The Oscar de La Renta boutique label first appeared in 1967 which makes this one from one of the very earliest collection for this line. His boutique label is important as is marked the first ready-to-wear line for a Seventh Avenue designer to be launched. These early pieces have lots of hand finishes and are just stunning example of his work during these early days of his career. I suspect that this dress is from either Spring 1970 or Spring 1972. Both those two spring collections used fabric similar to the one on this dress and had similar cut pieces. I just recently had another version of this dress in the shop that was more a calf length and I find it fascinating to see how many designers did several version of a dress during this time period.

The dress is made out of an easy to wear and travel with printed cotton mix. This fabric choice makes the dress so comfortable once on. It is travel friendly too. You can literally pull it out of a suitcase and pop it on and go. The colours hold so well on this type of fabric too making them feel as crisp and true as they would have been when it was produced. I love the brightness of the print that covers the entire dress. It is a pretty pop of bright turquoise with pinks. As it nears the hem the patterns gets more intricate and dozens of other colours are added into the mix of the print. The dress is cut into a chic halter at the front. It has a neat little collar and then the front plunges to the waist with two turquoise frog knots. The top one is more decorative and not intended to close. The next frog knot does close and holds the plunge in place. From there down there is a hidden panel behind the plunge to keep skin from showing and you could fold this back if you wanted to have that little slice of skin all the way down. At the back straps extend down from the shoulder and crisscross to leave the rest of the upper back bare. The dress closes down the front and the hooks are hidden behind that bit of a panel that runs in between the piping at the front. The waist is cinched and you could add a belt or ribbon if you wanted to cinch it in more. The skirt falls to the floor from there and widens out as it nears the floor. I love how the hem is also finished with that same turquoise piping as the other edges of the dress. The skirt has a pretty amount of fullness in it to give it a bright and happy feel. It is a gorgeous dress. Excellent condition

Fully lined in a black silk and closes with hook & eye at the front and a low painted metal zipper under the waist band. The bottom frog knot is functional and the top one decorative.

Bust: to 17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4367

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

I recently had an all blue version of this dress in the shop and I was very happy to have this unusually dyed one come in. This dress beautifully showcases the genius of Oscar de la Renta and the work that he was doing in this time period. The attention to detail alone is fabulous. The dress has a beautiful elegance to it and is quite striking. This sense of refinement is a constant in Oscar's work and I particularly love the earlier examples of it. You can see how many of the elements in this dress are a reflection of the standards he adhered to for his entire career and body of work. I also love that we have a reference photo of its runway counterpart so that you can get a sense of how gorgeous this dress is on.

The dress is made from multiple layers of a lightweight slightly textured silk chiffon. The colour is just incredible. The dress has been hand dyed to be almost colour blocked with several tones of deep ocean blues. On the bodice the silk has been gathered in an elaborate ruching so that you see all of the colours stacked on top of each other for this beautiful ombre effect. All of the different colours of silk as gathered in to meet in the center with a twisted effect. The dress is strapless and the neckline is cut into a rounded sweetheart shape that is very flattering. It dips down in the center and there is wire inside to shape the cups. The bodice is fitted and cinches in at the waist with interior boning to help hold the shape. The skirt cascades to the floor at the back and then curves up and around to be higher at the front so you get a flash of leg when you move. The skirt is made up of three layers of weightless silk chiffon and this lets the skirt float over and around the body to give it the feel of airiness and lightness. The lightness of the silk gives it a gorgeous movement when you move and walk. I love how the colours are blocked onto the skirt in angled lines so that you get this stunning over-sized chevron effect. It is incredible. Excellent condition

The dress is fully lined through the bodice in a hand set blue silk and then the three layers of silk chiffon the skirt is made of serve as its lining. The dress closes with a back painted metal zipper. Hand finishes.

Bust: 16.5" flat across from side seam to side seam with a
Waist: 12.5" flat across from side seam to side seam
Hips: open
Length: 44" from top of the bodice to shortest part of the front hem, 55" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4368

Reference Photos: Spring 1990 Oscar de la Renta Runway.

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

This is a very rare dress and is a version of the fuller skirted dress shown for the Resort 2010 collection. I have sold the fuller skirted one in the past but the only other one of this version I have ever seen is the one that was worn by Naomi Campbell in 2009. I know that with the other version there were only three made and I suspect that there were very limited ones of this one as well. Style.com noted at the time that; 'the line had a bit of romance in the form of lace overlays as delicate as insect wings' and that the collection 'was inspired by the notion of an artist in his studio'. While Vogue noted that the collection centered around patterns like 'line drawings'. The embroidered overlay on this dress would have been done specifically for each individually made dress and you can see how the pattern meets perfectly at all the seams. Each dress would then be a one off with no two being the same. This is an extraordinary piece of McQueen's history and I love the tie in with Naomi. Especially since there are so many photos of her with Lee while wearing the twin of this dress.

The dress is stunning and a tribute to his tailoring skills. It is cut to hug the body and create shape. The hand embroidered overlay is done in a stark black on a delicate netting. This lies over that brilliant yellow silk underneath and the contrast is remarkable. It gives the dress the appearance of being tattooed in that fantastical print that only McQueen's mind could come up with. The netted embroidery covers the dress from shoulder to hem so that you get the impact of the design from every angle. Underneath is a simple shift dress that skims over the bust, nips in at the waist and curves over the hips to the hem. I love the wide cut of the neckline and how there is that little edging of netting backed in a nude so you see just a hint of skin underneath. It feel subversively McQueen. Is a stunning example of the genius that was Alexander McQueen. Excellent condition

Fully lined in a yellow tissue silk and closes at the back with a hidden set zipper. Tagged a McQueen 42. It appears to have been worn very little if at all

Bust: 17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4362

Reference Photos: (1) Resort 2010 Alexander McQueen, Look 23. Model Kelli Lumi  /  (2-5) Naomi Campbell attends Nick Knight's ShowStudio Opening Party as part of London Fashion Week Spring/Summer 2010 on September 21, 2009 in London, England.

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

The is from the Spring 2017 collection which was an important and interesting show for two reason. First it was PierPaolo's debut collection as the solo creative director for the house and second he brought in Zandra Rhodes for the prints that went on the fabrics shown in the collection. The twin of this dress walked the runway for Look 23 and it is gorgeous. The show was a huge success and the Vogue review for this collection stated in part; 'They (the models) were wearing a collection he’d based on looking at a lot of medieval art, but particularly at Hieronymus Bosch’s triptych, The Garden of Earthly Delights—not that the clothes read as historicist at all. “I like to know my history, and then forget it,” Piccioli said.... He’d also become fascinated by the work of Zandra Rhodes, the great British fashion designer of the ’70s and ’80s, known for her hand-drawn prints and floaty, haute hippy dresses, so he got on a plane to London to see her. “He was wonderful,” exclaimed the pink-haired designer, who was sitting in the front row today. “He and an assistant came to my studio for two days, I showed them everything in my archive, and he asked me what I could do to make prints from the Bosch painting. It’s just incredible to see what they did with them." In short, he aced it, not only meeting expectations but surpassing them too.'

