 Exhibit at the Toronto Design Exchange. They have been in my archive since and I am now releasing both. Both are from 1989 and the museum dated this one for the exhibit.

The Philadelphia Museum of Art recently hosted an exhibit of the work of Patrick Kelly. The show notes state: "“I want my clothes to make you smile”—that was the goal of late African American designer Patrick Kelly in creating his bold, bright, and joyful creations. Kelly achieved this on the streets, nightclubs, and runways of New York, Paris, and beyond in the heady, inventive, and often-subversive urban milieu of the 1980s....Kelly’s work pushed racial and cultural boundaries with golliwog logos, Aunt Jemima bandana dresses, and his ubiquitous black baby-doll brooches. His playful looks were inspired by his muse, Josephine Baker, and admiration for couturiers Coco Chanel, Elsa Schiaparelli, and Yves Saint Laurent, among others."

This super sexy little black knit Patrick Kelly dress is wonderful. For his runway collection that year Patrick did a series of these dresses with their vivid color blocking on a black base. That color blocking stripe is the star of the show here and the primary color is used in thick stripes that are worked on the diagonal. The  neckline is set so the shoulders stay bare and you are enveloped in a wide panel of fabric that wraps all the way around. The colors running across that are panel are a bright combination of blue, red and yellow. This makes for an eye popping contrast and endless styling possibilities. It's fitted through the body beneath and ends just above the knee for maximum leg exposure. I love the long skinny sleeves which are the perfect balance to to the short hem line, fitted silhouette and bare shoulders. Excellent condition.

The dress is knit jersey with some stretch. It slips on to wear with no closures. Elastic through the upper shoulder. Appears to have never been worn. The fabric does have stretch and the measurements provided are the comfortable range when laying flat

Sleeves: 21"
Bust: 16-19" flat across from side seam to side seam
Waist: 13.5-16" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Length: approx 30" from the top of the bodice to bottom hem

Modern Sizing Equivalent: SML-MED

Item# DD2959

Reference Photos: (1-2) Patrick Kelly A/W 1989-1990 Runway Show  /  (3-4) Photos from the "Politics of Fashion" 2014 Exhibit at the Toronto Design Exchange.

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

This is perhaps one of the most recognized and well documented pieces of vintage to have ever existed. Rarely have I seen pieces come up for sale in this condition. It also retains its original 'modesty' panel under the front lacing of the jacket that is almost never present as girls took them out and threw them away. In an article from Look-In Fashion Model Annual, 1971, from which one of the reference photos was taken, the writer said this of the Mr Freedom boutique: "It's a remarkable shop. The price tags are cardboard fried eggs. Inside, a huge fly eight or nine feet long slowly flaps it's wings just above your head and further inside a chest-high model of a shoe looms large in metallic mauve. There's an armchair made to look like a huge set of false teeth and furniture the shape and colour of liquorice all-sorts. There are beautiful Mr Freedom-clad assistants and a wide-grinning Teddy boy called 'arold. Not to mention the clothes. Mr Freedom stocks an ever changing shopful of vivid, original fashions, each one more outrageous than the last and each quite different. There are fashions from the thirties and forties. There are drape jackets and blue suede shoes from the Teddy boy era, and shorts and sling back shoes fit for fifties film stars, enamel brooches, sneakers, platform shoes, sailor suits, and a whole host of incredible clothes that could have only come from the seventies. And all the time new ideas bring new clothes. Mr Freedom doesn't follow fashion, he leads"

Both the pants and jacket are made of a combination of red and black velvet. The set is a play on the traditional "baseball suit" with patch appliques at both elbows, on the pant legs and butt area to mimic that uniform. The pants are fitted around the hip with a button front detail. The legs are cut with a slight flare that ends at the cuffed hems. The jacket is also meant to be fitted and its cropped so you get an expanse of skin showing between the pants and jacket. It does up the front with thick, bright yellow laces. The laces can also be tied with the laces ending at the top or the bottom and it seems from the many reference photos that it was done both ways. Truly a rare and fine piece of fashion history. Excellent condition.

Both pieces are unlined. The pants close at the front with a button fly and the jacket laces to close as shown. There are very slight 'crease' marks in the velvet at the parts that sit over a joint but this is a natural effect of time and normal wear and I don't feel it takes away at all from the rating of excellent. The patina adds to the vintage heritage of such a rare set. Tagged a British vintage 12 but please check the listed measurements.

Jacket
Sleeves: 22"
Shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 16.5" from top of bodice to waist

Pants
Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 41" from top of bodice to waist
Inseam: 31.5" from top of bodice to waist

Modern Sizing Equivalent: XS-SML

Item# DD2611

Reference Photos: (1) Baseball Jacket from the V&A archives that was on display for Cecil Beaton's 1971 exhibition "Fashion: An anthology".  /  (2) Olivia Newton John, 1970s.  /  (3) Katy Manning, c. 1971.  /  (4) Frederika Elizabeth Mary Lambert-Laughton wears a Mr. Freedom Baseball Suit for Look-In Fashion Model Annual, 1971  /  (5) Ann Schaufuss in Mr Freedom, shot by Clive Arrowsmith, Vogue UK, January 1971.  /  (6) Mr. Freedom Outfits, 1970s.  /  (7) Harold The Ted with fellow shop assistants in the entrance to Mr. Freedom, 22 Kensington Church Street, Summer 1971. Photo by Bob Hall.  / (8) Models posing inside Mr. Freedom.  /  (9) Clockwise from top left: Olivia Newton John with Cliff Richard, 1971 /   Cover of the book "Mr Freedom. Tommy Roberts: British Design Hero" by Paul Gorman. /  Photographer unknown, 1971  /  Model in The Telegraph Magazine, April 1971.

Video Below: Middle of the Road performing on Top of the Pops, 1971.

This garment is in cleaned, as found condition, was steamed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

 

This jumpsuit along with the Patrick Kelly dress just listed, were listed in the shop previously before they were pulled and lent out for  the "Politics of Fashion" 2014 -2015 Exhibit at the Toronto Design Exchange. They have been in my archive since and I am now releasing both. Both are from 1989 and the museum dated this one for the exhibit.

This has always been a favorite piece and for me exemplifies Patrick Kelly and his work. Patrick Kelly was known for his wit and quirky designs and this particular piece is one of the more unique pieces that I have seen. I feel like it is a play on the  famous 'banana' set he did in celebration of Josephine Baker. It has those sale lines but this time is a play on the West. The contrast of the extremely fitted body suit with the drama of the red bandana's circling the hips is wonderful. The volume this creates and the sexiness and sass when you move is fabulous. I love the extra little detail he used in securing each of them to the jumpsuit underneath. Every bandana is attached with an acrylic heart shaped button. A signature of his. The actual jumpsuit is made from a ribbed stretch jersey. The front is slightly scooped at the neck and at the back it has a similar scoop that is cut far deeper. Each leg is cropped to end just below the knee. It is a rare piece from a great American designer. Museum quality and highly collectible. Excellent condition

Unlined and slips on to wear. The fabric has lots of stretch so will fit a variety of sizes.

Bust: 15-19" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 14-17" flat across from side seam to side seam
Total length: 42" from shoulder seam to bottom hem
Inseam: 18"

Modern Sizing Equivalent: XS-MED

Item# DD2960

Reference Photos:  from the "Politics of Fashion" 2014-2015 Exhibit at the Toronto Design Exchange.

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 Haute Couture dress by Marc Bohan for Christian Dior is wonderful. The attention to detail shown in every stitch is breathtaking and to the highest standards. A longer version with a less detailed pleat insert technique is held in the archives of The Metropolitan Museum but I prefer this version. It would have been made entirely by hand in the Dior atelier. The silk used is of the highest possible grade and the gives the dress its beautiful drape and fall. The top is cut into a V that tops a wide fitted banding through the waist. Each sleeves is cut so that it puffs above the fitted cuffs. A thin band of matching fabric is used as a tie at the waist for a romantic and whimsical  touch. The skirt is a masterpiece of pleat work. Each individual pleat is perfectly matched to its neighbor and inset on a series of angles around the waist. Each of those angles lines up with the one beside it causing the pleats to lie flat until you move. It is truly a brilliantly cut dress. Excellent overall condition with some small note in the condition report below to review.

Fully lined in a matching silk and is completely made by hand as the parameters of Haute Couture dictates. It closes with a back, handset painted metal zip. The cuffs button with round polished quartz buttons. There is one small dark spot on the back of one elbow and a soft discoloration on the back of one sleeve near the cuff. One button missing from one cuff. The tie belt was originally stitched to the dress and there is the slightest of marks on the fabric at the front waist and to the end of the belt on one side. Haute Couture number 003272. Note that in person the color is deeper in tone and even better then how it photoed.

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 9" from neck to seam under the bust
Waist detailing: approx 6"
Skirt: approx 25" from higher points of the waist detailing to hem

Modern Sizing Equivalent: SML-MED

Item# DD2037

Reference Photos: (1) Christian Dior Runway, 1973.  /  (2) From the MET Collection.

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

This Thea Porter dress, produced in 1970, was one of the dresses that I lent from my archives and was displayed in the 2015 exhibit "THEA PORTER 70s Bohemian Chic" at the Fashion and Textile Museum in London, curated by Laura McClaws Helms. You may also recognize the dress as being the one worn by Nicole Richie when she celebrated her birthday in it back in 2006. The textile design that runs over the dress was done by Sheila Hudson.

