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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4611

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4778

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4775

Reference Photo/Video: Spring 1988 Chanel Runway.

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4774

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

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD4773

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

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD4766

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4763

Reference Photos: Fall 1996 Pierre Balmain Haute Couture.

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

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

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

Jacket
Sleeves: 24.5"
Sleeves: approx 23" and they are 12.25" around the upper arm
Shoulders: no defined seam
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 23" from neck to hem

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

Modern Sizing Equivalent: SML-MED

Item# DD4761

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4177

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD4757

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

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD4758

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4753

Reference Photos: The Devil Wears Prada, 2006.

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD4752

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

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

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

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

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

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

Jacket
Sleeve: 17" and are 18" around the upper arm
Shoulders: 15.5"
Bust: t0 19.5" flat across from side seam to side seam
Bottom hem: 20.5" flat across from side seam to side seam
Length: 23" from neck to hem

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

Modern Sizing Equivalent: SML-MED

Item# DD4751

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4750

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4746

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD4747

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4748

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4745

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

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

This is a more recent dress by Valentino and it looks to have never been worn or worn very little. Its simple lines and perfect ivory make it the perfect dress for someone that loves minimalism. It has such a simple and elegant lines that are immensely flattering at the same time. The fabric is that fine wool with a touch of silk in it that became a Valentino signature under Pier. The dress does not have a single unnecessary seam. Even with its simplicity it would still be a dress that is red carpet worthy or would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any other event. 

The fabric used has a beautiful drape that is just heavy enough to hold the lines and shape of the dress and still feel easy to wear. It lets it move so beautifully over the body once it is on. It is constructed so that it drapes and skims over the body perfectly. The bodice is cut into a bit of a squared off shape and it extends into wider straps. These curve up and over the shoulder, and then narrow down into slimmer straps that connect to the low back. The upper back is left bare and this contrast to the more covered front is very pretty and adds a touch of subtle sexiness. The skirt falls to the floor in a sweeping expanse of fabric that becomes quite wide as it nears the hem. Coming out from the seam that runs along the low back is the second panel of fabric that sweeps out and around you to create a draping effect. It falls to the floor to create this elegant and dramatic sweep of fabric behind you. It is very beautiful and it has pockets. Excellent condition 

Fully lined in an ivory silk and closes with a hidden set back zipper. It looks to have been worn very little if at all. Tagged a modern Valentino size 42.

Bust: the front covers 16.5" flat across with no true side seams
Seam under the bust: 16" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 9.5" from top of shoulder to seam under the bust
Total length: 56" from top of shoulder to front hem, 59" tot he back hem

Modern Sizing Equivalent: SML-MED

Item# DD4743

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The twin of this suit was shown for Look 8 of the Resort 2016 Stella McCartney collection. I think it was the strongest look of the show and I love that Stella herself loved it so much that she wore a version to the show. Karlie Kloss also wore one and having all these reference photos gives you a great idea of what it looks like once on the body. It is a great suit that is both an amazing basic but with a pop and some personality. I love it.

This suit is the perfect example on how to take a classic, basic set and really add details to make it outstanding. It is made from a fine black wool that is just heavy enough to hold the shape, but not so heavy that it is uncomfortable when worn. The jacket is precisely cut and tailored. Sleeves are cut long and simple and the shoulders are structured with a small amount of padding inside to hold the shape. The front lapel is shaped and notched with a nod to a tuxedo in shape. It is cut so that it comes in at the waist and flares out a bit at the hip. It has a touch of an oversized shape to it in comparison to the cut of the pants. Though I feel that when you see it on my dress form this feels more emphasized then how it is in real life. You can see in the reference photos that once it is on a body it has a really nice balance. A slit pocket sits on one breast and it still has its original hidden tacking in place. Two flat pockets sit on each hip and they also have their tacking in place. The pants play on a classic men's pant. They have a flat front with a banded waist and two tiny curved faux slip pockets high on the hip just under the waistband. They are cut to sit slightly low on the hip. There is a sharp fold running down the front and back of the pants. The pants narrow down and then have a tiny flare at their bottom. They might sit slightly cropped depending on your height. I love that you can wear these together or break the set up and mix and match with pieces in your existing wardrobe. The suit appears to have been worn very little if at all. Excellent condition. 

The jacket is lined her signature black slightly ribbed lining fabric and the pants are unlined. The jacket closes with two buttons at the front as seen. The pants zip to close and then have a hidden button and hook and eye at the band of the waist. All the pockets on the jacket have their original tacking. The jacket is tagged a McCartney 44 and the pants a size 42. 

Jacket
Sleeves: 22" and 13.75" around the upper arm
Slightly dropped shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 30.5 from neck to hem

Pant
Waist: 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 41.5" waist to hem
Inseam: 30.5" from inner seam to hem
Rise: 16" from top of back waist to inner seam

Modern Sizing Equivalent: SML-MED

Item# DD4740

Reference Photos: (1) Resort 2016 Stella McCartney Look 8.  /  (2-4) Stella McCartney Resort 2016 Presentation (Model in suit is Tiana Tolstoi).  /  (5) Karlie Kloss in Stella McCartney, 2016.

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This is an extremely well documented set by Phoebe Philo from her Celine days. This was an amazing year for Phoebe. The week before this collection was show she accepted the International Award from the CFDA. Then she presented this collection and it was a hit and received rave reviews. Vogue said that "Philo is still pushing the wardrobe concept, covering the basics and then some. The thing is, in her hands nothing is ever basic: bold, or maybe even brave, is more like it." The twin of this set, with a jacket added over them was show for Look 6 and they were mentioned specifically in that review; "Philo is still pushing the wardrobe concept, covering the basics and then some. The thing is, in her hands nothing is ever basic: bold, or maybe even brave, is more like it... Her three-piece suit (jacket, pants, button-down) is cut in an oversize floral—her minimalist phase may be over." This look was a hit with the fashion set and it was used in several editorials that season. It is a fantastic set that is pristine and still feels off the rack new. 

It is so rare to find these two pieces selling together. You almost always see them sold separately and it might be worth it to the person who buys this to hunt down the matching jacket at some point as well. The set I have for you today is made up of  the pants and oversized button down. The fabric that she used for both pieces is a crisp cotton that holds the shape she wanted and that gorgeous bright floral print perfectly. The floral print covers the entire surface of for both pieces for a maximalist print on print feel. I love the boldness that this creates. The pants have a flat banded waist that is meant to sit slightly low on the hips and then the legs narrow down to a cropped peg leg. The top is cut with with a more oversized feel and the crispness of the cotton makes it feel almost like a light jacket/top. It has a small near collar and long straight sleeves. The sleeves both end in an exaggerated 5 1/2 inch narrow cuff. It is cut full and easy through the body with a straight long, feel to it. It buttons down the front and the buttons are hidden underneath a panel of the same fabric. The hem curves up at the sides with notches so you can easily tuck your hands into the pockets of the pants to get a cool slouchy feel. You can wear the pieces together for a strong statement or break up the set and wear them as separates with other pieces in your closet for lots of styling options. It looks to have been worn very little if at all. Excellent condition

Both pieces are unlined. The pants have a flat waist and a zipper and the top buttons to close. Each cuff button tends to close. Pockets on each hip of the pant and slit pockets at the back of the pants that are both still tacked into place. Both pieces are tagged a modern 38

Top
Sleeves: 26" and 12" around the upper arm
Shoulders: 15"
Bust-hips: to 20" flat across from side seam to side seam
Length: 31" from neck to hem

Pants
Waist: 15" flat across from side seam to side seam with no give
Hips: 18" flat across from side seam to side seam
Length: 34" from waist to hem
Inseam: 24.5"
Rise: 15" from the top of the back waist to the inner seam

Modern Sizing Equivalent: XS-SML

Item# DD4741

Reference Photos: (1) Resort 2012 Celine, Look 6. Model Monica Sawicka.  /  (2-3) Lina Zhang for Marie Claire China, January 2012.  /  (4) L'Officiel Magazine, December 2011.  /  (5) Photo by Thomas Straub for IO Donna, November 2011.  /  (6) Agyness Deyn photographed by Patrick Demarchelier for British Vogue January 2012.  /  (7) Charlotte Free in Celine, by Elena Rendina for Wonderland Magazine, November/December 2011.  /  (8) G-Dragon for Vogue Korea, March 2012.  /  (9) Miranda Kerr, July 2012.