I love this dress. It is one of my favorite pieces from the show. It feels thoroughly Valentino but it also nods at the more intricate art work of Zandra. It is just a joy. The dress is made from a fine light weight silk that is cut on the bias. Think scarf weight. This is what lets it move so beautifully over the body once it is on. When you walk the loose cut and that cleverly pleated skirt catch the air to float and move around you. The colour is a beautiful yellow with a green undertone that feels just a little bit edgy. The print is a combination of black and sepia's and the inserts into the skirt are all done in a stark black for contrast. The bodice is cut loose and easy over the body and the dress has a bit of a nod to the twenties in its loose cut. The sleeves are long and I love that the print continues over and onto them. It skims loosely over the bust and waist to a seam that sits at just about the top of the hip. The skirt falls from under that seam and depending on your height it will fall to just above the knee to just past the knee. The skirt is cut beautifully. The silk falls in panels all the way around you and they are attached to the body of the dress in little curving seams. Between the yellow panels are black silk crepe triangle shaped insets. These are what allow the skirt a tremendous amount of movement. The perfect finish is that Zandra Rhodes print that has scene of an exotic plain with animals, cactuses and flocks of bird flying above. It is stunning. It looks to have been worn very little if at all. Excellent condition

A separate silk slip acts as the lining and then the dress is worn over this. The inner slip closes with a hidden set side zipper and the dress closes with a back hidden set zipper. Tagged a Valentino 44. There's one small mark on the inner slip and of course this doesn't show went the dress is worn over it

Dress
Sleeves: 24.5"
Shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 19.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 34.5" from top of shoulder to hem

Inner Slip
Bust: to 18" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 32" from top of straps to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4361

Reference Photos/Video: Spring 2017 Valentino Runway, Look 23. Model Diana Tieplova.

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

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 chiffon that has that same weightless feel that the best of the 1930s pieces did that were made from similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. 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 set wide across the shoulders and has a soft and feminine drape at the front that shows some skin there. On the one side of that draped front it a caught up with a little pleat detail just off to the side. It skims over the bust and is brought in just a touch at the waist through the seaming. The skirt flows over and hugs the hips and then flares out as it reaches the hem. The seams are set vertically through the skirt and at the helm each one flares out so that you get a ton of movement around the lower skirt. This flaring out at the bottom give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are set on a slight curve to follow the shape of your arm and each is cut a little extra long so that when it's on it's going to gather up along your arm just a touch. I love the top set, angled seaming that sits on each hip and the way that the vertical panels of the skirt start from a curving seam sent just below those angled seams. This is where those little subtle details that Galliano put into his dresses make them heads above other pieces. That little bit of added seaming causes it to sit in a certain way on your hips and then that in turn affects how the entire dress sits on your body. You could also add a belt for added shape. The dress is spectacular. It is easy to wear and it's classic design means you can style it numerous ways. It is also in its original uncut supermodel length. Excellent condition.

Fully lined in a second layer of the black silk chiffon through the body and the sleeves are unlined. It has no closures, the bias cut allows it to simply slip over the head. Tagged a Galliano FR40, GB12, US6. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It appears to have never been worn or worn very little. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Sleeves: 28" and 12" around the upper arm
Shoulders: approx 14.5-15"
Bust: 16-20" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 17.5-22" flat across from side seam to side seam
Length: 61" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4358

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 my favorites dresses that Yves ever made. I just had one in the shop and I was super excited to find another so soon because that definitely does not happen often. It is the twin of the runway piece that season and I have included  multiple shots of it on the runway that season. I love having these so that you can get an idea of how great it is on the body and the movement that it has. The twin of this dress was also photoed by David Seidner that season and I have that here as well for you. It is a beautiful example of Yves' work during this time period and just one of the prettiest dresses ever. I love it.

The silk used for this dress is feather light and it feels almost weightless on the body. The fabric is a beautiful silk organza that has a pretty abstract pattern screened over it in purple and green with pops of white. The custom designed print is used on both layers of the bodice. Layering it like that lets the two prints on each layer to be slightly offset as they float over each other to give the print an extra dimension of depth. It also lets the fabric be just opaque enough to wear. The dress is strapless and the bodice is gathered into soft gathers that are held in place down the seams on both sides. These run from the top of the bodice to just below the hip so your curves are highlighted. The seam that wraps around the hip is cut on a slight angle to add length. The skirt falls under that to the floor. The skirt is also made from a double layer of silk and you get that gorgeous depth to the pattern there as well. The two layers of the skirt float over each other and the lightness of the silk lets them move with your slightest movement. Attached all the way around that seam at the hip is a wide sash of the same fabric. It extends out into extra long ties at one side. This is how you create that fabulous big soft bow at the side or tie or wrap it around you to suit you best. I love how this adds so much detail and romance. This is one of my favorite of all of Yves' pieces. It is even better in person and on a body. Excellent condition with a minor note below

The second inner layer of the same fabric acts as the lining as described above. It closes with a side set zipper. I see some stress / small repairs to the inner seams around the inner top. They do not show when on and they are stable. Please see the two photos after the label shot. Tagged a vintage YSL 36

Bust: to 16" flat across from side seam to side seam
Waist: 12-12.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 52" from top of bodice to longest point of the hem

Modern Sizing Equivalent: XS-SML

Item# DD4354

Reference Photo: (1-3) S/S 1984 Yves Saint Laurent Runway Collection. Model: Anna Bayle.  /  (4) Yves Saint Laurent 1983, David Seidner Archives.

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 very pretty and easy to wear Christian Dior dress from the Marc Bohan years. I just had a black version of it in the shop and it was exciting to have a purple one come in so soon after that one. 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 photoed for L'Officiel that season and was part of the press package prior to the collection release. You can see in those photos that there were three versions of this dress made of this look and this seems to be a fourth with its little straps. I love that you could tuck the straps in and wear it as a strapless if you wanted as well.

The dress is made from a purple coloured cotton that has a horizontal stripes running through it in various bright colors. 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 tighten the tie at the neckline and the one at the waist to shape it. The ties are made of the same fabric and I loved that this gives them that little bit of color. The dress is suspended from two little straps. It is cut straight across the top. The bodice is cut to skim over you to the ties at the waist. I prefer it tied more loosely so you get that sense of swing the dress has but you could also bring the length of the skirt up by tying the waist tie tighter 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. You can adjust the elastic at the front of the bodice and also the tie through the waist. The easy cut and adjustable fit should allow it to fit on a range of sizes

Elastic at top of bust: 12-19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam and can be cinched in by several inches
Hips: 19-22" flat across from side seam to side seam
Length: 55" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4355

Reference Photos: (1) Model in Dior, L'Officiel US, 1977.  /  (2-5) Christian Dior Spring 1977 Ready to Wear Advance.  /  (6) Spring 1977 Christian Dior.

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

In 1951 a 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. His ready-to-wear line was made close to couture standards and with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in his work. Grace Kelly was an early fan. He was truly one of the great American designers and his work is held in all of the major museums around the world. He is one of my personal favourites. This dress is absolutely gorgeous. It is an interesting one because it seems to have been an exclusive for the Amelia Gray shop in Beverly Hills. It is an absolute beauty. We found some runway photos similar to the front cut from 1964 and that and the label inside would date it to that time period.

This is a dress that is extremely well made with a very high level of construction techniques. That alone makes it a fabulous piece for me. It is a joy to see dresses made to this fine level of workmanship. The dress is made from a light in weight wool that has a beautiful tactile texture running over it. It has just enough weight to hold the intended shape but feels wonderful once on. Everything about the cut is done to highlight and showcase those wonderful sculptural lines. The interior is constructed out of a fine black silk and the combination of the two fabrics makes the dress feel amazing once on. The neckline is extraordinary and I love the way it falls into that distinctive squared off shape. This has created by extending the straps as they curve over the shoulders down to just under the bust and then adding an inset piece between. The same technique is done at the back but without the added inset piece between the straps she get a little more skin to show there. From there It skims over the bust and past the waist. It then curves out over over the hips where it starts to widen out to the hem. From there it falls to the floor on graceful A-line. All of this is created by clever seaming and it is so much better in person its ridiculous. He is a designer who cut for the body not the hanger or a form. His work truly comes to life once on. . The workmanship is exquisite and to demi-couture standards. Excellent condition.