It is wonderful to have such an iconic dress and to have become a part of its provenance. The Nicole connection has made the dress instantly recognizable world-wide. Like all of Thea's pieces, only a very few were produced. I have decided to let this one go and I know that I will most likely ever see another one in my career. The dress features a hand-sequined and beaded bodice. These are set so that they follow the textile design underneath and add the perfect little touch of high glamour to the finished product. The bodice is fitted to the bust and has wide straps made of the same silk chiffon that tie around the neck. The skirt is set into the waist on the bias and this makes the chiffon seem to float around you and feel light as air. At the very bottom hem there is a ribbon of purple velvet to finish. The dress is not 100% perfect but still sound and very beautiful. Please review the condition notes below. This is a once in a life time opportunity to own a marvelous and very rare example of one of Thea's best work.

The dress is lined in a tissue silk. The museum staff added structural support under each arm in the interior (photoed). You can see a small amount of thinning to the exterior (also photoed) and the inner addition of fabric was done to stabilize this. The hem is finished with parts of it being longer than others. The interior lining shows fading and marks but is sound. Finally there is evidence of some repairs to the skirt and neck tie. All as found and in the condition exhibited it. All of this has been taken into consideration when pricing.

Bust: approx 15.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from top of bodice to waist
Skirt: is slightly shorter in the front at about 31" and the back goes to about 37" from slight empire waist to hem

Modern Sizing Equivalent: XS (through the bust this is a true size 0)

Item# DD2954

Reference Photos: (1-2) Nicole Richie in Thea Porter, 2006.  /  (3-4) From the 2015 "Thea Porter, 70s Bohemian Chic" Exhibition at the Fashion and Textile Museum.  /  (5) Vogue, April 1970.

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

Vogue's May Singer said of the Spring 2015 Rodarte show: "The show marked a real return to form for Laura and Kate Mulleavy: Playing off aquatic themes, specifically the observation of tidal pools, they progressed more or less organically from terrifically commercial looks to ones that expressed just the kind of artful madness that people crave from their brand. By the time you arrived at the net mermaid dresses clotted with embroidery, you were back under the Rodarte spell. The tidal pool inspiration made a good channel for the Mulleavys' Miss Havisham-esque hoarder streak—mimicking the way flotsam and jetsam collect in eddies, they embellished their dresses not with restraint, exactly, but with a sense of formal specificity. There was a painterly aspect to their patchwork frocks, the heavy embroidery a kind of impasto, revealing the hand."

This is one of those net dresses that was referred to specifically in that review as was Look 31 in the presentation. It was made available through special order through Moda Operandi and the original price tag on in pre-tax was $9175. It is made from a combination of purple paillettes on a copper lame, Pink looped paillettes on a pink copper lame and a gold lame that is then covered with silk net, tulle and embroidery. Blue beads give the feel of sea coral and a swatch of netting trails down one side. This dress if any from the show typified the the tidal pool inspiration and it feels like a fantasy dress that gives you the feel of the ocean and all things related. The dress is made by hand and all the embroidery work and paillettes are placed by hand. It is modern American couture. I love the duality of the dress with its patchwork feel and clash of textures. Once on it skims over the body with a V at both the front and back. The waist is a suggestion and the netting trailing down one side is extremely clever. It looks to have never been worn and is a phenomenal and hard to find runway example of the Rodarte sisters work. Excellent condition.

The inner lame base is self backed and it closes with a side set zipper. You can see hand work on the interior. Tagged a modern 6. Appears to have never been worn. The bias cut of the fabric will allow it to fit a range of sizes

Bust: 16-19" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 40" from top of shoulder to longest points of the hem with another 12-13" extending past the longest points of the by the netting

Modern Sizing Equivalent: SML-LRG

Item# DD2953

Reference Photo: S/S 2015 Rodarte, Look 31. Model: Model: Xiao Wen Ju.

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 1972 dress has the added bonus of not only being documented but the documentation of the piece shows Roy Halston himself in the photo. This is a beautiful peach colored silk jersey version of the dress that you see just behind Halston's shoulder in the reference photo included in this listing. These long silk knit shirt dresses were a Halston staple and were designed for the chic and modern woman to wear while entertaining at home or for a night out. They give you the ability to move and be superbly comfortable all while never having to worry about being inappropriate for any situation. The fabric both hugs and skims  over the body and is very sexy and sensual. The dress buttons all the way down and I love how the buttons are set close to the edge of the seam. It further suggests that with a few quick movements the wearer could be standing unclothed, with her dress puddled on the floor. These was one of Halston's signature pieces and every chic woman had to have one. It has the added benefit of being a piece that you can layer over other pieces because of how it does unbutton completely. Pastel piece like this are more rare and this one looks custom as all the interior stitches look to have been done by hand. It is both versatile and beautiful. An amazing and rare piece of fashion history. Excellent condition.

Unlined and buttons down the front to close. Each cuff has two buttons to close. Has its original matching tie belt. The fabric, which does have some stretch, and easy cut will allow it to fit a variety of sizes. I see one pin size brown spot on the front that would sit under the belt when on. The color is a slightly brighter version of peach in person then how it photoed. Much better in person.

Sleeves: 26"
Shoulders: 15"
Bust: 18-20" flat across from side seam to side seam
Waist: 15-18" flat across from side seam to side seam
Hips: 18-23" flat across from side seam to side seam
Length: 6" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD2951

Reference Photo: Halston with Anjelica Huston, Apollonia van Ravenstein, Emmanuelle, Karen Bjornson, Lynn Woodruff, Pat Cleveland, Paula Klimak, Roy Halston and Shelley Hack. Photographed by Duane Michals, Vogue, December 1, 1972.

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

George Stavropoulos was known for his evening wear and his signature looks often involved draping and the use of multiple layers of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns "seemed to float on air". He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. The majority of his gowns are almost entirely made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there - that starting price point equals to around $26,000US in today's dollars. So when you buy a vintage Stavropoulos gown you are getting incredible value for your money. The only reason his work is not under the Haute Couture category is because he was not an official member of the association.

This dress is very much like a solid green one I have had in the past but this one has even more of a 'wow' factor with its wonderful floral and leaf print that is screened over the silk. I love the lightness and airiness of the dress created by the yards and yards of silk chiffon used. It also has an extraordinary pleating technique that runs around the hips. Working in this type of fabric is already difficult and this would have taken many hours of work to do this by hand as it has been done. The silk is cut on the bias and with a scooped neckline and beautiful bell sleeves that end in a wide and full cut. At the back the it scoops low for an expanse of skin to show. The waist is shaped by vertical seaming so that it flows and follows your shape. That seaming opens up into an intricate series of pleated gores on the skirt that allow the tremendous amount of fabric that makes up the skirt to have full movement and drape. It has a matching sash that you can use at the waist, neck or as a head scarf. It is very beautiful. Excellent condition

Fully lined in bright green silk chiffon with the sleeves are left unlined. The inner skirt has three layers of silk chiffon to make up the lining. It closes with a low hand set, painted metal zipper. The inner seams are finished by hand to couture standards. It appears to have been worn very little if at all.

Sleeves: 22"
Shoulders: 15"
Bust: to 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips at Inner lining: to 22" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD2948

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

Dior's final collection for the house in the Fall of 1957 was the "Ligne Fuseau" or Spindle Line and I am extremely pleased to present this extremely well-documented and important coat from the collection. The collection notes said of the presentation: "The new silhouette for the day can so to speak be inscribed within two brackets - ( ) - of the spindle line. Encased between these two curves, this line owes its elegance above all to its lengthening effect." A write up from the New York Times also referenced the influence of the 18th century in Dior's work that season, of which this coat in particular draws its inspiration with that phenomenal monkey print. In it the author said that "M. Dior's inspiration here came from the 18th century French court beauties such as Marie Antoinette, Madame Du Barry and Madame de Pompadour", and Vogue referenced the coats in the collection with their full cuts specifically, saying; "The new collection is one of extremes - of insistently unfitted dresses, coats suits... and throughout there is the unflagging professional perfection that explains, in part, the continuing Dior eminence"

The coat is made from a silk satin and is cut with a dramatic fullness and volume that was the focus of the collection that season. A neat and simple collar wraps around the neck. It closes below that down the front with a row of large, hand covered silk covered buttons in that same beautiful silk as the coat is constructed from. The back has a great swoop of volume and fullness created by a full center pleat that runs the length of the back and opens into a vent as it nears the hem. The sleeves are brought in with a series of pleats at the cuffs to create more volume above. The print is magnificent. The backdrop of the coat is a pale mint green and onto that are a washed, soft and romantic feeling print of flowers and medallions that have seated monkeys at their centers. This is the nod to the 18th century referred to in the notes above. The combination of print, fabric choice and color is extraordinarily beautiful. It is properly numbered and dated with the original Haute Couture label. The coat was made entirely by hand in the Paris atelier to the standards demanded of Haute Couture. It is an exquisite example of Haute Couture from one of the most important houses of our modern era. The documentation only adds to its appeal. This coat came to me directly from the daughter of one of Canada's most prominent families and the buyer will be able to assess the full provenance. Included in the reference photos are the original runway photo and an editorial photo. Please make sure to read the full condition notes as the coat looks to be in excellent condition at first glance but upon close inspection I find it to be very fragile. It was priced taking this into consideration.