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

The twin of this set walked the Fall 1993 Chloe runway and was worn by none other then the great Kate Moss. In 1992 Lagerfeld had once more come back to design for the Chloe label after two previous stints at the brand. In the book "Chloe Catwalk" the write up on this collection shares that WWD called the three Paris collections that he designed that season (his own, Chanel and Chloe) Karlie's Angels. I love that. The show was full of romantic loose silhouettes, sexy dresses and velvets. WWD went on to declare the show one of the best of the European season. We have included a photo of the dress on the runway and its appearance in the Chloe book. I have had this in my archive for quite some time, and always knew it was special, so it was very gratifying to finally be able to date this one. And I love the tie in with Kate.

This is a phenomenal set because it is actually three looks in one. You can wear the inner jumpsuit on its own, the outer tunic is long enough to be worn as a dress on its own, and then of course you can layer them on top of each other to get the full runway look. This makes the set incredibly versatile. That, combined with its provenance, makes this set extra special. Both pieces are made out of a light weight black silk crepe with open cut work embroidered type detailing. The inner jumpsuit is suspended from the shoulders with tiny little straps in the same fabric. The bodice is simple and easy and meant to skim over you. It is cut loose and easy through the waist and then skims over the hips. The pants are wide and open. They are full 30 inches around in width which gives them incredible movement. Each pant is finished with a panel of fabric that is this incredible open cut work and embroidery. It wraps around the hem and finishes off the final 10" of each leg. Then you slip the outer piece over that. That piece has a high neck made of black silk netting and then that same netting extends down and underneath the embroidered panel at the front. The shoulders are soft and the arms are cropped to just above the wrist. Another 10" wide panel is set in the middle of each sleeve and then there is another 2" of the embroidery at the end of each cuff. The waist is cut on the more loose and easy side and there is an attached tie belt on either side of the front panel that you can use to cinch in the waist. The ties are extra long so you can tie them at the back and let then hang or wrap them around to create a really cinch look. The skirt is gathered into the waist in soft pleats and then it opens up from there. The skirt is also finished with another 10" panel of the cut work. Once altogether, everything perfectly falls and balances each other out. It is just an incredible thing to see and wear. All you have to do is see what it looks like on Kate to know how amazing this set is. This is a very rare and special piece. It appears to have been worn very little if at all. Excellent condition.

Both pieces are unlined. The jumpsuit zips to close at the back and has a slight touch of transparency to it. The dress zips to close at the back and buttons at the back of the neck. The tie belt is attached at the waist. 

Outer Dress
Neck: 15" around
Sleeves: 21.5" and 14" around the upper arms.
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 15.6" neck to waist
Total length: 45.5" from waist to hem

Jumpsuit 
Bust: to 19" flat across from side seam to side seam
Seam under the bust: to 16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 14" from top of the shoulder to seam under the bust
Total length: 57" from top of the shoulder to hem
Inseam: 28"
Rise: 34" from top of the shoulder to inner seam

Modern Sizing Equivalent: XS-MED

Item# DD4742

Reference Photos: (1-3) Fall 1993 Chloe Runway. Model Kate Moss.  /  (4) From the book "Chloe: Catwalk" by Yale.

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The Resort 2013 show marked Frida's seventh year with the label and at this point she was riding a high. Vogue noted that 'Giannini has been on a roll lately and the new lineup is a worthy successor to the hit she had on her hands in February.' The twin of this dress in a dark burgundy was shown for Look 12 in the show. I actually prefer this brighter, stronger turquoise as it pops more and feels so fresh and lovely. It is spectacularly beautiful. The longer dresses from this show where all made in limited quantities and this one in particular is one of the best of the collection. It is gorgeous.

I love that the photo from the show lets you see just how spectacular this dress is on the body. And I think that as good as it looks in the still shot, it is even better in real life and moving. Because it is really when you are moving that this dress lives up to its full potential. There is an incredible amount of feather light silk chiffon that has gone into this dress. It is amazing. The dress floats and billows around you with your slightest movement. The bodice falls in wide panels at the front with a plunge that goes right to the waist. On either side of that is a vertically gathered silk panel and I love how the outer edges expand and fall slightly past the shoulders for a pretty and soft effect. It does the same at the back. There is an equally as low back plunge and it is set so that the panels have a slight bit of drape to them. This lets them sit a little off of the body. This little detail adds such a pretty and feminine touch. Wide ruffles in the same silk are set across the top of the shoulders and then continue down to circle all the way around the openings for the arms. The waist is banded and cut to be more on the loose and easy side. If you wanted to add more shape you could easily add a belt. The skirt is remarkable. It is in its original supermodel length and the skirt is made out of two layers of that beautiful pale turquoise silk chiffon. The outer layer of the skirt has many yards of silk in it and it is constructed to have this incredible fullness and movement. The fabric is so light and fine that when you stand still it falls in a pretty column around you without adding bulk. You still get a hint of the fullness that it has but then when you move the many yards of fabric that is actually there allows the skirt to billow out around you. The fabric is so light and airy that when you walk it creates this incredible floating sensation. As good as it looks here it only really comes to life once on. It is an incredibly beautiful dress and no matter how good it looks in the photos the sensation and tactile feeling of the fabric and lightness when you have it in hand is just phenomenal. It is a beautiful. Excellent condition with a minor note below.

Lined in a second layer of the same turquoise silk chiffon. It closes with a hidden set zipper at the back and has an attached strap across the back of the neck to hold it in place. I see a tiny area that has lightened slightly at the front plunge. It is along the very inner pleat at the edge so the pleat that sits above it actually hides it and you don't see it. You could actually have it folded over once more by seamstress if it bothered you and you'd never see it. Please see the photo after the label shot. Tagged a Gucci 46. The colour is a touch paler turquoise then how it photoed

Bust: variable and open
Waist: 15.5" flat across from side seam to side seam
Inner lining at hips: to 23" flat across from side seam to side seam
Bodice: 17" from top of shoulder to the top pf the band at the waist
Total length: 67" from top of shoulder to the hem

Modern Sizing Equivalent: MED-LRG

Item# DD4738

Reference Photo: Resort 2013 Gucci, Look 12. Model Bette Franke.

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If you are a Hedi Slimane fan then you know that the Spring 2013 collection was his debut collection for Saint Laurent. Vogue said that he "hot-wired himself into the YSL legacy with Le Smoking, the mousselines, the pussy bows, the shot of animal spot, and that thing called Saharienne (which will always be Veruschka in Vogue. The tassels said Morocco—they also said Opium, à la Yves." It was a bevy of rock-chic couture and everything shown was about length of the body and a nod to the seventies. The twin of this dress was in the opening moments of the show for Look 4 and it was the first glimpse of his version of the YSL safari look. He took what is a house signature and elongated it in suede to fit his vision. It was one of his strongest pieces of the show.

I actually love this dress. I think it was a brilliant way to re-do an iconic look from YSL and make it his own. It also fully fits in with his love for long, lean length when it comes to his design aesthetic. The dress is made out of a soft supple suede in a classic deep neutral colour. It falls all the way to the floor and appears to be in its original uncut length. The collar is sharp and pointed and I love the straps on the top of each shoulder. He lightly padded the shoulders for a bit of added structure and the sleeves are long. Each sleeve ends in a corded lace up and I think this added detail works perfectly on this dress. You can see in the close-up shots from the runway that he wrapped these laces around the lower arm. At the front we see that same lace up cording run down to just past the waist. This is what makes the safari look so fantastic and add a touch of sexiness because you can see a bit of bare skin through the laces. On the front are four top set flap pockets that are another nod to this same detail on Yves' original design. It skims over the bust, waist and hips and then flares out quite a bit by the time it reaches the bottom hem. It comes with a matching suede belt for added shape and all of these elements add up to something that is both classic and fresh. It is one of my favourite dresses that he created from his time at YSL and this is a collectible future vintage piece. Excellent condition.