Lined in a fine black silk through the front bodice and the rest is unlined. It closes with a side zipper. Hand finishes throughout. It appears to have been worn very little if at all. Silk ribbon finished seams. The fabric has slight stretch. It is a stunning

Bust: 16-17" flat across from side seam to side seam
Seam under the bust: 14.5-15" across
Natural waist: 15-16" flat across from side seam to side seam
Hips: 19-20.5 flat across from side seam to side seam
Bodice: 9.5" from top of shoulder to seam under the bust
Skirt: 45" from seam under the bust to hem with 2" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4352

Reference Photos: Spring 1964 James Galanos Couture Runway.

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

This dress is a work of art and instantly recognizable as being a Gaultier. His career spans decades. His first show was in 1976 and his avant garde designs quickly gained him the reputation of being fashion's 'l'enfant terrible'. His designs mixed cultures with abandon, gender norms were blurred and the body was presented encased in ways unimaginable prior to his own unique vision. His first Haute Couture collection debuted in 1997 and his final show where he was the designer was in Spring 2020. He has since then had guest designers come in for his couture collections and I love this solution for him as a designer. Gaultier couture rarely comes to market and this one is exceptional. It is also very well documented.

The Fall 2000 Haute Couture presentation was called 'Paris and its Muses'. I have included the original runway reference photos here and tyou can see that this is the twin of the runway look. Doutzen Kroes was photoed in it for Vanity Fair that season and in 2013 its twin dress was featured in the exhibit "The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk". I was invited and attended the opening of that show in San Francisco and I love having this dress in hand now. This dress was obviously a favourite of Jean Paul's because he also chose to recreate a version of it for his Fall 2018 Haute Couture collection. That 2018 version was then worn by Rita Ora for the 2018 MTV VMAs. I believe that this may have been the only dress that was produced beyond the runway version

The dress is made from a layer of fine black silk netting that falls over an interior nude coloured lingerie weight stretch silk. This makes it very easy to wear and be comfortable on despite the dramatic feel it has. Onto the silk netting are hand made and hand applied letters made of a black silk chiffon shaped over stiffened netting inside them. This is how they get that 3D dimensional feel that you see. It is fascinating to think that the entire dress would have had to have been careful planned out prior to its creation. Every single word that you see running over its surface would have had to have been laid out and placed on the netting for it to all work before it was even started. The degree that each word would need to curve over the body would have had to be planned for and then each word meticulously sewn onto the netting by hand like a puzzle. The letters cover the dress from head to toe and include 'Cherie',  'Mon Amour', 'Jean Paul Gaultier', 'Paris' and more. It falls from the shoulders and skims over the body and then widens out dramatically as it nears the hem. Where the words are set along the hem the hem is actually done to follow their shapes. A stunning couture detail. The letters also cleverly act as support to hold the fullness of the dress and are in a way like having a crinoline but one that is done in letters and attached on the outside of the skirt rather then worn underneath and hidden. The entire dress is suspended from the shoulders from straps that are just wide enough to accommodate the lettering that runs over them. The front has a low scoop and the back dips into a low V for some bare skin to show. It skims over the waist and then it flares out dramatically to the hem. The entire dress is bias cut so moves beautifully over the body. All of the seams are finished with proper couture techniques and it is as beautiful to see as the outside. This is a dress that would have taken hundreds of hours to complete and you really are wearing a piece of art. I am obsessed. Excellent condition with some very minor notes below 

Composed of two layers, the inner nude lingerie weight stretch silk and then the netted layer over that. The inner layer closes with a zipper and the outer layer snaps to close with a tightly spaced series of tiny snaps. There is some minor stress to the netting around the seam of the armholes. I see a couple of the ends of a word that have popped through the silk a bit and some small tiny snags/ stress to the netting here and there. All of these are very minor. Please see the photos after the Couture label.  The dress otherwise looks to have been worn very little if at all. Made by hand to Haute Couture standards. It's proper Haute Couture tag is present and it comes to me direct from the original couture client . It is extraordinary and rare.

Bust: 15-19" flat across from side seam to side seam
Waist: to 15 " flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 62" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3612

Reference Photos/Video: (1-3) Fall 2000 Jean Paul Gaultier Haute Couture Runway Collection.  /  (4) Doutzen Kroes in Jean Paul Gaultier couture from the 2000 collection for Vanity Fair, 2009.  /  (5-9) Jean Paul Gaultier exhibition at the Grand Palais, 2015.  /  (10) Fall 2018 Jean Paul Gaultier Haute Couture Runway Collection. Look 34.  /  (11-13) Rita Ora in Jean Paul Gaultier at the 2018 MTV VMAs.

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 Look 14 on the Spring 2015 runway and it may have been the most photographed dress of the collection. In 2015 Valentino was headed by both Maria Grazia Chiuri and Pier Paolo 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: 'The collection was poetic, graceful, and beautiful.' They noted that 'Chiuri and Piccioli touched on many of Italy's patrimonies, from its antiquities all the way down to its kitsch. Centuries-old interiors—the country is cornice heaven—provided blueprints for a series of colorful dresses printed with vivid flowers and arabesque forms. Another group of dresses was patchworked from what could've been souvenir scarves.' This is obviously one of those patchwork scarf dresses and it was one of the best of the show. It was endlessly photographed on countless celebrities and fashion people that season and we have included just some of those here for you to see. It is one of my favorite Valentino dresses ever and this one is in perfect condition.

The dress was an instant success and sold out worldwide. It has the added provenance of have been used for the Valentino ad campaign that season and it was featured in several editorials as well. We have included tons of reference photos for you here so you really can see how superb the dress is on.

I love this dress. It really is one of my favorite Valentino pieces and it instantly recognizable. When you add in that spectacular array of prints that cover the entire dress. It is just a joy. The dress is made from a fine and very light weight cotton that has almost no weight to it. It has a touch of transparency to it and this lightness of the fabric is the perfect weight to be able to wear this in warmer weather despite being covered. I love that Valentino goes the extra length to source and use such beautiful natural fabrics. It is part of what makes the exceptional quality of their pieces. The lightness of the cotton combined with the tiers in the skirt is what lets it move so beautifully over the body once it is on. When you walk, the fabric of the skirt catch the air and billow out around you. The entire dress has been finished to look like it was assembled from a variety of souvenir scarves as noted in the Vogue review above. There is a mad variety of colours and patterns that have been masterfully piece together to make the dress that you see. None of it should work yet not only works but it's brilliant. The neckline is set on a slight scoop and it skims over the bust under that to the slightly dropped seamed waist. The waist is left on the more loose and easy side rather then being tightly cinched in. The skirt falls from under there to the floor in a sweeping expanse of fabric. There are five tiers of ruffles created from piecing all those different prints and coloured patterns together to form each tier. Each tier gets wider as it reaches the hem so the skirt ends up to be quite full. The lightness of the fabric combined with this fullness allows it to sweep and float around you when you move. It is just beautiful. The sleeves are equally as wonderful. Each is a single layer of cotton and is cut straight. At the wrist there is a full ruffle cuff. I love it. It looks to have been worn very little if at all. Excellent condition

Lined through the bodice and skirt with a pale pink cotton. The dress closes with a hidden set zipper at the back. Tagged a Valentino 40. There is a slight bit of stress to the inner seams of the sleeves near the cuffs. Please see the photo after the label shot