Fully lined in hand set pale green silk. It buttons to close at the front with silk covered buttons. Pockets are hidden at each hip along the seams. The coat is meant to be oversized so will fit a variety of sizes. Note that the silk has multiple vertical splits throughout and shattering along the inner edges. I suspect that the silk was created using the traditional methods of bathing it in a final metal wash which degrades as it oxidizes over time. I have photoed the worst and provided multiple photos. It could perhaps be worn for very short periods of time with great and absolute great care but really is best for a collector. I could not guarantee that wearing it would not further damage it. For that reason it is sold in its clean, odor free, as found condition and so has not been cleaned to avoid further, potential weakening of the silk. My client does have a fur piece that she believes came with the coat that is not in wonderful condition and is at a different storage facility then the coat was. She would be happy to provide it to the new owner upon request.

A final note - this coat is sold as a final sale as I will not risk the impact of shipping more then one time. I will upgrade the buyer to overnight shipping at my expense to decrease the amount of time it would be in transit.

Sleeves: 20"
Shoulders: approx 17"
Bust: to 30" flat across from side seam to side seam
Waist to hips: open
Length: 45" from neck to hem

Modern Sizing Equivalent: MED-XL

Item# C465

Reference Photos: (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (2) Christian Dior Evening Coat, 1957.  /  (3)  From the book "Dior - Catwalk. The Complete Collections" by Alexander Fury.  /  Show notes and references from the book Dior Catwalk. Show notes and quotes in the opening paragraph of the description also taken from the book "Dior - Catwalk. The Complete Collections" by Alexander Fury.

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 would have been designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been "noted as one of fashion’s great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential." His realm is one of my favorites for the house and the period through the late sixties and into the 70s in particular. He was a genius at print and color and he pushed the envelope in terms of using the "new" jerseys and velets available during this time period. This skirt has a boutique label bit also an additional tape that denotes a made-to-measure special order piece that would be considered demi-couture.

This velvet and fringe Lanvin skirt is utterly fantastic. I am in absolute love with it - the color, the design, the workmanship - everything about it is perfection. For the 1971 season Crahay did lots of exotic prints and worked fringe in to the collection. Here we see that fringe on that fabulous finish of the hem and it is picked up with the long, 9" dramatic tassels of the braided belt that circles the waist. The fabric is a soft panne vevlet that holds the print beautifully. The skirt is cut in a simple, long and lean line with that fringe bottom providing the movement and drama. The beauty of the color combination is equaled by the fine workmanship that has gone into constructing it. I love how the waist band has an attached braided belt that ends in five inch tassels. It is really a work of art and having the demi-couture tag makes it that much more special. Excellent condition.

Fully lined in a black silk and closes with a painted metal zipper and hook & eye at the waist. A combination of hand and machine finishes. It appears to have been worn very little if at all.

Waist: 14" flat across from side seam to side seam

Hips: to 22" flat across from side seam to side seam
Length: 42" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# S813

Reference Photos: (1) Lanvin in L'Officiel, 1971.  /  (2) 1971 Lanvin Red & Black Coat.  /  (3) Lanvin dress, L'Officiel 1971.

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

Jacques Griffe was considered to be one of the great French couturiers and was one of very few designers capable of the complete design process from sketching to draping, cutting, and sewing the garments. He training began under the tutelage of a local tailor, and was refined in Paris, when he worked for Madeleine Vionnet from 1936-39. Vionnet exposed him to unique ways of cutting, and techniques in draping that enhanced the curves of the female body. It is an interesting note that while working under Vionnet he also learned her technique of draping and cutting the fabric using a miniature, jointed, mannequin. He embraced that method and like Vionnet, he designed by draping fabric directly onto these small mannequins for the rest of his career. In fact, when he launched his own fashion house in 1941, she actually presented him with a wooden mannequin as a gift. A ready to wear line followed in 1947 and he continued to design until his atelier closed in 1968.

This is a rare and early design by Griffe and would have been made entirely by hand in his Paris atelier. The dress showcases some of his signature design elements. The strapless bodice was a favored silhouette and the rich silk satin used for its construction had enough weight to allow him to drape and cut it to form the exact shape he was after. The richness of the fabric also adds a layer of texture and richness to the gown.  The bodice is strapless and fitted to the bust. Inside, it is boned and has small front padding inset by hand so the wearer can forego undergarments there if she wished. An attached panel in the same fabric gracefully curves up and around the neck and then trails down the back. This was a signature of Griffe during this time period and was copied endlessly by others. The skirt wraps around itself and then curves gently upwards at the back where the ends overlap. A wonderful example of his work. Excellent condition

The dress is unlined through the skirt and lined in a fine black silk through the bodice. There is wire boning and padding inside the bodice interior. The dress is entirely made by hand as Haute Couture demands. The silk satin shows nothing more then normal patina for its age. There are no significant pulls or scuffs.

Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Bodice: 10" from top of dress to waist
Skirt: 42.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2726

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 label on this Thea Porter dress narrows down the dating process for us as it was only produced between October 1971-March 1972. To verify the exact date, I asked Laura McLaws Helms, the author of the book "Thea Porter, Bohemian Chic" and she verified for me that it was indeed from the 1971 collection. It is a beautiful example of Thea's work with a black cotton gauze brocade  that has red and black diamond medallions scattered over its surface. The fabric has a touch of sheerness to it and it is unlined through those incredible sleeves to take full advantage of that. The front dips down in a V and the bodice is fitted over the bust. The waistline sits a touch high for a slight empire waist feel. The skirt flows down and out from there and I love the wide set flat pleats that give it fullness when you move. Each sleeve is cut with a wonderful fullness that widens to a pouf balloon shape over its elastic cuffs. The sleeves really add a sense of drama to the dress. Running over the fabric are wide cut lace panels. These are set to circle around each sleeve and around the bottom portion of the skirting. A pretty bit of lace trims the neckline for the perfect finishing touch. I personally own the twin of this dress in brown and it is a favorite. of mine. Excellent condition

Fully lined in a black silky rayon and closes with a back painted metal zipper. Each sleeve has elastic in the cuff. Tagged UK vintage 14 but it cut small. Please go by the measurements below.

Sleeves: 27"
Inset shoulders: 12.5" with the natural shoulder falling under the fabric of the top of the sleeve
Bust: 17" flat across from side seam to side seam
Waist: 14 " flat across from side seam to side seam
Hips:to 21" flat across from side seam to side seam
Bodice: 13" from top of bodice to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2013

Reference Photos: 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 exquisite spring 1959 Christian Dior Haute Couture dress was designed during Yves Saint Laurent tenure at the house. The dress is a one-off piece and was a special commission ordered by socialite Patricia Lopez-Huici de Lopez-Willshaw. Patricia commissioned Yves Saint Laurent, the young head of Dior, to make her a party dress to attend a ball with Baron de Rede. It is truly one of a kind. There is no other like it that was ever made. It bear a striking resemblance to the finale wedding dress in the runway presentation for his debut collection for Dior in the spring of 1958. You can easily imagine that this dress was derived from that one, updated to show the waist more and be reflective of Ms. Lopez and her personal style. An interesting side note - when Yves departed the house of Dior and opened his own Couture Atelier, Mrs Lopez Willshaw was his very first client and bought the very first dress produced. Which shows just how close the two were.

The dress is constructed from a hand made ivory Chantilly French lace that is outlined with a real silver cording. This fine silver cord has been meticulously hand applied to the lace. It follows the outline of, and defines each delicate lace motif. The entire exterior layer of the dress has this technique applied to it. The embroidered bodice is encrusted with mother of pearl sequins, tiny perfect glass crystals, each hand prong set, and finished with perfectly matched pearls. This is all the work of Lesage and each crystal and sequin is placed there by hand. The waist is caught up in an extravagant ivory silk bow that adds a simple and romantic touch. The skirt billows out to an extreme shape and fullness and the shape is built in through layers and layers of silk netting and tulle underneath. The inner construction of the dress is absolutely exquisite with a boned and corseted interior with attached garters. Under the skirt there are a full seven layers of silk tulle and net underskirts to achieve the shape that you see. It is a beautiful example of Yves' early work and a wonderful example of the golden years of Haute Couture. Excellent condition with some small notes to review below.

Fully lined in a ivory silk with extensive boning, inner construction and skirting. It closes with an intricate combination of stays, zippers, hooks and snaps. The seven layers of inner skirts are attached with some having addition half layers at their hems for additional volume. There is some minor darkening to the lace here and there and I see some very minimal areas of small repairs to the top layer. Very small areas here and there of minor separation in the lace. None of this compromises the strength or integrity of the dress and it is strong and wearable with the care. In person the color presents as an ivory with a touch of a cafe au lait color and it deepens slightly as it nears the bodice. Note that the two studio photos provided as reference photos were darkened for effect. The color of the dress is closest to the main photos of it provided. It best will fit a  modern 0-2

Bust: 15.5-16" flat across the back from side seam to side seam with cups built in that would fit an A-B cup
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 6" from top of bodice to waist
Skirt: 35" from waist to hem

Modern Sizing Equivalent: XS

Item# DD2242

Reference ohotos: (1&2) As photographed for creative purposes by Ted Belton. Stylist: Amanda Lee Shirreffs. Hair & Makeup: Erin Heather. Model: Ginni Connors at Elmer Olsen. (3) 1958 Yves Saint Laurent with Victoire in wedding dress and Christine in trapeze-line dress (4) Yves Saint Laurent and the house models of maison Dior (5) Cover of Paris Match (6) 1958 Dior dress

 

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

This is a wonderful example of Christian Dior's work in the 1950s. Pieces with this label were made for the American market based on the Paris Haute Couture designs and were finished with many of the same standards as the Haute Couture pieces were. The Christian Dior New York label is considered to be demi-couture from this time period of Dior's history and the dress is numbered.