Unlined and closes with a side set zipper and then you can adjust the lower portion of the sleeves and the front with the laces that you see. The pockets snap to close and they are all functional. The belt is a simple suede wrap and tie belt. The suede has natural variations

Sleeves: 23.5" and 11" around the upper arm
Shoulders: 15"
Bust: 17" flat across from side seam to side seam and can be opened a bit more with the laces at the front
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 16" from neck to waist
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4734

Reference Photos/Video: Spring 2013 Yves Saint Laurent, Look 4. Model Edie Campbell.

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

I literally did the gasp when I saw this coat in person for the first time. Cavallie said at the time that the theme of this collection was "a modern fairy tale" and the pieces had a bit of a folky feel to them. The suedes were distressed, softened and made to look aged. The twin of this coat walked the runway for Look 5 and I love that we have reference photos from the runway and video so you can see how fantastic this on and it moves. Alek Wek is the model who walked in its twin and she was spectacular in it. This is a very special piece and one that was produced in extremely limited quantities and is an extremely rare thing to have acquired. On a modern note, none other than Beyonce just happen to have worn its twin, giving it full rock star royalty provenance. I am very pleased to have this in the shop. I feel like this is the best of the best of what Cavalli does and with a Beyonce stamp of approval it is that much better.

Even without the Beyonce provenance this is a killer coat. When my client purchased it, it was the only one being sold in the shop. These were made in extremely limited quantities and only available at very select locations. It is a very rare piece. The cut is fantastic. It has no collar and the front comes down into a V to the waist. There is a series of brass hooks that close it at the waist and then the skirt of the coat falls out around you. At the back the waist is brought in with a series of soft rounded vertical folds that extend above and below the waist area. This helps to give the volume that you see through the bottom of the coat and adds a stunning bit of detailing. The coat skims over the hips and widens as it nears the hem. Just below the knee there is an added panel of that same ultra soft suede. It is set over the suede above it so that it creates a little visual ruffle around its top and then it is gathered all the way around in soft folds to create that ruffle feel. The sleeves are long and each one ends in an eight inch cuff that picks up on that same silhouette as the lower skirting. The suede is a work of art in its own right. It is wonderfully soft and has been scuffed and aged so that it feels like something that existed for decades and decades. Florals have been cut out directly into the suede from top to bottom and this allows that amazing lining to show through. The lining is a combination of his signature leopard print with a coral pink painted feeling silk and you can see that lining through where all the cut outs are. The inside of this coat is almost as beautiful as the outside. They actually used cording to help support where they have gathered in the silk at the small of the back to create the rolls. The effect when you move and you see that flash of lining is fantastic and is the keystone to the entire design. The coat also comes with its original piped belt that you can wrap and tie around the waist for the perfect finishing detail. I can't rave enough about this coat. It is a literal work of art. Excellent condition with a small note below.

Fully lined in a printed silk that has the Cavalli signature worked into its pattern. Cording holds the back pleating in place and gives it structure. The suede is intentionally distressed and any marks on it, or on the silk, are there on purpose. The occasional edges of some of the suede flower detailing has lifted from the silk and again I believe this to be a purposeful part of the coat. I do see some minor stress to some of the silk on the inside seams. Please see the photo after the label shot. Tagged a Cavalli eight. Hand finishes

Sleeves: 22.75"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4732

Reference Photos/Video: (1-3) Spring 2002 Roberto Cavalli, Look 5. Model Alek Wek.  /  (4-6) Beyonce, June 2024.

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

The Pre-Fall 2011 show was a nod the the early 1970s and all the glam that we associate with that time period. Vogue's review of the show said; "Once upon a time, Giannini designed a women's collection for Gucci that was inspired by Ziggy Stardust. Here it was possible to detect intimations of David Bowie just before his glittery watershed: the 'Hunky Dory' voluminous pants with the deep box pleat, for instance, and the 'Space Oddity' Mongolian lamb...The shagginess of the lamb called to Every woman's Inner Barbarian (especially when Giannini made it as easy as zipping on a pair of shaggy armlets or slipping into a shrug)...Weightless, luxuriant, they felt like bare essentials for a twenty-first-century wild child." The twin of this jacket was in the closing Look 42 of the presentation and it is fantastic. The Mongolian pieces from this collection where all made in limited quantities. It is gorgeous.

The first thing that strikes you about this jacket is that it is beautifully light in weight. In part that is accomplished by the fact that the lining is an almost weightless silk and the Mongolian hearts are stacked onto that silk in a great formation, so the jacket has the volume you see but it keeps light in weight. It's cropped and the bottom edge is rounded so that it falls just to the low back and then rounds up the sides to meet the sleeves. This keeps it snug back to the sides to allow whatever you're wearing underneath to show. It's a very clever design. There is no caller and no closures. You just slip it on to wear. The sleeves are stunning. They are cut on a curve to follow the shape of the arm, and they are very full, narrowing down a bit to the rest. This keeps the volume that you see, but makes it extremely flattering on the body at the same time. Sometimes Mongolian jackets are cut so bulky that they lose their flattering  aspects. This one follows the curve and cotton body and is the perfect thing to throw on almost anything to add a bit of that 70s glam even if it was made in 2011. I love it. Excellent condition.

Fully lined in a black silk and slips on to wear with no closures. Tagged a Gucci 44. It appears to have been worn very little, if at all. This is a very hard piece to measure because of the cut and it's cut small. I've given approximate below.

Sleeves: approx 25" and 16" around the upper arm
Shoulders: no defined seam
Bust-bottom: approx 17" flat across from side seam to side seam comfortably but open at the front
Total length at the back: 17" from neck to hem and then the fur extends past about 4.5"

Modern Sizing Equivalent: XS-MED

Item# DD4729

Reference Photo: Pre-Fall 2011 Gucci, Look 42. Model Martha Streck.

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Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled. She was known for designing and creating garments directly on her models and this became a signature of her work. She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find. This  dress is from the same client that some of the others are and also from the early to mid-seventies. 

The dress is amazing and showcases how wonderful and diverse Gres could be with her work. The dress is made entirely by hand and the silk is that heavier weight that feels expensive. The top is cut to skim over you to the high set empire waist. The shoulders are soft and the sleeves are more full and pouf out just slightly as they skim down to the banded cuffs. The collar is neat and pointed above an opening at the front that you can wear closed or open. I love the two little faux flap pockets that sit along the high set seam at the front. The skirt falls under that skimming over the natural waist and hips to a second seam that sits around the top of the thigh. The last portion of the skirt flares out from there with quite a bit of fabric so that it has some movement when you move. The colour of the silk is a chic chocolate that is flattering on most skin tones. Inside it is a masterpiece of construction with hand done seaming and beautiful couture techniques. Truly a brilliant dress and when you see it in person you will fall in love with how good it is in person. A masterpiece. Excellent condition.

Unlined  and all the inner work is done by hand to Haute Couture standards. It closes with a hand set side zipper and hidden set snaps at the neck. An inner waist stay hooks to close. Each cuff has buttons to close with proper buttonholes. Completely made by hand. Proper Haute Couture label present. Note that there is no change in colour on the dress anything you see is just lighting and the photos.

Sleeves: 23" and 14" around the upper arm
Shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist at high seam: 17" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 12.5" from neck to high set waist seam
Total length: 45" from neck to hem with 2" turned under

Modern Sizing Equivalent: XS-MED

Item# DD4726

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The twin of this suit was shown on the runway as Look 3 for the Fall 2000 Tom Ford for Gucci runway. Ford had just been nominated for the VH1/Vogue Fashion Awards Designer of the Year when the show took place and was at the top of his game. The collection he showed was sleek, sexy, and many of the pieces had an edgy, minimalist feel. This suit is a wonderful example of how he could take something and pare it down to absolute minimal lines and cut, and yet still create something that felt special and had a ton of visual impact. Considering that there are only two elements of the suit and that all the closures are hidden it really is a feat.  Ford's work for the Gucci and YSL label during this period has now reached cult-like status and this pant suit is an incredible example of what he was doing to make it that way. 