Sleeves: 23.5" long and 12" around the widest part of the upper arm
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Slightly dropped waist: to 15" flat across from side seam to side seam
Hips: to 21.5" flat across from side seam to side seam
Bodice: 16" from top of bodice to slightly dropped waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4350

Reference Photos/Video: (1-5) Spring 2015 Valentino Runway, Look 14. Model Adrienne Jüliger.  /  (6) Spring 2015 Valentino Ad Campaign Photographed by Jamie Hawkesworth.  /  (7) Anna Ewers photographed by Daniel Jackson for Vogue UK, February 2015.  /  (8) Photographed by Mackenzie Stroh for The Wall Street Journal, February 2015.  /  (9) Photographed by Christian Oita for Cosmopolitan Germany May 2015.  /  (10) Josefien Rodermans for Madame Germany July 2015.  /  (11) Spring 2015 Valentino LookBook for Neiman Marcus.  /  (12) Poppy Delevingne in Valentino for The opening night of Tiffany & Co.’s “Fifth and 57th” exhibition at The Old Selfridges Hotel in London, July 2015.  /  (13) Poppy Delevingne photographed for W Magazine, 2015.  /  (14-15) Anna Dello Russo in Valentino during A/W Paris Fashion Week, 2015.

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

Etro has been a long favorite of the jet set and they make some of the best printed silks in the world. This is a more recent dress that I think is from around 2015 but might be even more recent. I did find a reference to its twin sold at NAP so know that it originally retailed for just under $5k. It is in perfect condition and looks to have been worn very little if at all. I love it

The dress is made out of a feather light bias cut ribbon silk chiffon that sits over an inner lining of a brilliant coral silk chiffon. The inner layer is also bias cut to follow the top layer and these sit each other perfectly to drape over the body. The lightness of fabric feels wonderful once on the body. The neckline is cut into a low V and it is kept in place by laces in the same silk chiffon that each end in this gorgeous tassel. I love that the entire neckline is finished with a beaded and embroidered banding. Then there is a soft layer of ruffles surrounding that as well. It is so pretty. Another band of ruffle circles the waist and the waist itself has an inner elastic so that it is set a little more loose and easy. Each sleeve is cut to be full and balloon around your arm. At the top of each shoulder it is open for a little skin to show and this opening is also finished with ruffles. The cuffs are wide and full with another silk chiffon cord finished in tassels to allow you to cinch them in around your wrist. The skirt falls in this extravagant swoosh of bias cut silk. It falls over you in a loose and easy way for an almost caftan feel to it. The bottom of the skirt is made with three tiers of the silk and each one widens out as it nears the hem so it's very full. The lining inside goes to just above the knees so you have a sense of transparency through the silk on the lower part  of the skirt. All that feather light chiffon swirls around your legs when you move and it is incredible. The silk is done in one of their signature paisley designs and the bright coral of it is stunning. It is like a huge silk scarf made into this fabulous creation that 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 for every summer occasion from day to evening. It appears to have been worn very little if at all. Excellent condition

The body of the dress is fully lined in a coral silk chiffon. The sleeves are unlined and the lining ends just above the knees. It closes with a hidden set side zipper and you can also adjust the front with the laces. Tagged a 42. 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 25" to their longest points
Shoulders: no true defines seam
Bust: 17-20" flat across from side seam to side seam
Elastic waist: 14-20" flat across from side seam to side seam
Inner hips: to 23" flat across from side seam to side seam
Length: 58" from the shoulder to the front hem, 60" to the back

Modern Sizing Equivalent: SML-LRG

Item# DD4348

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

This is the second time I've had this dress in the shop and the first time ended up going to a museum. I've actually included that reference photo here for you love it in The Met's collection. This original dress that I had came with an old hang tag that was dated as being from the 1974 season and that makes sense given his heavy use of sequins for that years collections. It is a stunning piece and a wonderful example of his work during this time period and it is always an added bonus to have the twin of a museum piece.

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period. 

The dress is absolutely stunning. It is also beautifully made. It's surface is entirely and densely covered with glossy black sequins. Not a single inch of it is left uncovered. Thousands of hand applied glossy black sequins have been tightly placed side by side to completely cover the surface of the fabric. This gives the fabric the suggestion of liquid and when you move the light catches the sequins from every angle. Its cut is simple and flattering. One one side it curves up and over the shoulder. This leaves the other shoulder completely bare. It skims over the bust and waist with no horizontal seam to break the line. There is a suggestion of shape through the waist and then it curves over your hips. The hem is cut on the same angle as the neckline which makes that one side longer then the other. He then finished the entire hem with long beaded fringe. This fringe moves with your slightest movement and  it brings the whole dress to life around you. It is extraordinary and even better once on the body. Excellent condition

Fully lined in a black silky rayon and closes with a hidden set back zipper along the seam. Hand set sequins and hand finishes. It appears to have been worn very little if at all. The colour is a perfect solid black. Any green or any other colours you see are just the light reflection from the camera

Bust: to 16-17.5" flat across from side seam to side seam
Waist: 13.5-16" flat across from side seam to side seam
Hips: to 18-21" flat across from side seam to side seam
Length: 59" from shoulder to longest point of the fringed hem

Modern Sizing Equivalent: XS-MED

Item# DD4346

Reference Photos: (1) Fall 1974 Bill Blass Runway.  /  (2) 1974 Bill Blass Dress from The MET Collection Online.

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

It is so rare to have such great documentation on dress and this one not only has a ton of documentation from the 1978 season that it originally debuted in but it also has the added modern provenance of being the dress that Kate Hudson wore while pregnant in 2018. I think that three versions of this dress were made. We found the runway pictures of the version that went more over the shoulder, There was this version with no straps and then there is a version that has think ribbon straps. Bohan (and other designers) often did this within his collections during these years. It is a very special dress and even without any of the documentation it has it is an absolutely beautiful dress.

The attention to detail shown in every stitch of this dress is breathtaking. The workmanship is very fine. The silk chiffon is of the highest possible grade and as fine and light as a feather. The top is strapless and with a wide ruffle panel that falls from the top edge of the neckline to float the bodice. Under that is a bandeau feeling panel that wraps around the bodice to hold it in place. There is a seam just under the bust but when the dress is on that floating panel hides it from view so you just get this lovely caftan feel through the body of the dress. The skirt falls from that seam under the bust to the floor in a soft floating expanse of the same silk chiffon as the top. At the hem there is another ruffle to balance out the one at the bust. The silk is entirely covered in an explosion of soft pink flowers mixed with pastels. The cut through the body is loose and open so it is very easy to wear. And the entire dress would change dramatically if you added a belt and created shape. I also love the suggestion of wearing a flower at the neck as in the references photos here and staying true to Mr. Bohan's vision. It is truly a wonderful dress and when you see it in person you will love it even more. It is just beautiful and so very special. Excellent condition.

Fully lined in a pale pink silk chiffon and closes with a side set painted metal zipper. Hand work throughout. It appears to have been worn very little. The full bottom ruffle is the same fabric doubled over itself. So in theory this could be let down so it's a single layer (or you could back it with a silk chiffon) and you would have 12 inches to play with if you needed it to be longer

Bust: to 17" flat across from side seam to side seam
Seam under the bust: 16.5" flat across from side seam to side seam
Natural waist-hips: open
Bodice: 4.5" from top edge to seam under the bust
Skirt: 46"" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4341

Reference Photos: (1-2) Spring 1978 Christian Dior Runway.  /  (3) Model in Christian Dior. Photographed by Patrick Bertrand for  L'Officiel, April 1978.  /  (4) Model on right in Dior. Photographed by Ray Wolkmann for Marie France, March 1978.  /  (5-6) Kate Hudson in this dress, June 2018.