The color of the dress is remarkable. It is a muted shade of gold and the silk satin used seems to give it an almost glowing quality. This is of course based on the "New Look" silhouette.  The top is sculpted over the body with beautiful curving panels at the bust. These drapes and sweep over each shoulder and then down over the front and cross over each other slightly behind the first bow that sits at the front center. A flat ribbon of silk wraps around you under that bow and then the dress is fitted to the waist. The matching belt is present with the dress and this has the second bow detail. From there the skirt flares out in a full sweep in a widening cascade. The third and final bow is used to accent the slight pulling in of the volume of the skirt before the hem flares out under that in a beautiful finish. The skirt has its own built in light tulle layer and for these photos I styled it over an additional light crinoline so that you can see the beautiful and graceful shape of the skirt. This is an exceptional and beautiful example of Christian Dior's work. Excellent condition with a condition notes below to review .

Fully interlined through the skirt and the bodice with a fine silk organza and the skirt also has interlining of tulle through the to the ruffled hem. It closes with a back, painted metal zipper. The belt is original to the dress and is stamped Christian Dior. It closes with a hook closure. Note that there is one teeny pinhole on the skirt near the side seam and there are some very tiny dot marks present. All very tiny and none that detract or mar the presentation of the dress in any way but are mentioned for accuracy. The color is even better in person

Bust: to 19" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 16.5" from shoulder to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2559

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

Caftans are always an amazing vintage staple but to find one by Lanvin is a treat. This would have been designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been "noted as one of fashion’s great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential." His realm is ne of my favorites for the house and the period through the late sixties and into the 70s in particular. He was a genius at print and color and he pushed the envelope in terms of using the "new" synthetic jerseys available during this time period. They were cutting edge and he used them the same as any other high end fabric and for his jet set client they offered a new ease in luxury as the traveled so well and were easy to care for while jetting off to all four corners of the world. This is a wonderful example of that. It is a true caftan with minimal seaming and a loose and easy cut. It has a wide silk ribbon in a solid navy that wraps around your waist inside of the caftan and then the ends slide through slits at the front and once tie add some shape and detailing. The neck is cut wide across the high front and the draping of the jersey suggests the body underneath despite its wide and full cut. The sides drape and cocoon down beautifully once one and there is a small opening on each side for your hand to slip through. A series of open slits also run down each arm for a pretty flash of skin. The colors are amazing and the print is a vivid splash of tiny florals that cover the entire caftan. At the hem is a contrasting navy and white abstract striping - that signature Crahay touch that made Lanvin so fantastic during this time period. The jersey used is slinky, washable and drapes and moves beautifully. Very easy to pack and is always ready to wear upon arrival no matter where you travel. Excellent condition

Unlined and slips on to wear. A wide silk ribbon tie slips through the front. Washable jersey. The open caftan design will allow it to fit just about any size

Width: 56" side to side
Length: 52" neck to hem

Modern Sizing Equivalent: OSFA

Item# DD2940

Reference Photos: 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.

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. This dress set is simply amazing and a wonderful example of his work. It was purchased form a woman who owned a boutique in Britain and was never worn. Made up of two pieces, the dress itself is a strapless, fitted tube dress with horizontal rows of silver lame thread running through it. It is then covered, by hand,  in silver sequins that cover the entire dress. A little inset of pleated silk chiffon is placed into a slit at the back so that you can walk. Over this is a one shoulder piece made out of a light silk chiffon that is covered in hand done bead, sequin and crystals. The shoulder especially is finished in an elaborate signature Gibb design and I love how the ties are a lime ling so you wrap them around the waist. Each of those ties then hang down the length of the dress and each is finished in another of his signature beaded patterns. This is a rare and absolutely amazing piece. Excellent condition.

The dress is fully lined in a black silk with elastic through the top hem above the bust, It closes with a side metal and nylon zipper. It has a tiny bit of stretch. The one shoulder top is unlined and slips on to wear. The long attached ties wrap around the waist to hold it on place.Museum quality and was never worn.

Bust: 16" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 51" from top of the bodice to hem
The jacket will fit accordingly with an adjustable wrap tie waist and the one sleeve is 22" long

Modern Sizing Equivalent: XS-SML

Item# DD2939

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 wonderful and I was lucky enough to be able to document it by the print to the 1978 resort collection. Halston did do swimwear collections for his clients and this was a dress that was a part of that same line as it is made from a jersey that is much like a swimsuit fabric. The print is bold and beautiful and the same print used on the swimsuit and sarong in the Vogue editorial shot that I found from that same year. The top is cut halter style with built in cups like you would find in a swimsuit and adjustable straps that curve over each shoulder. A tie sits at the base of the bust for detailing and the jersey falls to the floor in a cascade of gorgeous blooms. A wonderful and collectible piece. Excellent condition

The bust is lined with built in soft cups like a swimsuit would be and the rest of the dress is unlined. It closes with a back zipper. It does have some stretch like a swimsuit would.

Bust: 16-18" flat across from side seam to side seam
Under Bust: 14-16"
Natural Waist: to about 16.5" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 58" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD2930

Reference Photos: (1) US Vogue, January 1978. Photo by Stan Malinowski. Model: Juli Foster.  /  (2) Halston Resort, 1978. From the book 'Halston' by Phiadon.

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 Chanel suit is absolutely beautiful and very special as it is the near twin of a version of the same suit held in The Met Museum's permanent collection. Each of these Haute Couture pieces would have been customs fitted and made for the client purchasing it and I think that this version is even prettier. The buttons on this one are exceptional and think it makes this set a bit more special. The current cost of a Chanel Haute couture suit is many tens of thousands of dollars and RTW Chanel would be the same cost as this couture version making it a very smart investment.

This beautiful suit has all of its proper Chanel Haute Couture labels and numbered tape underneath the labels. It was sourced from the daughter of the original client and it is wonderful. It has all the hallmarks that you look for in a couture Chanel piece from this era. The chain is present at the inner hem, the interior is is finished with the vertically stitched quilted technique used during this time period and the finishes are all done entirely by hand and to proper Haute Couture standards. The skirt and jacket are made out of a classic Chanel boucle. Int presents as a deeper olive tone but when you see it up close you realize that it is actually a remarkable mix of a green, blue, coral and purple. Chanel's boules are legendary and the way they make them is proprietary to the atelier. The way it is woven gives the fabric structure and stability one way and a slight bias cut effect the other. This is what creates that perfect fit that Chanel suits have. The fabric has the movement to really sculpt to the wearer and yet retains the shape and cut of the piece at the same time. The skirt falls to just below the knee with a slight flared cut. Perfectly  spaced pleats finish the front and the back is done in with a simple flat cut. The jacket is classic Chanel with two low set signature pockets at the front. Each pocket is detailed with a floral shaped button. More of these buttons are set  down the front and at each cuff. Each button is hand made and constructed by hand wrapping the wire to form the camellias that you see. The suit comes with its original matching top. It is made out of silk and has an intricately pleated front and French cuffs that are finished with matching buttons. The silk that the top is made out of is an exact match to the lining of the jacket. The top is not perfect and is sent with the suit at no charge. The suit itself is in excellent condition with a minor note below.

Both the skirt and jacket are fully lined in a hand set green silk. The jacket closes with hand woven brass wire flower buttons and the skirt closes with a hand set metal zipper. Both the jacket and skirt are lined in a vertical quilted silk. The jacket has the Chanel signature chain on the inner hem. The top closes at the front with hidden set buttons and is entirely hand made. Each cuff on the top has french set buttons that match the jacket. There is very minor discoloration at the inner seam under one arm of the jacket. The top shows more noticeable damage under each arm and I see some small storage spots here and there as well. The set is priced based on the jacket and skirt only. The top is being included for free. Each piece is properly numbered under its haute Couture label in sequence 53422, 53423, 53424

Jacket
Sleeves: 22"
Shoulders: 13.5"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 23" from neck to hem

Shirt
Sleeves: 24"
Shoulders: 13"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 25" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 28" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2928

Reference Photo: Chanel F/W 1976-77 Suit, The Met 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 little embroidered and beaded silk jacket from the Jean Louis Scherrer atelier is absolutely divine and a once in a lifetime find. In all of my years of having some of the finest pieces of vintage couture pass through my hands I can easily say that this is one of the most magical pieces that I have had. Having its runway documentation reference photo makes it even more special. Jean-Louis launched his own label in 1962 after assisting both Christian Doir and later, Yves Saint Laurent there. He designed for Louis Feraud from 1959-1962 as well. He studied fashion at the Chambre Syndicale de la Couture in Paris and his career path was always with the intention of opening his own couture house. In 1971 Scherrer was officially granted “Haute Couture” status. His Haute Couture work was some of the most expensive you could buy at the tome and women happily paid. British Vogue to christen him “The Aladdin of Couture” and in 1974 he told Vogue “You can use marvelous fabrics, have wonderful, impossible embroidery – in fact, be superluxe, and superluxe is what the couture is all about.”