This is a stunning suit. It is a classic piece that defines Tom Fords time at the label. Both pieces are made from a light wool that has an almost slight neoprene feel to how it is finished. If you collect or know of his pieces for Gucci from this era you know that this was one of his favourite fabrics for suiting. The construction is immaculate. The shoulders of the jacket are slightly sloped but still shaped with light padding. The sleeves are cut on a slight curve to follow the natural curve of the arm in the proper and traditional tailoring method. The body of the jacket is cut as precisely. It skims over the bust and nips in just slightly at the waist and then flares back out over the top of the hips. That little bit of intake through the waist keeps it from being a true box shaped jacket but it is close to that in shape. There are no pockets to break the eye and the gold snaps that close the jacket down the front are all hidden behind a panel of fabric. The collar serves as the only break to the black wool of the entire suit. It is finished with a black leather that has a bit of a graphite to its colour. Only the top part of the collar is finished with the leather. If you choose to wear it flipped up like you see in the runway photos, the underside of the collar is the same black fabric as the rest of the suit. I love his attention to this small detail. The pants are equally as fabulous. They are banded around the waist and have a sleek flat front. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg narrows in a touch and this gives them a long and beautiful line on the body. Hidden pockets on each hip. This is a remarkable example of his skills as a tailor and his time at Gucci. Excellent condition with a small note below 

Fully lined in the slightly textured black fabric that was his signature during this time period at Gucci. Ribbon edge finishes in the pant. The jacket snaps to close at the front with hidden set snaps. Lightly padded shoulders. The pants zip to close at the front with flat hook and eye and a button inside the waist. I see a small hole in the top layer by the end of the sleeve. Please see the photo after the label shot. The jacket is tagged a 40 and the pants a 42. Both pieces otherwise appear to have been worn very little if at all

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Bottom seams: to 17" flat across from side seam to side seam
Length: 21" from neck to head 

Pant
Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 41" waist to hem with 2" turned under
Inseam: 32" from inner seam to hem
Rise: 15" from the top of the back waist to inner seam

Modern Sizing Equivalent: XS-SML

Item# DD4724

Reference Photos/Video: Fall 2000 Gucci, Look 3. Model Caroline Ribeiro. 

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

This dress is spectacular in person and the camera does not capture the depth created by that the extensive applique work that is layered and fused on top of the silk. A George Halley design always starts with the fabric and he chose some of the best that were available. For this dress he has used a silk chiffon that has a soft washed checked pattern onto it that looks like it was painted on. It combines a soft pale pink with a pale green and a greyish colour that covers the entire dress. The pattern changes size in areas and it is really interesting to see. Onto that silk in the same three shades, but a little more saturated, is an ultra soft fused velvet. The velvet creates a floral pattern that covers the entire dress. Then there is a layer of gold thread that intensifies that pattern. This also allows the dress to catch the light in a perfectly subtle kind of way. Tiny gold beads and sequins have been added onto the bodice to emphasize the pattern even more. He also scattered prong set rhinestones in a variety of sizes and shapes over the sleeves front and back of the bodice. This adds yet another incredible layer of embellishment to the dress. The bodice is cut to skim over you to the waist and it has a high neckline with a banded collar that is also covered in the embellishments and gold thread. Each sleeve is long and narrows down to a simple zipped cuff. The waist is seamed but cut on the more loose and easy side. If you wanted to cinch it in and add shape you could add a belt or sash. The skirt is gathered in along the sides and around the back and then falls to the floor. It widens out as it near the floor and there is a surprising amount of volume in it. As you move, this gives the skirt incredible movement around you. The dress is impeccably made to demi-couture standards with hand finishes throughout. In person the gold has a bit more of an impact then how it photographed and it catches the light when you move. This is a remarkable dress that would be impossible to replicate in our modern world. This is almost certainly a one-off and a wonderful find. Excellent condition with a small note below

Fully lined in a hand set pink silk. It closes with a hand set back zipper and each sleeve has hidden set zipper. Some minor grubbiness along the inside of the collar and some fading to the inner lining near one arm. The zipper stick a little bit. Made to demi- couture standards

Sleeves: 23" ad 13" around the upper arm
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Total length: 60" from waist to hem with 3" tunrned under the hem

Modern Sizing Equivalent: SML-MED

Item#DD4722

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This is the second dress I have by Gucci from the Fall 2001 collection recently and for this one its twin walked the runway for Look 20. We have included runway photos here for you to see how gorgeous this dress is once on the body. During this time period Tom Ford was the Creative Director and was breathing new life into the label. He was known for his slick and simple yet still sexy silhouettes that highlighted every curve of a woman's body. He took over the label in 1994 and his presence was a game changer. His modern take revived the label and brought in a younger audience. In 2001 he was on the top of his game and everyone who was anyone was wearing Gucci. This is a very wearable and chic example of what he was doing at the label at this moment in time. 

This dress is simple and easy. Don't let it simplicity fool you because this is one of the dresses that you will reach for over and over. It is so easy to wear and very flattering. I love that it is a piece that you can easily wear as a layered piece with something under it or over it. The dress has a scoop at the neckline and the shoulders are soft with no padding. The sleeves are long and simple. It skims over the bust, waist and hips and then flares out slightly as it nears the hem. It is made out of a very lightweight black crepe silk. Once on the body it feels like you're wearing virtually nothing. You can see how this also adds movement to the dress as you walk when you watch the runway video that I have attached here. The only detailing Ford has used are zippers. There is a chunky silver zipper at the back of the neck that is surrounded by a black grosgrain ribbon. A second zipper runs from under the arm on one side to the hem. I love that the zipper there has a zipper pull at each of its ends. The one at the top is for you to get into the dress and then the one at the bottom allows you to create as high of a slit as you dare. It is insanely good. Excellent condition.

The dress is unlined and closes with the side zipper and a zipper at the back of the neck as described above. Tagged a vintage Gucci 40. It appears to have been worn very little if at all. It is meant to sit a bit oversized on the body

Sleeves: 24"
Slightly dropped shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Total length: 37" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4720

Reference Photos/Video: Fall 2001 Gucci, Look 20. Model Natasa Vojnovic.

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The Fall 1994 Chanel show by Karl Lagerfeld is perhaps one of the most well known of his older shows. This is the show where Karl introduced many of his now iconic faux fur looks. In that show he also did a series of these great little coats that were shown with hats and wide belts on the runway. The twin of this one walked the runway for Look 20 and I love that this gives you the chance to see it on a body. It is so so good. 

The colour of this jacket seems to be in extremely dark blue that looks black depending on the lighting. Every time I decide that it is one colour I see it in a slightly different light or from a different angle and I change my mind again. The jacket itself is stunning. It feels like it is made out of a cashmere or perhaps a cashmere mix and is very soft to the touch. It is a more structured piece and the lines of it are amazing. The collar is wide and notched and the sleeves are long. Each sleeve ends in a cuff that is highlighted by four gold Chanel logo embossed buttons. I love that each buttonhole on the cuffs are functional which shows the high level of construction in the piece. The vertical seams of the jacket are highlighted by top-stitched thin panels of in same fabric. These circle all the way around the waist and is done on all of the main seaming on the entire bodice. It buttons up down the front with nine more of those gorgeous Chanel logo buttons. The skirting is phenomenal and when you lay it out flat you realize that it is a full true circle skirt if not a little beyond a circle. This gives it that incredible flare that you see and incredible movement as you move. On the runway they cinched in the waist with wide belts and if you wanted to re-create that look you could easily add your own. The workmanship on this coat fantastic.  It is everything you look for in a vintage Chanel piece. Excellent condition.

Fully lined in a deep blue silk lining and closes down the front as shown. The buttons on the pockets and cuffs are all functional. Light padding in each shoulder. Tagged a vintage Chanel 40.

Sleeves: 24"
Slightly dropped shoulders: 16.5"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Total length: 34" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4719

Reference Photos/Video: Fall 1994 Chanel, Look 20.

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This is a fantastic Gucci coat from the Fall 2001 season. Its twin in a pale pink was worn on the runway by Karolina Kurkova for Look 21. I love that you can see how fantastic it is on and moving in the photos and in the video that we have for it. During this time period Tom Ford was the Creative Director and was breathing new life into the label. He was known for his slick and simple yet still sexy silhouettes that often highlighted every curve of a woman's body. He took over the label in 1994 and his presence was a game changer. His modern take revived the label and brought in a younger audience. In 2001 he was on the top of his game and everyone who was anyone was wearing Gucci. This is a great example of what he was doing during this time period. 