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

Alexander McQueen shows always verge on avant grade installation and performance art and this one was no exception. Lee himself once said 'I don't want to do a cocktail party, I'd rather people left my shows and vomited. I prefer extreme reactions.' Vogue called this collection poetic despite that fact that it has been inspired by the 'The Shining'.  The Fall collection was entitled 'The Overlook', the name of the hotel in the film, and it was held inside a giant lucite box. The show invitation was a single sheet of A4 paper with the words 'All work and no play make Jack a dull boy' repeated over the paper. The show was set in a giant plexiglass cube complete with a birch forest, ice skaters and snow. The models walked through the forest in the falling snow as they made their journey around the box for the audience outside and the final looks were shown complete with a blizzard that was reminiscent of the final scene in the film. In the book 'Alexander McQueen', edited by Claire Wilcox, the summary of this show was that 'The collection marked a high point, not just as fashion as spectacle but also for the visual interpretation of narrative film in another medium'. Further in the notes outlining the show the coats were mentioned specifically 'As usual McQueen intrigued with his tailoring, this time manifested in a frock coat with a fantail silhouette, which attested to his interest in asymmetry and birds'. It is of particular note that the coat and its silhouette was so central to most of the coats shown. We have included shots of Looks 19, 29 and 46 but if you watch the full runway show you can see that variations of it were used throughout the presentation. 

This is a deep red version that is otherwise identical to the coats that walked the show. Very few of these would have been produced and it is amazing to have such an early piece of his work in the shop. A piece like this truly showcases McQueens strong tailoring background and master cutting abilities. I love that it is identical to the show pieces in all but the colour. Which is better then the ones shown on the runway in my own opinion. I love the strength of the deep red. The upper portion of the coat is cut with a nod to a traditional men's suit and then he has twisted and shaped the front edges into that asymmetrical shape that you see. I love that 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 cut on a slight curve in the proper manner of tailoring a sleeve and each has a row of three buttons to finish them at their ends. The body of the coat is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button and I am obsessed with that single flap pocket that has been elongated and runs down the hip on an angle that follows the shape on that side of the jacket. The lapels curve around the neckline and run down to the button. They are notched cut and finished in the same fabric as the body of the coat so that your eye is drawn to the angles and shapes below rather then be distracted by a collar in a different tone or fabric. The coat slides over the hip and then flares out dramatically into that fantail cut mentioned in the show notes. I laid the jacket out flat for you to see just how amazing it is cut. When laid out flat you can see how the hem is cut on a long curve that slopes up to one side, swooping up into a boxed cut end. The other end extends out from the waist in a long line to meet the curve. When it is on this falls more behind you and around you at the sides and it has tremendous movement when you walk and move. The inside is lined in a red silk satin that matches the exterior. The workmanship is meticulous and it is an absolutely beautiful and rare piece of his early work. Excellent condition. 

Fully lined in an red coloured silk satin. It closes with a single button at the front. Buttons on each cuff. There are two extra buttons sewn onto the inner label. Tagged a size 44. The front pocket is still tacked shut. Padding on the shoulders. It looks to have been worn very little if at all. 

Sleeves: 25"
Shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Length: 61" from neck to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD3701

Reference Photos: F/W 1999 Alexander McQueen Runway Collection. Look 19 (Model: Sunniva Stordal Bjorklund), Look 29 & Look 46.

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

This dress is the twin of the dress used in the 1987 ad campaign and I love having that reference photo for you so that you can see just how great this dress is on the body. In person and even on the dress form it just does not present as well as it will once on a girl whop properly fits it and brings it to life. The 1987 collection is one of my all time favourites and I am very pleased to have this wonderful example from it in the shop for you and it is also in perfect condition so feel s like a bit of a time capsule piece too.

This gorgeous dress is made from a black silk faille base with a a layer of dotted black netting applied over top. This choice in fabric gives the dress it structure and shape so that it holds the shape around you once on. The bodice is strapless and cut on a soft curve across the neckline. It is lightly boned on the inside for a built in shape that molds your form to it. It then curves in just slightly to skim over the waist and then curves back out for the hips. From there it falls past the hips and then gently flaring outwards at the hem for the lower part of the skirt. It is cut slightly longer at the back and I love the bow that sits at the back. Bows where a prominent part of the theme for this show and this dress is perfectly tied in with this bow placement. The lace overlay is the star of the show and makes a wonderful impact. It is attached starting just under the bust and then wraps all the way around the body to the top of the hips. Where it ends at the bottom hem there is a panel separating it from the lower skirt. Its just gorgeous and easy to wear. Excellent condition with a very minor note below.

Fully lined in a black silk and closes with a side set zipper. The inner bodice is lightly boned and shaped. Inner waist stay that hooks to close with a flat hook & eye. Tagged a 44. There is the teeniest bit of change of texture to one small spot near the edge at one side. Very minor. Please review the photo after the label shot. It otherwise appears to have been worn very little if at all. Tagged a 44

Bust: 18" flat across from side seam to side seam with a B-C cup built into the front
Seam under the bust: 15" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 9" from top of bodice to seam under the bust
Skirt: 40" from seam under the bust to front hem, 45" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4336

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

A version of this jacket was shown on the runway with a matching skirt for Look 5 as seen on the Fall 2002 Tom Ford for Yves Saint Laurent runway. The Vogue review of that collection stated in part: 'Tom Ford is very, very good at being wicked. The designer was in an adult-erotic frame of mind at Yves Saint Laurent, taking potential clichés such as black satin ribbon, taffeta, velvet, chantilly lace and fur and applying them in an offhand way to extravagant, body-emphasizing pieces that often looked as if they might fall off at the slightest pull of a bow. What, after all, could be more provocative than a woman wearing expensive clothes that look as if they were made to be undone by a lover? ... The show was full of amazingly detailed, sexily cut suits, fabulous coats and sweeping evening gowns delicately inserted with lace.' 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 fully has the feel of the runway that season and is a classic piece that defines Tom Ford time at the label. Both pieces are made from a black wool cashmere mix that is trimmed with deep black velvet. The construction is immaculate. The shoulders of the jacket are slightly sloped but still shaped with light padding. The sleeves are incredible. They are cut on a curve with no seam at the elbow which is in the proper and traditional tailoring method. Along the inner edge there is strip of velvet and the sleeves are gathered in towards that. This creates a gather all the way down the arm and it is fabulous. The body of the jacket is cut as precisely. It skims over the bust and nips in at the waist and then flares back out over the top of the hips. There is a neat flap pocket on each hip and another pocket on the breast. The collar takes a play from a men's tuxedo and is finished in velvet. The front is gathered slightly down the front like the sleeve detailing is. Two carved button close the front and I love the ribbon detail that follows along all the seams. Each sleeve has four more of the buttons. The pants are equally as fabulous. They are banded around the waist and are cut to sit slightly low on the hip. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg flares out a touch and this gives them a long and beautiful line on the body. Slant pockets on each hip and button slit pockets at the back. This is a remarkable example of his skills as a tailor and his time at YSL. Excellent condition

Fully lined in a black silk with two button closures on the jacket as described above. Lightly padded shoulders and the pockets have their original tacking in place. The pants zip to close at the front. Both pieces are tagged a FR34. It appears to have been worn very little if at all

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 26" from neck to head 

Pant
Waist: 14" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 41" waist to hem with 2" turned under
Inseam: 30.5" from inner seam to hem
Rise: 14.5" from back waist to inner seam

Modern Sizing Equivalent: XS-SML

Item# DD4337

Reference Photo: Fall 2002 Yves Saint Laurent Runway, Look 5. Model Rie Rasmussen.