The jacket is made from a fine ivory silk that is covered with some of the finest embroidery and bead work that I have seen. You can see in the reference photo that it has been produced exactly as it was shown on the runway. The embroidery work is remarkable with accents of the tiniest beads and sequins, mixed with metallic gold silk accents, all of which would have been applied and created by hand by Lesage to the exact specifications of Scherrer. The design itself is slightly raised and the use of the beads, lame and sequins give the entire thing a very subtle glimmer in the light. It closes down the side under the edge that you see offset and then falls perfectly into place. The sleeves are exceptional with a high cap and pointed edges. It is entirely made by hand as Haute Couture dictates and the workmanship that would have went into creating that fine embroidery and bead work cannot be surpassed. A masterpiece and it appears to have never been worn. Excellent condition.

Fully lined in an ivory silk and closes with silk covered snaps under the offset edge. Completely made by hand. Couture number 004200. Padding in the shoulders. It appears to have never been worn. Measurements are taken on the interior.

Sleeves: 15.5"
Shoulders: 15.5"
Bust: 19.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 29.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S806

Reference Photo: Jean Louis Scherrer Ensembles, 1975. Photo by Jean-Luce Hure.

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 the twin of this dress in the shop before and was happy to find another. It's an early version of what would go on to become one of Ossie's most famous and recognizable designs. A version  in moss crepe is held in the Victorian and Albert Museum. Theirs dates to the 1970 collection and is more like the one I am wearing in a past reference photo with the wider sleeve. This version, with its balloon sleeve and fitted cuff  is a little earlier and dates to the 1969 collection and is the exact one I am wearing in the more current, seated photo. Together they give you a great idea of how the dress looks like on.

The design of this dress is said to have been based loosely on a graduation gown and yet still retains the flow and drape that he was known for. His signature sexuality that he worked into his pieces is displayed in that ultra low front plunge. That plunge deepens into a deep squared off shape that is cut right down to the seam at the empire waist. An attached tie wraps around and ties to give you some the shape and it keeps the plunge from moving. The skirt flows from the front gathers under the neckline and at the back it begins right under the shoulder yoking. It cascades to the ground and is balanced by huge sleeves that puff up above each cinched wrist. This dress is not made out of his more standard moss crepe, rather it is a soft, light, wool. This label is from the couture Ossie Clark line and it also has the Jeeves Dry Cleaning, Quorum recommended, tag. I own one of these myself and it will always be in my collection so I can tell you from personal experience that it is a dress that you will wear over and over and easily goes from day to night. Excellent condition.

Unlined and slips over the head to wear with attached ties at the waist. Each cuff has two fabric covered buttons at the wrist. The flowing silhouette, waist tie and deep decolletage suit a variety of figures and sizes.

Sleeves: 29.5" but come up when cuffs are buttoned
Shoulders: no defined seam
Bust: to 22" flat across from side seam to side seam
Waist: open and can be defined by the attached tie
Hips: open
Length: 59" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2924

Reference Photos: (1) From the V&A Collection.  /  (2) Ann Schaufuss in Ossie Clark, photo by Clive Arrowsmith, Vogue UK January 1971.  /  (3-4) 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.

Yves did a series of these oversized dresses that fell off the shoulder and into that great expanse of volume for the 1979 Haute Couture show and then that silhouette trickled down in the Rive Gauche collection that season and the next. This one is an unusual example of the look in that it is made out of a light and airy cotton voile rather then his usual silk taffeta's and chiffon that you see more often. The dress is cut to be very oversized and has a built in elastic binding that hooks either over or under the bust depending on how it works on you. This is suspended from the inner shoulder of the dress and is what keeps it from literally falling off of you. The elastic in the shoulder does seem to be partially gone in some places so I think this one hangs perhaps a bit more off then shoulder then originally intended but I have chosen to leave it as all original and sell it for less then what I would normally price it for. The sleeves are long and full and each has an elastic gathered cuff that has the same floral print. The body is very full with the back trailing down longer then at the front. The hem is finished with a wide ruffle that has that beautiful floral print. So pretty and volume seems to be once again in fashion so it feels very relevant yet again. Excellent overall condition with notes to review below.

The body of the dress is lined in a white silk chiffon with the sleeves left unlined. It slips over the head to wear with an inner elastic that hooks in place to keep it on the body. Parts of the elastic through the neckline has given way. It can be worn as is. I see a slight yellowing to the inside edges of the elastic collar but this is only apparent inside - the outside part that you actually see show no discoloration

Sleeves: 24" approx.
Shoulders: no defined seam
Bust-hips: open
Inner elastic: measures 22" from hook end to hook end and will easily stretch to 34"
Front Length: 42.5" from neck to hem
Back Length: 56" from neck to hem

Modern Sizing Equivalent: OSFA

Item# DD2923

Reference Photos: Spring 1978 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.

The twin of this dress walked the Spring 2016 runway for the Saint Laurent label by Hedi Slimane. Vogue's Sara Mower said of this collection in part: "Commercially, Hedi Slimane has no more to prove with what he’s set out to do at Saint Laurent. In a word: selling. His thorough refurb, from advertising to video, to music connections to multiple lines of product, has turned Saint Laurent into a power brand... For Spring, one glance at the lowbrow tiaras, the sparkly see-through mini-mesh dresses, the rock-chick leather jackets, and the skinny legs of the models shoved into Wellington boots told us where he was going. 

This was look 28 on the runway and it was produced exactly as shown there. This one is in a great wearable size too which is a find considering the majority would have been produced in teeny tiny sizes. The cut is a classic and simple one shoulder that is taken to new heights with the use of that butter soft leather and those heavy silver zippers. It gives the impression that you can zip it off and in some ways you can - some literally do zip open to reveal a flash of skin. Its sexy, bold and pure rock and roll glam - exactly what Hedi brought to the house during his tenure there. Excellent condition

Unlined and the leather is butter soft. Closes with the zipper at the side. In unworn, off the rack condition. It is a YSL size 44 and its original retail was $4880. Note that it is a little large for my mannequin - on the right size girl it will look very fitted

Bust: 19" 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: 34" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2921

Reference Photo: S/S 2016 Saint Laurent Runway, Look 28. Model: Lera Kvasovka.

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

This is a more intricate version of dress Look 32 as seen on the Fall 2002 Tom Ford for Yves Saint Laurent runway. The Vogue review of that collection stated in part: "Tom Ford is very, very good at being wicked. The designer was in an adult-erotic frame of mind at Yves Saint Laurent, taking potential clichés such as black satin ribbon, taffeta, velvet, chantilly lace and fur and applying them in an offhand way to extravagant, body-emphasizing pieces that often looked as if they might fall off at the slightest pull of a bow. What, after all, could be more provocative than a woman wearing expensive clothes that look as if they were made to be undone by a lover? ... The show was full of amazingly detailed, sexily cut suits, fabulous coats and sweeping evening gowns delicately inserted with lace."

This dress seems simple at first glance but the closer you look the more you realize it has an almost couture finish to it. The fabric is incredible. It is a silk mix that has an almost canvas like finish to it with a stamped, slightly raised floral brocade on its surface. This is the base fabric that was shown on the runway. This version is more intricate as it has thousands of little black dots in various sizes that are fused onto the fabric. These give the dress a futuristic feel and the most amazing texture. The cut is classic Tom Ford with a low squared off neckline that is finished in velvet. At the back we see the same low wide cut and a black velvet ribbon ties to hold the shoulders in place. The sleeves are cut long and each has a shaped cuff at the end. The dress is fitted and the skirt kept slim. This is am amazing achievement in both design and fabric. Excellent condition

Fully lined and closes with a back zipper and the velvet tie at the back of the neck. Unworn with its original hang tag attached. Tagged a YSL 42

Sleeves: 27" approx.
Shoulders: no defined seam
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 52" from natural neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD2920

Reference Photo: Yves Saint Laurent F/W 2002 Collection, Look 32. Model: Marcelle Bittar.

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

I love this black one shoulder dress by Yves Saint Laurent. It is in the spirit that the last few modern YSL collections have been based on and you can see the influence in archive pieces like this one on the modern day collections. The dress is constructed of black crepe through the body with silk taffeta ruffles adorning the neckline, shoulder and hem. It is cut to drape over the bust and waist rather then hug it tightly and then the hips are more fitted so that the ruffles really become pronounced and have an almost Spanish feel to them. There is no definition through the waist. It just falls from that one shoulder into an easy fit until it hits the hips. The top is very sexy with just a single silk tie at the top of the shoulder that leaves the other bare. A ruffle circles the neckline. The bodice is entirely cut on the bias leaving it loose around the waist. The hips are more fitted as mentioned and the lower asymmetrical hem is finished with two rows of ruffles and a bow on the higher set side that perfectly offsets the bow at the shoulder. Excellent condition.