As good as the coat is in the pink colour of the runway I think the black makes it far easier to wear and style with more things. The black also gives it a bit more longevity since the pink would be so easily marked. The fabric is a rich luxurious cashmere that is fantastic to the touch. The lines of the coat are very simple and it is classic Tom Ford in feel. The coat zips up the side with a zipper that has a textured leather panel on either side of that chunky zipper. The zipper is double ended so you can open it from the neck or choose to open it from the bottom to create a slit if you want to show a bit of a leg. It is so well-made and the silhouette is so classic that I think you could wear this as either a coat layered over other things or on its own. The collar is high and and it is meant to be worn sitting up to frame the neck. It snaps into place just above the zipper with two hidden set snaps. You can also unsnap and fold it down. The sleeves are long and slim with a slight tapering in towards the waist. The shoulders have slight shaping but with very soft padding and the body of the coat falls in a fairly straight column. It skims past the bust, waist and hips and there are hidden pockets along the seams of each side. It is phenomenal. Excellent condition.

Fully lined in the slightly textured black lining that you see in Gucci pieces from this time and zips to close at the front as described above. The neckline closes with two hidden set snaps. Pockets on each hip and very light minimal padding in each shoulder.

Sleeves: 24.5" and 12" around the upper arm
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Total length: 42" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4718

Reference Photos/Video: Fall 2001 Gucci, Look 21. Model Karolina Kurkova.

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This spectacular dress is the twin of the dress that was worn by Linda Evangelista for the Fall 1994 Karl Lagerfeld runway show. It also has the added provenance of being photoed for British Vogue that November. The dress is from Karl Lagerfeld's own label. He launched his self-named label in 1984 and this dress is from 1991 making it a fairly early example of the work he was doing for his own label. Pieces from his personal label were far edgier then the work he did for Chanel. It was a label where he explored a more avant garde feel with his designs and pushed the envelope more. This is a fantastic example of his work for that label. 

This is a fantastic dress. It is easy to wear and very sexy. On the runway Linda was styled with it falling completely off the shoulder and you can wear it like that or have that side sit up more on the actual shoulder. The edge of the neckline is cut on a angle that goes across and down to expose a bare expanse of skin. The shoulders are soft and the sleeves are cut to be a little extra long. At the ends of each sleeve  they are finished off at angle that comes down and over the hand. The fabric is a cut velvet set in little rows over a bias cut chiffon base. The colour is a deep burgundy red that is flattering on most skin tones. It skims over the bust waist and hips and I love how the rows are set on an angle to create the illusion of extra length. The hem follows the dip of the neckline with the skirt falling all the way to the floor on the one side and then coming up to about the knee area depending on your height on the other. It is fantastic and I love the tie in to Linda. Excellent condition with one minor note below.

Fully lined in a silk mix chiffon and slips on the wear. I see the tiniest bit of flattening of the velvet under the arm area. Tagged a vintage KL 42

Sleeves: 27" and 11" around the upper arm
Slightly dropped shoulders: 16"
Bust: 15-19" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Total length: 62" from top of shoulder to longest point of hem

Modern Sizing Equivalent: XS-MED

Item# DD4715

Reference Photos/Video: (1-3)  Fall 1994 Karl Lagerfeld Runway. Model Linda Evangelista.  /  (4) Vogue UK, November 1994.

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

I always love finding original Versace pieces from when Gianni was alive and headed the label. This is a fantastic piece by him whose twin walked the Spring 1997 runway for Look 30 on none other than the great Stella Tennant. A piece in this sane print was chosen for the ad campaign that year and the twin of this dress was a part of the  2001 Versace exhibit. This was the last spring Ready-to-Wear collection that Versace worked on before his death which adds another layer of importance to the piece. This is a fantastic example of the work he was doing at this time and it is also an amazing dress in its own right.

The entire collection was based around these slinky light weight fabrics and flounced skirts that you see on this dress. For this collection Gianni commissioned several artists to contribute prints and this heart motif that was shown on several items in the show was done by American artist Jim Dine who was known for doing hearts in his work. On the runway only the outer dress was shown over matching red panties and then when it was produced and shipped to stores it came with its little red inner slip dress. The dress is made from an ultra fine sheer red netting and the hearts have been applied onto that netting. Some of them are a deep red with purple edges and then the others have a beautiful little heart within a heart pattern. These are placed in rows over the entire dress. The little slip that goes underneath is a solid red and adding it keeps the dress opaque enough to wear. If you are daring you could of course forego the slip and just wear something else underneath that shows more skin through the top layer. The neck is scooped at the front and the sleeves are long. The dress is cut to skim over the body and it is easy over the bust, waist and hips. The skirt flares out from there and there is a little ruffle in the same fabric around the hem to create that little flounce that was seen throughout the show. This is a stunning and important example from one of his final collections. Excellent condition with one small note below.

The separate red slip serves as the lining and the dress slips over that. The inner slip has no closures and the outer dress closes with a hidden set back zipper. I see a tiny mark on the bodice of the inner dress. Please see the photo after the label shot. The inner dress is marked a size 44. Both pieces have some stretch and I put the comfortable range of measurements below. 

Dress
Sleeves: approx 20" and is 12" around the upper arm
Shoulders: no defined seam
Bust: 17-18" flat across from side seam to side seam
Waist:  to 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Total length: 37" from neck to hem

Inner Slip 
Bust: 16-19" flat across from side seam to side seam
Waist: 14-17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Total length: 32" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4716

Reference Photos/Video: (1-3) Spring 1997 Versace, Look 30. Model Stella Tennant.  /  (4) Spring 1997 Versace Ad Campaign by Richard Avedon.  /  (5) Versace Exhibit at Te Papa Museum in New Zealand, 2001.

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

I love that this dress shows you the opposite end of the spectrum when it comes to Gucci. The other Gucci I am listing today is from the Tom Ford era and then you have this one from the Alessandro Michele era. The twin of the dress was shown for the Resort 2017 show for Look 10. It was one of the dresses from that show that was featured predominantly in many publications as well as being worn on the red carpet. This is always been one of my favourites from his work for the label and I am very pleased to have it in the shop. It is so pretty.

If you love an amazing dot moment then this is the dress for you. It is made out of a black silk chiffon with prominent white dots covering the entire surface of the dress. The neckline is high and finished with a wide ruffle for a pretty touch. Around the top of the neck is an attached black grow grain ribbon that is set to the side, where it ties and then has ribbons that trail down the front. A pretty floral pin sits there to hold the tie in place and add an extra bit of detailing. The shoulders are soft and the sleeves are very full above their cuffs. Each cuff has been finished with a pink silk ribbon and then that has a simple row of prong set rhinestones and faux pearls set all the way around the wrist. I love this little detail and the movement that the sleeves add to the dress. The top is cut to blouse over you and the waist line is set loose and easy with no defined seam. It skims over the hips from there to the floor. Onto the dress from the shoulder down to the hip is a ruffle that curves over you and then that ruffle goes behind you and down one side of the skirt. There is another ruffle that is picked up and goes down the other side of the skirt. When this is on and you are moving it is incredible. The dress has a touch of a 1920s, 1930s vibe to it that I love. This is a dress that you just throw on and it instantly drapes and falls into place perfectly each time. I love that you can pair it with different colour accessories to give it a fresh feel. It's very pretty and very easy to wear. Excellent condition with minor note below.

Fully lined in a black silk chiffon and closes with a hidden set side, zipper and buttons at the back of the neck above a keyhole. I see a line running down the bodice of the silk and there are a couple tiny ones here and there. One button on the neck has been replaced. Please see the photo after the label shot. Tagged a modern Gucci 40.

Neck: 16" around
Sleeves: 23.5" and 12" around the upper arm
Shoulders: 15.5"
Bust: 18" 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
Total length: 55" from the neck to the hem, 58" to the ends of the riffles that extend beyond the hem

Modern Sizing Equivalent: SMl-MED

Item# DD4714

Reference Photos/Video: (1-3) Resort 2017 Gucci, Look 10. Model Kasia Oskard.  /  (4-5) Hailey Baldwin by Darren McDonald for Harper's Bazaar Malaysia, January 2017.  /  (6) Marine Dellow in Gucci for W Magazine, 2017.  /  (7-8) Natalie Lim Suarez, from Natalie Off Duty, in Gucci, 2017.  /  (9) Hari Nef attends the gala dinner at The Business of Fashion Presents VOICES on December 2, 2016 in Oxfordshire, England.