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 gorgeous. It is very pretty and very easy to wear. The hand written label places it within 1992 and it is a gorgeous example of his work. I love how utterly Chanel in feel it is and it is immaculately made. These earlier pieces almost border on demi-couture with the workmanship being so fabulous.

I love that this dress. This one is particularly feminine in feel and it is just so pretty. The dress is made out of a light in weight black silk chiffon that is feather light. When you actually look closely at this dress the sheer amount of silk used for it is mind boggling. Despite its light weight fabric it is made so well that it still has enough structure to hold the cut and give it the wonderful shape that you see. The bodice is suspended from the shoulder by two tiny straps that curve over the shoulders. The bodice is more fitted and you could also tuck in the straps and wear this one strapless. The neckline has a soft curve over the top and it is edged with a soft black fine lace. The chiffon is gathered over the bust in soft little pleats with another lace detailing just under the bust and then a third bit of lace around the waist. Inside there is light boning to hold the shape perfectly around you. At the back there is a row of decorative silk covered buttons and loops over the zipper. Under that the skirt falls in an incredible sweep of silk chiffon. It starts just under the banding and is softly gathered in all around the waist. There is an inner black silk skirt with that beautiful silk chiffon layer over that. There are many many yards of chiffon that make up that top layer. I think if you laid it out flat it would be a full circle. This gives it incredible movement with your slightest movement. The lightness of the silk allows it to flare out and the movement that this creates once it is on is incredible. It is finished all around the bottom with another panel of the black lace and here it is wider then the ones on the bodice. It is the perfect finishing touch. The construction is immaculate and it looks to have been worn very little if at all. It is gorgeous. Excellent condition

Fully lined in a black silk and closes with a back set zipper with decorative buttons over that. Light boning through the bodice. Tagged a vintage Chanel 40

Bust: 16-17.5" flat across from side seam to side seam
Seam under the bust: 16-16.5" flat across from side seam to side seam
Natural waist: 14-14.5" flat across from side seam to side seam
Hips: open
Bodice: 13" from top of shoulder to seam under the bust and 18" to the the dropped bottom seam
Skirt: 40" from the dropped bottom seam at the waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4338

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

Bob Mackie became a household name when he started dressing Cher. He started off his career freelancing for costumers Edith Head and Jean Louis and it was while there that he sketched the design for Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress. He met fellow costume designer Ray Aghayan who eventually became his life partner. Together they designed costumes for Hollywood and created a made to order line of RTW. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years and the launch of his own label. His work helped to define an entire era of high glamour on the small screen and beyond. The dress is stunning. I love how it shows his range as a designer beyond just his signature beaded pieces.

This is an extraordinary Bob Mackie dress whose twin walked the runway for the Spring 1989 collection. On the runway it was shown with a little beaded Bolero and I love that you could potentially wear it like that by adding your own little jacket. This one came with a matching oversize shawl made of the same silk chiffon and I love it this way just as much but it's always nice to see options. The dress is made out of a brilliant red silk chiffon. It has a surprise though. Under the top layer of the silk of the skirt is a second layer of silk chiffon that is done in a bright true pink. This gives the red a slightly pink undertone and there is also this amazing and unexpected flash of colour when you sit or move. It is a colour combination that is stunning to see together. The bodice is strapless and it has an inner shaped corset that is boned and shaped for support and to stay perfectly in place. The top of the bodice is slightly rounded and then it is notched at the center. Over that the silk chiffon has been gathered and draped so that it swoops upwards and in towards the center seam. The skirt flows out from under the seam of that top part of the dress and it is made up of yards and yards of feather light silk chiffon. There are two layers of the silk as described above with the red on top and pink underneath. All the layers of the silk are feather light and the movement it creates as you move is just incredible. All the silk is cut on the bias. The dress also comes with its original massive matching cape shawl piece. Draped over the shoulders the sides fall down and passed the hem of the dress. You can wear it as a cake and just draped over the shoulder or you could wrap it. This little bit of added glamour and drama just elevates the dress that much more. It is truly one of the best dresses of his that I have seen. Excellent condition with one small note below

The bodice of the dress is fully lined in a red silk. The skirt has an inner pink layer of silk chiffon as described above. The bodice is shaped and and boned inside and has an inner waist stay that hooks to close. It then closes with a back painted metal zipper. Hand finishes. There is a tiny repair to the inner edge of the bodice, a tiny one near the hem and a small mark on the edge of the bodice at the back. Please see the photos after the label shot.

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 8.5" from top of the bodice to seam
Skirt: 42" from seam under the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4335

Reference Photo: Spring 1989 Bob Mackie 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.

Alexander McQueen shows always verge on avant grade installation and performance art and this one was no exception. Lee himself once said 'I don't want to do a cocktail party, I'd rather people left my shows and vomited. I prefer extreme reactions.' Vogue called this collection poetic despite that fact that it has been inspired by the 'The Shining'.  The Fall collection was entitled 'The Overlook', the name of the hotel in the film, and it was held inside a giant lucite box. The show invitation was a single sheet of A4 paper with the words 'All work and no play make Jack a dull boy' repeated over the paper. The show was set in a giant plexiglass cube complete with a birch forest, ice skaters and snow. The models walked through the forest in the falling snow as they made their journey around the box for the audience outside and the final looks were shown complete with a blizzard that was reminiscent of the final scene in the film. In the book 'Alexander McQueen', edited by Claire Wilcox, the summary of this show was that 'The collection marked a high point, not just as fashion as spectacle but also for the visual interpretation of narrative film in another medium'. Further in the notes outlining the show the coats were mentioned specifically 'As usual McQueen intrigued with his tailoring, this time manifested in a frock coat with a fantail silhouette, which attested to his interest in asymmetry and birds'. It is of particular note that the coat and its silhouette was so central to most of the coats shown. We have included shots of Looks 19, 29 and 46 but if you watch the full runway show you can see that variations of it were used throughout the presentation. 

This is the same coat that I had in the shop before. My client's life has changed since she purchased it and as a result it found its way back to me. It is a deep red version that is otherwise identical to the coats that walked the show. Very few of these would have been produced and it is amazing to have such an early piece of his work in the shop. For a piece this special I am happy to bring it back again. A piece like this truly showcases McQueens strong tailoring background and master cutting abilities. I love that it is identical to the show pieces in all but the colour. Which is better then the ones shown on the runway in my own opinion. I love the strength of the deep red. The upper portion of the coat is cut with a nod to a traditional men's suit and then he has twisted and shaped the front edges into that asymmetrical shape that you see. I love that 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 cut on a slight curve in the proper manner of tailoring a sleeve and each has a row of three buttons to finish them at their ends. The body of the coat is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button and I am obsessed with that single flap pocket that has been elongated and runs down the hip on an angle that follows the shape on that side of the jacket. The lapels curve around the neckline and run down to the button. They are notched cut and finished in the same fabric as the body of the coat so that your eye is drawn to the angles and shapes below rather then be distracted by a collar in a different tone or fabric. The coat slides over the hip and then flares out dramatically into that fantail cut mentioned in the show notes. I laid the jacket out flat for you to see just how amazing it is cut. When laid out flat you can see how the hem is cut on a long curve that slopes up to one side, swooping up into a boxed cut end. The other end extends out from the waist in a long line to meet the curve. When it is on this falls more behind you and around you at the sides and it has tremendous movement when you walk and move. The inside is lined in a red silk satin that matches the exterior. The workmanship is meticulous and it is an absolutely beautiful and rare piece of his early work. Excellent condition. 