Unlined and slips on to wear. It ties at the top of the single shoulder. Because of the bias cut silk and loose fit though the waist the measurements are a bit deceiving so its important to make sure the hips work. Appears to have been worn very little if at all

Bust: 17-20" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 16-17" flat across from side seam to side seam
Length: 39" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD2919

Reference Photo: (1) Joan Severance in YSL by Arthur Elgort, Vogue, July 1982.  /  (2-5) F/W 1982 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.

The twin of this dress was Look 19 on the Fall 2005 Runway. This collection was called 'The Man Who Knew Too Much' and the Alexander McQueen site says of this collection: "For the second time in his career, Alexander McQueen references The Birds for this collection a film that he remembers loving as a child principally because of the precise way in which the women featured choose to dress. Against a film-set backdrop flooded with red light models stride out in swing coats, pencil skirts, neat, cropped trousers and fitted chunky mohair all of which suit a modern-day Hitchcock heroine down to the ground. Given the source of inspiration this may be read as McQueen's interpretation of coordinated dressing almost vintage Hermes style crocodile sling-backs are teamed with matching handbags, for example. Hair is big, bouffant and blow dried and lips are painted true red."

and Vogue's review stated "Tippi Hedren and Marilyn Monroe. Biker molls and sweater girls. You got it: Alexander McQueen went to the sixties, all the way, for fall. With its filched movie and rock 'n' roll themes, the collection read as a knowing vehicle, a McQueen director's cut. Glacially restrained tailoring, early rocker chic, the classic Hollywood ball gown moment: He had 'em all. Plus great hair, great music, and a roar of old-school glamour.But there's no such thing as a McQueen routine without a sinister psychological subtext or two. Was there a hint in the invitation—a pastiche of the film poster for Vertigo, superimposed with the title of another Hitchcock movie, The Man Who Knew Too Much? What McQueen knows shows aplenty. His combined knowledge of Savile Row tailoring and Parisian couture means he can scissor an impeccably narrow gray tweed coat or a nipped-waist pencil skirt suit, and put sizzle into period sobriety."

Earlier McQueen pieces are getting exceedingly rare with all of the attention paid to his work prior to his passing. They get snatched up by collectors and fans who love his cut and line. This runway dress is definitely a showstopper. It is fitted & follows every curve. The fabric is that stunning leopard print and it is a wonderful example of a modern day designer taking couture techniques from the past and giving it his own genius spin. The leopard print is screened onto a silk that has a good weight - the final result is structured and fitted. All the seaming is vertical and curved and cut to create an hour glass shape. At the bust the cups are edged in black lace and chiffon. The straps are meant to sit just slightly off the shoulder so that you get a glimpse of the upper collar bone. The dress is meant to mold and curve around a real body with a strong nod to the fifties fitted wiggle dress so my mannequin is not even coming close to doing this piece full justice. It is in immaculate condition and an important piece of the McQueen legacy. Excellent condition.

Fully lined in a brown silk and closes with a hidden set back zipper. Tagged a McQueen 42 but please check measurements as McQueen fits smaller. It appears to have never been worn or worn very little.

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 44" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD2917

Reference Photo: Alexander McQueen F/W 2002 Runway, Look 19. Model: Heather Marks.

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

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 the 1989 "Cruise Me  Collection was pivotal in taking him from a regional desinger to one that was known on the international stage. Moschino passed away in 1994 so the peices from the earlier years are especially sought after and valuable.

The suit is exceptional and showcases everything collectors love in a Moschino piece. It is extremely rare and I doubt you will see another anytime soon. The skirt is a slim, straight cut and has a braided decoration running down each side. This is topped by that spectacular jacket. The jacket has so many details, all working together in perfect harmony. At the front we see the cropped squared off shape that is highlighted with various gold braiding to show off the lines and cut. Domed old  and red metal filigree buttons are set at each side with a hooked chain running between then so the jacket is kept at the exact perfect spacing. The bottom is elongated into 'Romanesque' tabs that are each finished with long red fringing. At the back is that spectacular applique with the words" I love Venice" embroidered into its design. Excellent condition wit one small note below to review.

Both pieces are lined in a hand set red silky rayon. The skirt closes with a zipper and the jacket buttons at the front with each set of buttons suspend from one another with a hooked chain. Very lightly padded shoulders in the jacket. Tagged a vintage US8, IT42

Jacket
Sleeves: 23"
Shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Length: 18" from neck to hem (fringe adds 5")

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2916

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

The twin of this dress was worn by Lauren Hutton for Vogue in 1970 which gives us the exact date for this lovely dress. Hutton wore her version belted and without the little chains that keep the plunge into place. Without the belt and with the chains kept in place the dress has a sweeter, more feminine feel. It is wonderful that you can change it to be worn for either. The dress is made from a light silk gauze that is almost weightless and beautifully holds that brilliant color. The print that covers the dress is wonderful and I love the combination of pink with the muted yellows and pale lavender that runs through the print. It is fitted through the bodice and the sleeves are long with just a suggestion of fullness above their cuffs. The skirt is quite full with the waist set slightly higher then the natural waist would be - not quite an empire. The fabric is gathered into the waist with a series of soft pleats. I love the plunging front and how they use fabric covered buttons attached by little gold chains to hold the plunge in place. These are strung across the opening and set so they gradually get longer as they near the upper portion of the neckline. It is wonderful and a real find. Excellent condition.

The bodice and sleeves are unlined. The skirt is lined in an off-white silk organza. It closes with the button and chains at the front with a series of hidden set snaps under the front waist. Each cuff closes with hidden set, fabric covered snaps. Hand finished.

Sleeves: 26"
Shoulders: 13.5"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips at inner lining: 23" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 39" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2909

Reference Photo: Lauren Hutton by Henry Clarke, Vogue, 1970.

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

The fall 1994 collection from Todd Oldham featured was a heady mix of supermodels and red carpet worthy gowns. As far as I am aware, this is one of examples of this particular dress from the show that were ever made. One was the one that Karen Mulder wore for the runway show and that was donated by Todd Oldham to The Met, and this example that was custom made for the Ebony Fashion Fair.  It represents a remarkable time in fashion history and I feel was one of the pinnacle gowns of the show.

The dress is cut into a long column made up of solid, densely applied bead work that is entirely hand done. The bead work has been applied onto a graduating colored silk going from a light baby blue to a deeper tone by the time it reaches the hem. It is cut to follow and highlight every curve. The simple, sleek lines allow that wonderful bead work to take center stage. Two types of beads have been used and this combination of the two create an exotic 'leopard' feeling print that covers the dress from shoulder to hem. I love the resulting combination of the pastel blue and silver. The neckline and back are scooped and the waist nips in just a touch but without being seamed. It is super model length with a slightly trained hem at the back. The full coverage of the glass beads makes this feel very heavy off the body but once on, it falls and the weight is evenly balanced out. Inside, it is completely finished in a silver toned white silk satin silk that slides over the skin and gives it a sensual feel. When you move, all of that wonderful bead work captures the light and the dress seems to glow from within. Presents as excellent condition with some small condition notes to review below.

Fully lined in a cream silk satin and closes with a hand set back zipper. It appears to be made entirely done by hand. The gown is very heavy and there is a slight amount of beads loose or missing along the straps and there are beads and loose threads along the train. This was worn on the runway for the Ebony Fashion Fairs and this is all from being worn in shows. Inside the upper bust and along the hem the interior satin has scuffs and discolorations - nothing that shows when on but mentioned for accuracy.

Bust: to 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 67" from shoulder to back train

Modern Sizing Equivalent: SML-MED

Item#DD2188

Reference Photos: (1-3) Karen Mulder walks the Todd Oldham Fashion Show on April 7, 1994 at Bryant Park in New York City.  /  (4) Model in Todd Oldham Fall 1994.  /  (5) Todd Oldham Dress from The Metropolitan Museum of Art  'The Collection Online'.

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

A version of this dress in white was showcased in a 1990 Vogue editorial. The white version was photographed on Christy Turlington and is a version of this dress with the same neckline but a fuller skirt and no sleeves.

From the Fall/Winter 1990 collection this little black dress is made from his signature stretch 'bandage' knit. This fabric molded to the body like a second skin and the combination of that type of fabric and the seaming that Alaia builds into his dresses was done to exaggerate curves and be flattering on. Each of his dresses are genius in their cut and design and the earlier dresses really showcase the progression and early hallmarks of what was to become a signature throughout his label's history. The neckline of the dress is scooped low and is cut very wide and low across the chest as you can see in the reference photo. It is fitted to the body from shoulder to hem and cut to follow every curve. The seaming on the dress further exaggerates the curves and the seams are set to add to the feel of that hourglass shape. At the back, the seaming curves up and around to follow the line of the buttocks. Each sleeve is cut lean and long and the dress is sexy as hell once on. Excellent condition.

The dress is unlined and slips on to wear. Tagged a vintage Alaia medium. The knit will stretch a bit and allow for a range of sizes - I have given the range from laying flat and stretching out to its comfortable max - you might be able to squeeze a touch more if needed

Sleeves: 23"
Dropped shoulders: 16"
Bust: 16-20" flat across from side seam to side seam
Waist: 12.5-15" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: 31" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD1694

Reference photos: (1) F/W 1990 Azzedine Alaia Collection, Look 74.  /  (2) Christy Turlington for Vogue, 1990, photoed by Hans Feurer.  /  (3-4) Elisabeth Moss in this dress on the TIFF 2018 Red Carpet.