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

This Chanel dress is an exceptional piece for the collector and is very beautiful. This dress is from the Chanel Fall 2004 and it’s twin walk the show for Look 13. For this show Karl played off of both feminine and masculine themes. The show was presented on an asphalt catwalk labelled "One-Way Street". The dresses that appeared on the runway were mixed in with the menswear inspired pieces and they clearly took their inspiration from the twenties and thirties. You can see that in the lines of this dress. I have had a series of these floral dresses by Chanel in the shop recently and this one is from a bit earlier than the last two have been. It is definitely as pretty as its predecessors were and I love the added provenance on it. Its twin was shot by Karl himself for the ad campaign that season and a version was also used for an editorial for British Vogue. I love it. 

The dress is a work of art and the silk chiffon mixed with a pale top stitched lace that was used to make it is some of the prettiest I have seen. The fabric is very light and while silk chiffon is notoriously difficult to work with this dress does it with ease. It falls into place perfectly once on the body. and it is just spectacular. The dress is covered in the most beautiful floral print in soft ivory and nude pink pastels. It is sleeveless and the upper portion of the bodice mix is the latest with the silk chiffon. The lace serves as the base layer of the bodice and then the silk chiffon has been draped over that. It wraps around the neck and down to a centre point at the base of the V of the neckline. More panels come in from the side and also up from the waist. In between the panels is the lace that is backed by a single layer of the same printed floral silk chiffon. This gives it a very feminine feel that I love. The upper back is a layer of lace and chiffon and it has an open keyhole from the neck to the band at the waist. Chiffon ties extend from the fabric that wraps around the neck and trails down the back. It skims over the bodice and down to the waist where a wide soft panel of lace that wraps around you to the back. Where the fabric wraps around the waist from the front there is a series of little iridescent pink dome buttons with Chanel inscribed upon them. The dress falls from there in a swoop of feather light silk to a the hem. Wide panels of the lace are interspersed with panels of the silk chiffon all the way around the skirt. This sits over an inner ivory silk chiffon layer so that it is wearable and not fully transparent. The back feels slightly fuller than the front so you get this pretty billowing effect around you when you walk. This is a signature Karl silhouette to give the dress as much movement as possible and you can see that in the reference photos here. The dress comes with a large shawl made out of the same silk chiffon and edged in a tiny bit of the lace. Last, but certainly not least, is the fact that the famous double C logo is worked all through the print of the dress making it impossible to not know that you are wearing Chanel. The dress appears to have been worn very little if at all. Excellent condition

The lace is backed with the same silk chiffon through the bodice and then there is an inner skirt made out of an ivory silk chiffon underneath the top skirt as described above. It closes at the neck with a hook and eye, buttons at the base of the keyhole and then zips to close under that. Current Chanel silk chiffon dresses with this level of detailing are retailing for $9000USD and over. Tagged a modern Chanel 38

Bust: to 17" flat across from side seam to side seam
Natural waist: to 14" flat across from side seam to side seam
Inner hips: to 19.5" flat across from side seam to side seam
Total Length: 59" from neck to front hem, 62" to the back hem

Shawl: 35" x 80"

Modern Sizing Equivalent: SML-MED

Item# DD4711

Reference Photos/Video: (1-3) Fall 2004 Chanel, Look 13.  /  (4) Isabeli Fontana for Fall 2004 Chanel, photographed by Karl Lagerfeld.  /  (5) Vogue UK, October 2004.

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

This is a fun find. The twin of this dress in a bright purple was won by Fran Drescher in an episode of the Nanny that aired in 1997. We have included that for you so that you can see how fabulous it is on the body. The black is even easier to wear I think and so versatile. It is a great little dress and I love the tie in with Fran's iconic character. 

This is a really fabulous little dress. It is made from a synthetic black fabric that has an unusual dot pattern running over its surface. What makes it unusual is that the dots are not sequins that have been applied to the dress instead they are a little tiny holographic dots that are fused directly onto the fabric. The dots catch the light from every angle but in a subtle way that I love. The dress has a very simple cut. The neckline drops in a little squared off scoop at the front and it is sleeveless. It is slightly more fitted over the bust and then from there the dress skims over you waist and hips with no horizontal seaming to break the line. The skirt falls under that and widens out as it nears the hem. We took a shot of the dress laying flat so you could see the shape better. It is a gorgeous little easy-to-wear dress and really showcases Versace's innovative eye and design genius. It appears to have been worn very little if at all. Excellent condition

Fully lined in a black silky rayon and closes with a hidden set zipper at the back. Tagged a vintage Versace 44

Bust: to 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Total length: 32.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4708

Reference Photo/Video: Fran Drescher in the Nanny, Season 4 Episode 13

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

The twin of this set walked the Spring 1990 runway and it is one of my favourite looks from that show. This set is not 100% perfect but it is completely wearable and too good to pass by. I am very pleased to have found it and I love it. It is such a rare and special piece from this time period.

This set is one of those pieces that just stops you in your tracks. It is insanely cut and the colour combination is fantastic. The jacket is made from a fine lightweight silk and combines a bright emerald green and then an amazing hot pink interior. The skirt is made out of a light black silk jersey that moves exceptionally well. The colours are even better than how it photoed and it is almost shocking to see the pink interior in person. The jacket has a soft cut that has some fullness through the upper body. There is no collar and the neckline dips down into a V to just below the bust. There is a brilliant flower in a muted coral red that sits at the base of the V. The flower has beading detail at its centre and I love this added detailing. The shoulders are lightly padded for shape and the sleeves are set into the jacket with soft gathers to add a touch of a capped feel. Each sleeve is cut slightly wider at the top near the shoulder and is cut on a slight curve to follow the arm. There is a seam gathered at the very front of the waist under the flower which creates a little ruffled detail. Inside the jacket there is a built in waist stay to keep the jacket in place but it is only attached at the sides and front. This allows the silk to drape loose and soft across the back. It is quite a genius. The skirt is simple in shape but has its own wow factor. The waist is banded and there is an attached black satin tie to add a little detail. The jersey is all gathered into the waist and falls in a soft straight line to the knee depending on your height. Hidden pockets sit on each hip. This is a particularly wonderful example of how he combined strong tailoring with brilliant colour. Excellent overall condition with a note below

The jacket is lined in a shocking pink silk. The jacket hooks to closes under the flower pin and the inner waist stay also hooks to close. The jacket has its original hang tag. Light padding in the shoulders. I see some yellowing areas to the fabric lightly scattered over the surface and more apparent in the crook on one arm. Please see the photos after the label shot. The skirt zips to close at the side. Pockets on the each hip. The skirt has a numbered label and is hand finished throughout. It almost appears to be a couture piece. The jacket is tagged a vintage YSL 40 

Jacket
Sleeves: 24" and 18" around the upper arm
Shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Outer waist: to 16" flat across from side seam to side seam
Inner waist stay: to 13.5" flat across from side seam to side seam
Length: 22" from neck to hem

Skirt
Waist: to 13" flat across from side seam to side seam
Hip: open
Total length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4707

Reference Photos: Spring 1990 Yves Saint Laurent Runway.

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

Vogue raved about this show saying that it was Clare's most confident Chloe show to date. The show had a bit of a folksy feel to it and given what we just saw on the recent Chloe runway this feel very relevant still. Clare said after the show that "To be modern, it has to be real. I really wanted to capture something confident, but still with a carefree spirit. I can only describe the Chloé girl as a 'gentlewoman,' wearing guardsmen's coats and gentlemen's clothing, but still with the flou and lingerie lace. There is something clean and narrow about her silhouette, but still with a fluidity to it." The twin of this dress was the final look presented in the show and it was just one of several amazing pieces in that collection. The skirt in the same fabric was used in the ad campaign and it appeared in several editorials and on red carpets. 