Fully lined in an red coloured silk satin. It closes with a single button at the front. Buttons on each cuff. There are two extra buttons sewn onto the inner label. Tagged a size 44. The front pocket is still tacked shut. Padding on the shoulders. It looks to have been worn very little if at all. 

Sleeves: 25"
Shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Length: 61" from neck to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD4334

Reference Photos/Video: F/W 1999 Alexander McQueen Runway Collection. Look 19 (Model: Sunniva Stordal Bjorklund), Look 29 & Look 46.

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

The twin of this dress walked the runway for Spring 1977 and I have included that runway photo here for you for reference. It also gives you a fabulous idea of how good the dress is one the body. This is an absolutely beautiful and classic Halston from his main label couture line. It is an incredible example of his work from this time period and the colour is amazing

This dress is drop dead gorgeous with its yards and yards of bias cut silk chiffon in that perfect beautiful red. The construction on it rivals any of the best Halston pieces I have seen to date. The dress is made of four feather light layers of bias cut silk chiffon stacked on top of each other. Every one of the four layers is that fantastic true crisp red colour. This gives the colour added depth and intensity. It is just stunning to see it in person. Layering the chiffon like that also gives it so much more movement then it would have otherwise. Your slightest movement while this is on causes the silk to float and move around you. The layers have just enough weight to stay in place when you are standing still and then when you move they will move with you and the result is gorgeous. This is a fabric that is notoriously difficult to work with and it shows just what a genius he was by the way that he was able to make it flow and sit so beautifully. The majority of work is all done by hand and it would have taken many, many hours of work to create this dress in this way. The dress is suspended from the shoulders by two silk straps. The neckline plunges in a V at the front and then at the back it drops so that you back is left fully bare and open. Those tiny straps are all that cover you to where they meet the silk at the back and they feel very sexy running down the expanse of bare skin. The dress falls in a loose and easy cut that skims over you. The bias cut lets it both cling and skim over you at the same time and its incredibly easy to wear. It simply falls from the neckline, skims over the bust and then the waist and hips are open and easy due to that bias cut silk. The skirt is incredibly full. There are many yards of silk there and the layers all create more movement and swing when you move. The dress also comes with its original massive silk chiffon caped shawl piece. It is cut with one end to be more rounded so you can wear it draped over the shoulder or tie the ends to hold it in place. This gives you many different ways that you can style it and I did a few here for you to see. It is incredible. This is a dress that must be on a body to really come to life. As good as it looks here it is nothing compared to it on and moving. And even as beautiful as it is, it is also a technical masterpiece with all those layers of silk and the way he constructed it. It is very beautiful. Great condition with a minor note below to review

The dress is made from four attached layers of the silk chiffon. It has no closures and slips over the head to wear. Hand finishes. The bias cut should allow it to fit a range of sizes upwards and will just drape more on a smaller size. There are some tiny areas of a slight darkening to the silk on the front near the seam under the waist area. There is so much fabric and draping that for the most part all this is hidden when it is on but it is there. Please see the photo after the label shot.

Bust: 15-17.5" flat across from side seam to side seam
Waist: 11-18" flat across from side seam to side seam
Hips: 16-23" flat across from side seam to side seam
Length: 61" from top of shoulder to hem and the overlay extends another 10" past that

Modern Sizing Equivalent: XXS-MED

Item# DD4333

Reference Photo: Halston Made to Order Spring 1977 Runway.

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

For this collection Stefano put the volume on top so that your legs would be on full display. Vogue noted that he focused on 'elegant shapes that stood away from the body. His jackets, starting with a gray, mannish blazer, captured the idea of "oversized," but tailored it to form a bell-like volume in front—an idea that ended in a couple of sublime tuxedo jackets for evening (put on one of those, add a pair of black opaques, and you can forget the skirt)'. The twin of this dress walked the runway as Look 34 in the show and I think it was one of the strongest and best looks of the collection. It is chic and simple but has high impact. I love the nod to the the iconic YSL tuxedo suit and it was a clever way to give pay homage to the archives but in a way that still felt very Stefano.

If you are looking for a dress that is chic and sexy this is it. I love that we have video reference of the dress on the runway so you can see how fabulously it is on the body. It is made from a structured black wool and silk mix that perfectly holds the highly tailored shape. The collar is cut wide and on a curve to give a nod to a men's tuxedo. It is made from a classic black matte silk for that formal feel. It is set so that it elegantly curves down the body and it overlaps slightly where is meets at the base. A double row of buttons covered in that same matte silk closes the front and this also continues the homage theme to the classic tux. The waist is shaped through vertical seaming and then the hips curve out with a touch of an exaggerated shape that I love. The sleeves have that curving cut of a properly tailored sleeve and each ends with a single perfect button at the  cuff. The skirt is short and if you did not want to wear it as a mini it could absolutely play double duty as a longer jacket if layered over pants or a skirt. Which makes it that much more wearable and versatile as a part of your wardrobe. No matter how good it looks in the photos it is even better in person when you see the high level of tailoring put into this piece.  Excellent condition

Fully lined in a black silk and buttons to close at the front. It appears to have been worn very little if at all. Tagged a FR36

Sleeve: 23"
Shoulders: 15"
Bust: to 16-16.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 31.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4330

Reference Photos/Video: Fall 2007 Yves Saint Laurent Runway, Look 34. Model Ines Crnokrak.

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

"It was woman as dandy." declared Tom Ford. That was his comment to Vogue's Sarah Mower. Her review talked about 'the sinuous twenties and thirties feel he (Ford) melded into satins and chiffons for YSL's Spring collection....Together with the major frizzed hairdos and sexy high-heeled spectator shoes in leather and canvas, it added up to a new silhouette for the tall, sexually-in-control woman Ford envisions as the spirit of modern YSL.' She went on to talk about the dresses that season saying; 'There followed a line of equally individual gowns in satin and chiffon, worked with curving scalloped layers and plissé skirts and held up by the finest shoulder straps....The visions of pared-down, re-imagined Deco glamour kept coming' This is the twin of the dress shown on the runway and worn by Liya Kebede. It also has the added provenance of being featured in the ad campaign that season and was shot for a Tank Magazine editorial.  It is just phenomenal.

The dress has a gorgeous twenties inspired feel and sense of sensuality once on the body. It is a very collectible runway piece and it is the kind of dress that you see in real life and it makes you swoon. As good as it looks in the photos it only really comes to life on the body. It is made out of the lightest possible silk chiffon in the palest softest nude with just a touch of yellow to it and then this is combined with a chartreuse silk. When you move in the dress the air around you picks up the chiffon and it has the most beautiful movement. You can see this in the runway reference video. The dress is cut with a very soft and easy feel much like the dresses of the twenties and thirties. The bodice is suspended from two tiny straps that curve over your shoulders. The center dips down low across the neck. A double panel of chiffon drapes down the sides of the bodice on both sides. You could slip your arms through these I think and wear them as low draped sleeves but on the runway and ad shots they were shown draping down the side of the body. It gives the impression that the dress is already half off and very sensual. At the back the dress is cut to plunge low and the side draped panels extend to create a horizontal panel across the back. This all moves with your slightest movement and the contrast between the panels and your bare back is very sexy. The dress is entirely cut on the bias so that it drapes down and over the bust and waist yet still shows off your curves. At the waist is a very long wide silk panel attached at the front. This is wrapped around you and tied to add shape there. The ties are extremely long so you can wrap several times or wear them trailing out behind you with mess wrapping around the waist area. There is a vertical panel of the chartreuse silk that runs down the center of the skirt at the front and back and then the sides are chiffon so have a touch of transparency to them. The skirt is cut longer at the side so that it moves and drapes around you in the most incredible of ways. All of the seaming on the dress is done to give a nod to the fantastic seaming of the twenties and thirties. The entire dress weighs ounces and it is almost like having nothing on at all. It is so sexy. It is just amazing and even better in person. This is really a special and rare piece of fashion history. Excellent condition