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/Winter 2001 presentation. The reference photo from that collection appears more of a blue but the runway version was black - it is just the lighting that makes it look that color. 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 waist. Under that it flows out into a very long, supermodel 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. Excellent condition

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 Large and Alaia does run small. The knit will stretch a bit and allow for a range of sizes - I have given the range from laying flat and stretching out to its comfortable max - you might be able to squeeze a touch more if needed

Bust:  15-19" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: 70" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2659

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.

The twin of this dress was worn out by Iman to the 69th Regiment Armory in New York City, November 29, 1990 with her husband David Bowie. It was also shot on Cindy Crawford for the cover off Elle france that’s year and was the closing look of the runway show. It is instantly recognizable as his work and an iconic piece of the brands history.

The dress is made of a black stretch lace that is layered over a deep nude stretch jersey that sculpts and shapes your form. The illusion is of course that you are not wearing anything underneath the lace and from a distance the dress can feel quite shocking. The lace knit that is used is very soft and the entire dress has a great amount of stretch. This is a size small in vintage Alaia and off the body it looks like a doll dress but will stretch to accommodate a real body. The stretch and cut are intentional and are made to hug and exaggerate your curves. The neckline is curved at the front and back and is accented by a wide black ribbed stretch fabric. This same ribbing anchors the hem and a far thinner band sits at each cuff.  There is no defined waist seam - it simply glides past the bust and down and around the hips. It is utterly amazing on and sexy as hell. Excellent condition

The body of the dress is lined with a dark bronze stretch jersey nylon. The sleeves are unlined. Slips over the head to wear. Tagged a vintage Alaia Small. The knit will stretch a bit and allow for a range of sizes - I have given the range from laying flat and stretching out to its comfortable max - you might be able to squeeze a touch more if needed

Sleeves: approx 23" approx.
Shoulders: no defined seam
Bust: 13-18" flat across from side seam to side seam
Waist: 10-14" flat across from side seam to side seam
Hips: 13-18" flat across from side seam to side seam
Length: approx 28-29" from neck to hem once on

Modern Sizing Equivalent: XS-SML (may fit a small med)

Item# DD2907

Reference Photos: (1-2) Iman and David Bowie at the 69th Regiment Armory in New York City, November 29, 1990.  /  (3) Cindy Crawford in Alaia, Elle France, 1990.  /  (4) Naomi Campbell, Alaia F/W 1990.  /  (5) Helena Christensen with Azzedine Alaia, Elle US, September 1990. / (6) Yasmeen Guauri for Alaia F/W 1990.  /  (7-8) Madonna, in Alaia, 1990.

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

The dress is strapless and made from a light silk wool mixthat has a touch of stretch to it so once in it is insanely comfortable. It also is made with wonderful interior details so it fits like a glove. On the exterior, black silk ribbon is cut on an angle at one end and then these are layered atop each other in rows all the way around the bodice and the hem. There are three rows across the top and five around the hem. At the center of each is a large bow for a little extra detail and there is also a detachable black Chanel Camellia flower pin that I have put at the hem for these photos but that you can place anywhere you wish or remove and wear separately. It is interesting to note that each of the ribbons is finished at the angled end so that the very edges are stiff. This gives each petal a tiny bit of added weight at the end so it lies perfectly in place. Additionally, each ribbon is perfectly lined up and overlaps its neighbor with perfect spacing. The same technique is repeated for each ribbon on the bottom 14" of the skirt as well - again each perfectly aligned and the exact size of the one next to it. Inside, the dress is finished immaculately with a built in net corset. I love the pocket detailing on the hip. This is only a design detail but adds to the hours glass shape of the dress. This is classic Chanel and wonderfully constructed. Excellent condition.

The dress is fully lined in black silk and there is a full silk net corset built in. This is boned all and has a waist stay. It closes with a back hand-set zipper and the ribbons overlap at the back and close with hook & eye. Each ribbon is sewn onto a silk chiffon backing that is attached to the dress. Hand finished.

Bust: 16" flat across the back from side seam to side seam, room for an A- small B cup
Waist: 14" flat across the back from side seam to side seam on the exterior, 12" inside the corset with the waist stay closed, 12-14" with the waist stay left unhooked
Hips: 18" flat across the back from side seam to side seam
Length: 39" from the top of the bust to the longest points on bottom hem

Modern Sizing equivalent: XS-SML

Item# DD853

Reference Photo: Fall 1986 Chanel 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 dress that classic Yves Saint Laurent sack dress cut and silhouette from this time period. It is entirely done by hand and the silk is of the highest possible grade. It feels stupendous on. These sack dresses really played on volume and cut and though you find then in various fabric for his Rive Gauche line the Patron, or Haute Couture examples are far rarer. The Patron Original label was used for two purposes - it would indicate a gown custom made for a client that was not always exactly to the version presented on the runway or was one entirely made for the individual altogether on a collaborative effort between client and designer or, in some cases, especially for earlier pieces it was the equivalent of a "sample" that was made by the atelier and sent to licensed ateliers that made dresses for their individual markets under the strict supervision and approval of the house. This was a way to get around the strict customs controls of earlier time periods, a practice began and initiated by the house of Dior. In either case pieces bearing this label are considered to be Haute Couture. In this case we also have a runway photo of the twin of this dress giving us yet anothet layer of provenance on this beautiful dress.

At first glance the dress seems very full but don't let its volume fool you, these can still be immensely flattering if the proportions are kept in balance when styled and on. I love the fullness through the body and these this give you. The collar is cut across and scooped at the front and then dips down lower at the back to show off an expanse of bare skin across the upper back. 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 poufs out slightly above the cuff. The cuffs themselves are made from a brown velvet and this same fabric is used to edge that wonderful neckline. The silk itself is fabulous and the colors almost seem to have an inner glow to them. They have the feel of fall with their combination of red gold and taupes. It is truly a brilliant 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. In excellent condition.

Fully lined through the body in a fine brown silk with all interior seams hand finished. It closes at the back with a hidden set zipper. Each cuff buttons to close. Hidden pockets along the side seams at the hip. Finished to Haute Couture standards and entirely done by hand. Patron Original number 56337.

Unlined and slips on to wear. Buttons at the neck with pockets on each hip seam. Tagged a YSL 46 but please check actual measurements. The open cut will allow for a range of sizes

Sleeves: approx 27" but will come up when on
Shoulders: approx 15" but not true defined seam
Bust: to 23" flat across from side seam to side seam
Waist: to 23" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 41" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2902

Reference Photos: (1)  Cocktail dress of black velvet from the 1983-84 Fall/Winter collection. From the book 'Yves Saint Laurent, 1984' page 189. /  (2) The haute couture sketch of the dress as documented on page 114 of Yves Saint Laurent, Retrospective exhibit book, 1987.  /  (3-5) Cherie, Owner of Shrimpton Couture, by Erin Leydon. (To shop the Hermes bag that Cherie is wearing, click here > ) (6) Model Anna Bayle on the YSL 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.

In the book that accompanied the Thea Porter exhibit of which I lent a dozen Thea Porter pieces to, author Laura McLaws Helms describes the Faye dress: "...the Faye dress was high-necked with flowing sleeves, a full skirt and tight bodice. named for her client, the American actress Faye Dunaway, it was usually made of a sheer georgette in a rainbow of colors with a panel of antique brocade covering the chest.... The Faye was continually remade in several variations from 1968 onwards, and was a notable success. Porter reminisced later that: "One night at Elaine's in New York I saw Betty Bacall and Jane Fonda both wearing the Faye dress, luckily in different colors." Constructed from white lace, the Faye dress made for the ideal wedding gown; Thea described the dress as 'nun-like and all-enveloping', yet the transparency of the fabric revealed more then the cut supposed - balancing the design cleverly between modesty and romanticism."

This version of that iconic Faye dress has been made from a light silk voile in ivory that is completely covered in a swirling embroidered pattern that gives it an extra layer of texture and detailing. The fabric has a touch of transparency to it and is very beautiful. It also gives the dress that exact touch of exposure that Laura describes above. The sleeves are cut wide and full and each is edged with a double row of a turquoise blue velvet trim. Two matching bands of velvet also circle the lower portion of the hem. The neckline is cut high and the entire bodice is detailed by an antique silk brocade panel. Thea often incorporated antique fabrics into her work and this gold and blue metallic panel works perfectly here. At the back is an unexpected bit of sexiness as the entire length from neck to waist is left open in a elongated key-hole that runs between the hook & eye at the neck and the closure at the waist. The dress is absolutely stunning and an outstanding example of Thea's work and of this style of dress in particular. Excellent condition.

Fully lined in a fine light off-white silk except for the sleeve and back of the panel at the bodice which are both unlined. The dress slips over the head to wear with a hook and eye at the back of the neck and another at the waist. Hand finishes throughout. Museum quality

Sleeves: approx 20"
Inset shoulders: 12"
Bust: 17" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2463

Reference photos: Both from the book "Thea Porter, Bohemian Chic" Laura McLaws Helms and Venetia Porter. Photo 1: (left) Susanne Elliott at her wedding in a lace Faye dress with long scalloped veil, Lincoln, 1970. (right) Lace Fate dress worn by Susan Elliot, held at the V&A. Photo 2: A Faye dress from 1970, held at the V&A

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

True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. This piece is a little extra special in its provenance as my client tells me that this was the very first piece of Haute Couture that her mother purchased in 1973 from the runway sample from the Spring collection for that year.