The dress is made out of a soft velvet that has an incredible patchwork print covering its entire surface. The neckline is lightly scooped at the front and then the back crosses over itself to create a deep open plunge. I love that this leaves a bare expanse of skin at the back. It is completely unexpected and when you turn around it is a little unanticipated sexiness. The sleeves are long and easy. The body of the dress is cut to be loose and easy over you with an almost caftan feel to it from the front. It skims over the bust and the waist and hips are meant to be loose and easy. From there the skirt falls in this extravagant swoosh of bias cut velvet that has incredible movement when you move. At the waist area there is a long cord that has stops on each side of the waist. You can use these to adjust and add shape through the waist or leave it completely open so it has that more caftan feel. The ties hang down each side and add a touch more movement when you walk. Because of the way that it is crossed over at the back the skirt is also crossed over and a slit is created so you get a flash of leg as you walk. It is so well made that you can even wear it backwards like Karen Elson when she wore its twin. The patchwork print is fabulous and gives it its fabulously glamorous bohemian feel. It is immensely flattering once on and should work an a wide variety of shapes. This is a dress you will want to wear over and over. And it has pockets. It appears to have been worn very little if at all. Excellent condition

The body of the dress is fully lined in a black silk chiffon and the sleeves are unlined. It slips over the head to wear and then you can adjust the waist as described above. Tagged a 38. The loose and easy cut should work on a range of sizes. On a smaller frame it will just feel more like a caftan

Sleeves: approx 27" to their longest points
Soft shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 18.5" flat across from side seam to side seam and then can be cinched with the cording
Hips: to 25" flat across from side seam to side seam
Total length: 63" from the shoulder to the hem

Modern Sizing Equivalent: SML-LRG

Item# DD4703

Reference Photos/Videos: (1-5) Fall 2015 Chloe, Final Look 45. Model Ophelie Guillermand.  /  (6) Fall 2015 Chloe Ad Campaign.  /  (7) Harley Weir for Vogue Italia, August 2015.  /  (8) Liya Kebede by David Sims for Vogue, September 2015.  /  (9) Photographed by Will Davidson for Vogue Australia, November 2015.  /  (10) Karen Elson at the Harper's Bazaar Women of the Year Awards, 2015.

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

This is a fabulous three-piece complete set circa 1972 from the Valentino boutique label. Valentino launched his ready-to-wear label in 1962 just two years after opening his first salon in Rome. His work was so popular that when he launched the New York boutique in the fall of 1970 it shut down the city. Traffic was backed up 3 blocks with everyone who was anyone trying to get in on opening night. He wanted everyone to have access to the Valentino experience and he often brought in the designs that he created for his main couture label into the boutique work. In these early days pieces were remarkably close in quality and the line between the two labels was often blurred. On this set you can see that in the hand finishing that is has. Though I have seen various combinations of these pieces this is the first time I've seen all three sold as a proper full set. I love it.

This really is an incredible set and it shows his love of prints. I love how all three pieces use the same print layered on top of each other and the combination of the two fabrics. The skirt and jacket are made out of a flat pile cotton velvet and the top is made out of a scarf weight silk. A charming acorn pattern combined with flowers covers all three pieces and you will notice how the design on the skirt and jacket are weighted heavier towards the bottom. This draws the eye downwards and cleverly gives added length to the wearer. On the top the pattern is scattered evenly over the entire bodice which gives a slight contrast to the other two pieces. The skirt is banded at the waist and skims over the hips. There are pockets on each hip for the perfect slouchy feel. It falls to the floor in a slight A-line that perfectly showcases that gorgeous print. The jacket is also made of a velvet and it has an equally simple cut. It has soft shoulders and the sleeves end just above each wrist depending on the length of your arms. There is a yoked seam across the top of the bodice on the front and the back and then the jacket falls in a soft A0line from there to just past the hips. The jacket also has pockets and these are sat at each hip on a slight slant. It has no closures and is meant to just sit over the little silk top underneath. The top is everything you want from a piece from the 1970s. It has a structured and very pointed little collar and it buttons down the front. It is shaped to follow the curves of the body and then the sleeves are phenomenal. Each is cuffed and above that there is that beautifully shaped arm that balloons out extensively just above the cuff. I love that the three pieces are phenomenal when worn together but they are also pieces that you can easily mix-and-match with everything else in your wardrobe. Excellent condition.

The top is unlined and buttons to close at the front. There are two buttons on each cuff. It is tagged a size 6 and I see evidence that the back was let out a touch. The jacket is fully lined in a brown silk. It has no closures and it is tagged a vintage Valentino 10. The skirt closes with a flat hook and eye at the waist and a zipper below that. It is lined in a black silk and it is tagged a vintage Valentino size 8. It has pockets on each hip

Top
Sleeves: 26" and the upper arm measures 12" around
Shoulders: 14.25"
Bust: 16" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Total length: 22" from neck to hem

Jacket
Sleeves: 21" and the upper arm measures 12" around
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist-hips: open
Total length: 31" from neck to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Total length: 40" from waist to hem with 5.5" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4705

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

This lovely little Prada dress is made out of lightweight silk and then the silk has this soft floral pattern printed into it in shades of the prettiest greens. It gives this fabulous soft and romantic feel that has a touch of the 40s to it. The dress has pretty little capped sleeves and the front is done in a V for a little bit of bare skin. Kirsten wore hers with a skinny belt  for added shape and you could easily re-create this at home. The silk at the front of the bodice has been gathered into a little ruffled detail there that I love. The ruffle sits on a curve seam that curves underneath the bust and down to the waist. Where it curves over to the side of the waist there is a second little ruffle detail there as well. The silk is also gathered in from the skirt there as well which makes the whole upper bodice have this really pretty and soft feel. It skims over the bust and waist and then falls to the ham in a soft little A-line. It has a chic and easy feel to it that I absolutely love. It appears to have been worn very little if at all and it has the added modern provenance of having a version worn by Kirsten Dunst that year. Excellent condition

Unlined and closes with a hidden set side zipper. 

Each arm opening is 11" around the bottom edge
Bust: 16-17.5" flat across from side seam to side seam
Waist: 12.5-15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Total length: 43" from the top of the shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4702

Reference Photo: Kirsten Dunst in Prada for an appearance on Jimmy Kimmel Live, September 2019.

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

This one of the most spectacular dresses that Halston ever made and versions of it reside in The Metropolitan Museum collection and and another version was on display for the "Halston and Warhol: Silver and Suede Exhibit" in 2015. We have included those as well as several other reference photos documenting the various forms of this dress that he did. It is from his Spring 1981 and of this point Halston was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. He was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This is a fabulous example of his work. from this time period

Halston's beaded and sequin pieces were being made in India during this time period where some of the best of this type of work was being done during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This dress is absolutely gorgeous and all of the bead and sequin work on it is completely done by hand. Silver tube beads and pale iridescent sequins with just a touch of colour sequins are mixed with pastel blue and soft, pastel turquoise sequins. Then to define the edges of the pattern you have a series of faux pearls worked through the mix. Everything is laid out in an intricate and instantly recognizable pattern that covers the dress from neck to hem. Each bead and sequin has been hand applied onto an ivory silk chiffon base that has a touch of transparency. I love how it glitters and sparkles in the light from every angle. No matter how good this dress looks in the photos it is even better in person. The cut is easy and flattering to wear. The neckline is high and scooped and is edge with tightly space beads. It skims over the bust to the hips and then flares out just slightly as it nears the hem. The sleeves are cut slightly wider at the top and then barrow down to the wrist where they have same border of sequins as the neckline. It is amazingly comfortable to wear because of the easy cut. Every square inch of the dress is finished in that amazing pattern that combines curving rounded patterns with angled bands. I absolutely love it. Excellent condition

The dress is unlined and closes with a back set zipper. The bead work is completely hand done. The easy cut should fit a variety of sizes. It is incredible.

Sleeves: 23" and 12.75" around the upper arm
Shoulders: 16"
Bust: to 18.5 " flat across from side seam to side seam
Waist:to 16 " flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Total length: 43" from top of shoulder to hem

Modern Sizing Equivalent:around the upper arm SML-MED

Item# DD4701

Reference Photos: (1) Model in Halston, The Denver Post, November 1983.  /  (2) Halston Advertisement. Vogue US, November 1983. /  (3-4) Marisa Berenson (left) at a Party in Halston's Olympic Tower Showroom, October 1983.   /  (5) Halston Ensemble from the MET Collection.  /  (6) Exhibit photo from Halston and Warhol: Silver and Suede Exhibit 2015.