The dress is made of two layers - a silk twill inner sheath dress and a looser, more flounced outer layer made of silk chiffon. The silk chiffon used on the outer layer is of the highest possible grade and both pieces have a beautiful red and white floral design screened over  them. When the two pieces are  layered over each other the most interesting depth effect is created as a result. The fabric choices give the dress a very light and airy feel that is very feminine. The sleeves pouf up slightly above the off-white silk organza cuffs. The neckline has a notched collar that is made of that same organza. It dips down at the front and has a classic Chanel Camellia flower that sits at the base of the neckline. Both the cuffs and collar are attached by a series of snaps and could be removed if you wished to wear the dress without that white accent. At some point the base of the collar was tacked into place to secure it but you could easily remove the few stitches and have the option of wearing the dress without the collar and cuffs in place. The skirt is a masterpiece of fine pleat work set by hand all the way around the hips. Each is done by hand and spaced apart perfectly. These give the skirt its slight volume and the technique is beautiful. Entirely made by hand and the Haute Couture tag and numbered tape behind it are present on the interior dress. The outer dress is in excellent condition and the inner dress has notes below to review regarding condition.

The exterior dress is unlined and closes with a combination of hidden set, silk covered snaps and hook & eye set down the front of the dress. The interior dress act as the lining and closes with a handset side painted metal zip. The cuffs and collar snap into place. I see no flaws on the outer dress. The inner dress shows color run under each arm  - I have photoed both for your review. When both pieces are worn together you do not see it at all and it presents as excellent. Finished to Haute Couture standards and entirely done by hand. Haute Couture label present with interior tape number 47638.

Outer Dress
Sleeves: 25"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem

Inner Dress
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 53" from neck to front hem, 55" at the bacl

Modern Sizing Equivalent: XS-SML

Item# DD2116

Reference Photo: Spring 1973 Chanel Haute Couture.

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

Some pieces still have the ability to make me catch my breathe when I first see them and this brilliant Pucci jumpsuit is one that did. It is an absolutely gorgeous Pucci piece with a bold and classic Pucci color palette in blues, white and black with a pop of deep purple. It is made out of  stretch velvet that molds to your body like a second skin. This fabric choice makes it extremely comfortable to wear and is the equivalent of wearing a full length body suit. The sleeves are cut slim and the neckline high. It hugs the torso and inside there is a waist stay to keep it perfectly in place. Each pant is a skinny stretch fit and has a stirrup at the end to keep the pants stretched over your legs. This is a very rare Pucci that is instantly recognizable and very sexy despite it covering you from head to toe. The print and bold colors all work with each other beautifully. Excellent condition with one note on condition to review below.

Unlined and closes with a back zipper. Each cuff has a hidden set zipper at its cuff and the legs has attached stirrups. The fabric does stretch. Tagged a vintage Pucci Med but fits small. Note that it looks like it has been washed incorrectly at some point in its history and the white parts are more a pale purple and there is color run. The color ran very evenly over the lighter parts so it looks like it was meant to be that way. Priced accordingly regardless. Otherwise it has no flaws. It has more stretch length wise then width.

Sleeves: 22.5"
Shoulders: 15"
Bust: 15-17" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam (for the larger range you would most likely need to not hook the inner stay)
Hips: to approx 18" flat across from side seam to side seam
Length: will stretch 53-60" from neck to cuff (not including stirrup)
Inseam: will stretch 27-37" and probably a little more if you needed it

Modern Sizing Equivalent: XS-SML

Item# DD2899

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

This is an extremely rare Jeanne Lanvin-Castillo labeled ensemble. The label is that of the "Execute par Maria Carine sur autorization speciale", which translates to: "made by Maria Carine with special authorization. That label is best explained by this partial excerpt from the Vintage Fashion Guild: The Maria Carine atelier was owned by Maria Moutet-Chenu. She worked with four couturiers: Heim, Desses, LaRoche, and Lanvin. After the couture showings, each couturier would give her sketches based upon the garments they had just shown. Moutet-Chenu made the toiles which were approved by the designers. Then each garment was cut individually by hand in the Maria Carine workrooms in Paris using the same fabrics that were used for the couture garment. Maria employed hundreds of seamstresses, many of whom worked in their own homes. They sewed each garment individually by hand to exacting standards. In other words - this is an authorized piece, whose construction was overseen by the house of Lanvin and is how demi-couture pieces were produced for clients outside of France. These were only produced for a small window of time before more mass market production methods took over. This method was used by the French ateliers of the time to circumvent the stringent export rules of the day - think of it as a off site atelier as this were only produced with permission of the house. They are not "copies", nor are they less valid pieces - they simply were produced off-site to get around the export rules of the time. The quality is that of a demi-couture piece.

The fabric of this dress is wonderful. It is a very lightweight, fine silk brocade woven with a slightly raised pattern of flowers in a deeper blue thread that perfectly contrasts against the blue base. In person this fabric almost seems to glow from within and it is very beautiful. The color is not quite captured in these photos and I think it is far better in person. The dress is fitted through the waist but cut to skim over your curves above and below that. The sleeveless top gently gathers into the banded waist with soft pleats that make it feel very feminine. The skirt falls softly to just past the knee and gently widens as it nears the hem. The jacket is cut with a simple design and has straight cut sleeves that are just past the elbow in length. The is no no collar and it ties in place at the waist. That tie at the waist is finished with hidden set snaps to keep the ends of the tie perfectly in place. I love the two round pockets that sit very high up on the chest. It is made with masterful seaming and cut and the fabric is just extraordinary. Hand finishes and extra detail throughout. Excellent condition.

Unlined with a combination of grosgrain and hand stitched edged seams on the interior. The dress closes with a side set painted metal zipper. The jacket ties at the waist and there is a combination of with hook & eye and hidden snaps to secure the tie. Each pocket is hand shaped and sewn into place. Hand sewn interior silk banding at the waist for additional comfort.

Dress
Bust: to 19.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 14" from shoulder to top of waist band
Waist band: 3"
Skirt: 22" from waist to hem

Jacket
Sleeves: 17"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Length: 17.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD1700

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 butterfly print is perhaps the most iconic of the Hanae Mori designs and this dress feature that print in the most beautiful way. This silk chiffon dress is instantly recognizable as a Hanae Mori despite its lack of a label. This is everything you look for in a Hanae piece. It has that wonderful custom designed butterfly print screened onto a feather light silk chiffon on both the exterior overlay and on the inner dress. This allows the two prints on each layer to be slightly offset giving the print an extra dimension of depth. The cut of the top layer has that draped flowing feel to it that collectors crave when they look for the best of Hanae's pieces. The inner dress is made of a scarf weight silk covering a satin lining and is cut in a simple sheath silhouette. Over this a floating sleeved caftan of printed chiffon slips over the inner dress and simply buttons at the back neck. The sleeves are cut wide and have slits running up their sides to add to the floating feel of the dress. I love the ankle length cut of the dress - it is the perfect length to allow a pretty shoe to peek forward. Excellent condition

The inner silk slip dress serves as the lining. It slips on to wear. The caftan overlay closes at the back of the neck with a fabric covered button. There is only a period appropriate Saks Fifth Avenue tag. There is a smudge of a mark on the silk chiffon on the sleeves and near the seam of the arm but nothing that really detracts. The cut will allow it to fit on a variety of sizes.

Sleeves: 24" (outer dress)
Shoulders: 16" (outer dress)
Bust: 20" (inner dress) flat across from side seam to side seam
Waist: 21" (inner dress) flat across from side seam to side seam
Hips: 22" (inner dress) flat across from side seam to side seam
Length of both: 54" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD2897

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon. (See more on Instagram)

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

For the 1967 Chloe Collection Karl Lagerfeld did sequins, paillettes and studs on short little dresses. Examples of that collection are held in museums around the world. This wonderful little dress is truly exceptional. I love the bright yellow mixed with all that wonderful detail. The cut is as simple as can be - it is a sleeveless A-line cut almost scandalously short and it zips up the front. You can in fact zip it completely open and wear this as a layered piece if you wished. I love the huge ring that anchors the zipper pull and that same ring detail is picked up in a slightly smaller size on each zippered pocket. Hundreds of iridescent paillettes edge the front and circle the hem and collar. A row of four deep circle the waist to give a hint of definition there and still more are used to define the pockets. Interspersed in the paillettes are silver sequins and silver studs. This is one of those vintage finds that just take your breathe away and it is exceptional in every way. There is one small note to review in the condition notes below but otherwise presents as excellent.

It is fully lined in a yellow silk and closes at the front with the zipper as seen. Each pocket zips to close and is functional. I see one missing paillettes on the back of the neck and one on the back of the arm on one side otherwise all are preset. There is a small area on the from near the hem where the fabric feels like it had tape on it at one point and it has left a mark. it has changed the fabric a little in texture and slightly in color in one spot. I have photoed it. The color is a touch brighter then how it photoed.

Bust: 16" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 33" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2898

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