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

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

This jacket is based on the Fall 1999 version jacket designed by Alexander that I have actually had a red version of in the shop before. If the jacket looks familiar, that is why. Sarah Burton decided to dive into the archives and use that 1999 jacket as her inspiration to make this piece. Its twin opened the show as the first look that season and one was used for the ad campaign. Iconic in 1999 and iconic in 2018.

A piece like this truly showcases the McQueen heritage of strong tailoring and master cutting abilities. The upper portion of the coat is cut with a nod to a traditional men's suit. It still feels very refined despite its avant grade shape and cut. The shoulders are shaped and lightly padded with a slight soft slope to them. Each sleeve is long and simple and  has a row of four silk satin buttons to finish them at their ends. The body of the coat is shaped in a touch at the waist for shape. It closes with a single button at the base of the collar and functional flap pocket sits on each hip. Each pocket is set on a slight angle that follows the shape of the jacket. The lapels curve around the neckline and run down to the button. They are notched cut and finished in the same silk satin fabric as that buttons and the buttons on the cuffs. The coat slides over the hip and then flares out dramatically into an extended rectangle creates the shape that you see. We shot the jacket with one side held out for you to see just how amazing it is cut. When it is on it falls more behind you and around you at the sides and it has tremendous movement when you walk and move. The back part of the the extension is lined in a red silk satin for a dramatic contrast. It appears to have been worn very little, if at all. Excellent condition. 

Fully lined in a black silk through the top and that shot of red silk on the bottom extension. It closes with a single button at the front. Decorative buttons on each cuff. Tagged a modern McQueen size 38. The front pockets are still tacked shut. Padding in the shoulders. 

Sleeves: 23" and 13" around the upper arm
Sloped shoulders: 17"
Bust: 17" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips:to 19.5" flat across from side seam to side seam
Length: 31" from neck to front hem, 44" to back hem. The extensions hang down another 6" past the back him

Modern Sizing Equivalent: SML-MED

Item# DD4698

Reference Photos/Video: (1-5) Fall 2018 Alexander McQueen, Look 1. Model Binx Walton.  /  (6) Fall 2018 Alexander McQueen Ad Campaign by Jamie Hawkesworth.

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

The twin of this dress in black was shown as Look 78 for the 2015 Resort presentation. I love this that they also produced this chic ivory version. In 2015 Valentino was headed by both Maria Grazia Chiuri and PierPaolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. In the Vogue review for this collection they said: "Monastic, artistocratic, modest, and even prim have been terms applied to Maria Grazia Chiuri and Pierpaolo Piccioli's Valentino almost since they took over in 2009." Most of the looks in the show followed a more exuberant and colourful feel but the black version of this dress was one stand out that maintained their more simplistic and minimal approach. l absolutely love this dress. It was well documented and it's twin was worn by several celebrities which we have included here for you to see.

The dress does not have a single unnecessary seam. It really shows how sometimes absolute minimalism is best. Even with its simplicity it would still be a dress that is red carpet worthy or would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any other event. The dress is made from an ivory silk crepe that has a beautiful drape. This is what lets it move so beautifully over the body once it is on. It is constructed so that it drapes and skims over the body perfectly. The skirt falls to the floor in a sweeping expanse of fabric. When you stand still it looks more like a sleek column but when you move you realize how much fabric is in there as it billows out behind you. The bodice drapes softly over you at the front. The silk extends over the shoulders from the back and then it falls to the floor to create this elegant and still dramatic caped feeling over your arms. The fabric has enough weight that it stays in place when you are standing still but when you move you get a beautiful billowing effect around you. It is very beautiful. Excellent condition

Unlined and closes with a hidden set side zipper on the inner dress. Tagged a Valentino 6. Perhaps the tiniest bit of grubbiness to the hem and I see a pinhead size mark on the bodice but otherwise I don't think it has ever been worn. Very minor and just mentioning for accuracy. Please see the photo after the label shot. It otherwise appears to have been worn very little if at all. The easy cut should allow it to fit a range of sizes.

Bust: to 17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4696

Reference Photos: (1) Resort 2015 Valentino Collection, Look 78. Model: Maartje Verhoef.  /  (2-3) Kim Kardashian in Valentino at the 2015 InStyle Awards.  /  (4) Lady Gaga in Valentino at the Kennedy Center Honors at the John F. Kennedy Center for Performing Arts, December 2014.  /  (5) credit unknown.

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

This is a fabulous Pucci that I think is a production piece for the shops from the Peter Dundas era at Pucci. It is an absolutely gorgeous dress that is easy to wear and very flattering on. I love that it is a beautiful ivory colour would allow it to be worn by a bride looking for something non-traditional or as part of a extended wedding weekend. Though it would also work for any fabulous occasion. It has an easy to wear caftan feel to it but at the same time there is a clever single seam that runs from just under the arm and down one side of the body that gives the dress just a touch of shape. The silk has been cut on the bias and this lets it move with you as you move. The ivory silk has enough weight to make it flattering as it skims and drapes over you but that is still light enough that it easily moves. The dress has the absolute minimal seaming and it is cut to simply fall from that one single shoulder in a cascade of fabric. The other shoulder is left bare and exposed. On the side that is covered the fabric falls over the arm and down to the floor on a slight angle that keeps it from feeling like too much fabric. Starting from under the one arm and running up and over the other shoulder is a wide band of white tube beads mixed with muted gold beading. These catch the light in a subtle way and add a little bit of extra glamour to the piece. The side that is set on an angle is open beneath that inner set seam that runs to just about the hip area so you get a flash of bare leg when you walk or sit. It a subtle bit of sexiness that is amazing. The dress moves like a dream and feels like it just floats around you as you move. It is just a fantastic dress. Excellent condition with one small note below.

Unlined and slips on to wear with a hidden set zipper under the arm. The easy fit should allows it to work on almost any size. Tagged a IT42 FR38 US8 UK10. In its original uncut supermodel length. I see some minor grubbiness around the hem area

Bust: 17-19" flat across from side seam to that inner seam
Waist: to 19" flat across from side seam to that inner seam
Hips: to 21" flat across from side seam to that inner seam
Length: 65" from top of the shoulder to longest point of the hem

Modern Sizing Equivalent: XS-LRG

Item# DD4695

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

This gorgeous dress is from the Spring 2019 Oscar de la Renta collection under the creative direction of Laura Kim and Fernando Garcia. This was a piece that was produced for the shops and it is stunning and easy to wear. It is a definite show stopper and I love it.

The dress is amazing. It is made out of a light weight ivory silk crepe with extensive embroidery work done with a gold medal thread that runs across the entire front of the dress. I love that since it is in this ivory colour that this is a piece that might play double duty and also work for a bride or for an extended wedding weekend. The dress is cut in a long minimalist sheath that widens out softly as it near the hem. The neckline is scooped wide across and the dress is meant to skim over you from bust to hips before it starts to do that soft flare out on the lower skirt. The entire front of the dress from neck to hem has a stunning trailing design that mixes a gold medal thread with tiny gold sequins little gold seed beads. These are set in a curving design that represents leaves and flowers all the way down the front. It is a stunning detail that adds beautiful impact to the dress. The sleeves are the absolute star of the show. Starting at each shoulder a caped sleeve in the same fabric falls over the top of your arm and then widen out to cascade all the way to the hem and slightly past. They are open underneath so this gives them the ability to catch the slightest bit of air in billow out around and behind you when you move. It is the perfect touch of drama that softens the rest of the dress. It is stunning. Excellent condition with a minor note below.

Fully lined in an ivory silk and slips on to wear with a hook & eye above a back keyhole. I see a small mark near the hem and minor grubbiness round the hem. Please see the photo after the label shot. Tagged a modern ODLR Small. The loose and easy cut should fit a range of sizes.

Shoulders: 15.5"
Bust: 18-19.5" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 25.5" flat across from side seam to side seam
Length: 62" from neck to hem and the caped part extends to approx 67"

Modern Sizing Equivalent: SML-LRG

Item# DD4694

Reference Photo: credit unknown.

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