There is an inner layer of silk chiffon lining and the inner lining is slit up both sides so that it has movement as well when you move. It zips to close at the side under a decorative row of buttons covered in the chartreuse silk. The bias cut of the fabric should allow it to fit a range of sizes. It is meant to be loose and easy everywhere and then just caught up at the waist with the attached ties. I see one light spot on the side of the hip. Please see the shot after the label shot. This was very hard to measure because of how its intended to be worn draped over the body. The measurements below are of it laying flat and at a comfortable range. Tagged a YSL FR40

Bust: 15-19" flat across from side seam to side seam
Waist: 14-17" flat across from side seam to side seam and then you use the ties to cinch in
Inner hips: to 20" flat across from side seam to side seam
Length: 65" from top of shoulder to shortest part of the front hem, 66" to longest points at the sides

Modern Sizing Equivalent: XS-MED

Item# DD4328

Reference Photos/Video: (1-4) Spring 2004 Yves Saint Laurent Runway, Look 33. Model Liya Kebede.  /  (5-6) Spring 2004 Yves Saint Laurent Ad Campaign.  /  (7) Models in Spring 2004 Yves Saint Laurent, Tank Magazine Issue 26. Photographed by Stefano Galuzzi.

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

Vogue said of the Spring 2013 Emilio Pucci presentation; "When Peter Dundas inherited this historic Florentine house—famous since the 1960s for its kaleidoscopic prints—he made reworked archival patterns a major part of his story line. Last season and this one, though, he's started inching away from them. These days, the label is just as well known for Dundas' confident, louche brand of glamour as it once was for its founder's graphic swirls and geometries." Beyond this collection had many solid pieces as well including this dress who's twin was look 41 of the show. It was one of three white dresses that close the show before the final red look. It's a gorgeous dress 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 dress is made out of a stunning light silk that is light in weight but just heavy enough to keep the structure. It is very close to a true white. It is so simple in it's cut but is so chic and elegant once it is on the body. It feels very much like a Peter Dundas piece. The front neckline is done in a halter style with the upper part above the bust line finished an a white netting that has a secondary abstract print work through it. This allows you to see the skin underneath. The front is gathered over the breasts almost like a bandeau and seamed in the center. Under that is an open cut out for a bit more skin to show. The dress curves in to follow the waist under that and and skims over the hips. The skirt falls to the floor and widens out quite a bit as it nears the hem. This gives the dress incredible movement when you walk and you get a sense of that in the runway video. I love the loose slightly draped pockets that sit on each hip. The back is mostly open with a criss cross of straps and an open cut out between the waist and the back strap. Decorative frog knots sit at he low waist fort added detail. Once on this fits and hugs your curves in the best possible way. It come with its original tags attached. Excellent condition

The dress is fully lined through the bodice and the skirt is unlined. It closes at the side with a hidden set zipper. Light boni9ng and padding through the bodice. Tagged a modern Pucci IT42, FR38, US8, UK10. Because the upper body is lined and padded when it is off the body it feels like the fabric is a touch darker as it is completely opaque. Once on its fine and the lining is needed

Bust: to 17" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 64" from top of neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4325

Reference Photos/Video: Spring 2013 Emilio Pucci Runway Look 41. Model Kasia Struss.

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

This is an extraordinarily rare example of the work that Ossie Clark and Celia Birtwell were doing together in the very early 1970s. This one has the added bonus of being one of Celia's very well documented prints. We found numerous examples of this print used in various pieces showing how integral it was to that seasons collection. Really great Ossie Clark pieces are becoming increasingly harder to find anymore and this one is amazing. In 1968 Ossie Clark was designing his own couture line and also designing pieces for Alice Pollock for her Quorum Boutique. The Radley company approached Alice to find out of she could convince Ossie to design a top of the market collection that they would produce and sell to various boutiques and department stores. Dresses like this were the result of that collaboration. Even with this early version of 'ready to wear' the pieces that were made were still never produced in vast quantities and certainly nowhere near whet we think of today as RTW as far as quantities that would have been produced. This one with its ivory colour and pretty floral print 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 occasion. There is never a wrong time to wear Ossie.

The dress itself is also a stunning example of what would go on to become one of Ossie's most famous and recognizable designs with that signature squared off neckline and smock shape through the body. Various versions of these in solid colors are held several museums and I have had a couple in solids colours in the shop before.

His designs transform once on the body and no matter how fabulous the dress looks like in the shots it is even better on an actual body. The design of this dress reminds me of his classic 'graduation gown' in how it is loose and easy through the body but this version has a more filled in front then the plunging graduation dress design does. And it is also differentiated by the neckline that is edged with a panel on the same moss crepe fabric and that follows the front neckline. It has that incredible flow and drape that he was known for and it is so easy to wear. The neckline comes down and angles around its opening and then the dress falls from under that. It is set into the neckline with a series of flat pleats that open up at about the wast and fall freely to the floor. Attached ties on either side of the waist wraps around and tie to give you some the shape. The skirt flows from the front gathers under the neckline and at the back it begins right under the shoulder yoking with a long inverted pleat running down the center. It cascades to the ground and is balanced by the gorgeous sleeves. I love the capped shoulder on them with its nod to the previous century. The dress is made out of his signature moss crepe in a creamy ivory and then it has that incredible floral Celia Birtwell print running over its entire surface. It is incredibly long and in its original supermodel uncut length. It is a treasure. Excellent condition with a small note below

Unlined and slips over the head to wear. It is narrow through the shoulders but generous through the body. The attached ties can be used to cinch in for more shape. There are slight fold marks in the crook of each arm and very light marks in the body of the dress here and there. All minor and mentioned for accuracy. Please see the photos after the label shot. If you are narrow through the shoulders then a MED could fit it as well

Sleeves: 26"
Shoulders: no defined seam but probably around a 13-15" max
Bust: to 19" flat across from side seam to side seam
Waist: open and can be defined by the attached tie
Hips: open
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4326

Reference Photos: (1-3) Models in Ossie Clark for Radley, 1973.  /  (4) Model in Ossie Clark, Cosmopolitan, December 1973. Photographed by Eva Sereny.  /  (5) Model on left in Ossie Clark, Telegraph Magazine, September 1973. Photographed by Brian Duffy.

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

This dress is brand new with tags and was the production piece sold for Fall 2021 at Net-A-Porter. This collection was the one prior to Pieter Mulier's first for the house and the Alaia team did a special Editions collections based on the houses' vast archives. Vogue noted that Caroline Fabre Bazin, the Heritage and Editions director, and Alaïa CEO Myriam Serrano decided to focus on pieces they saw as being “important for the house, important in the history of fashion, that also speak of technique and timelessness.” Every runway piece was dated and had its backstory. Those pieces were then translated for the fall ready-to-wear line of which this dress is from. I have included the reference photos from the show where you can how this dress came about. I love this all black version and it is in perfect condition with all its tags.

This stunning Alaia piece is a testament how much Alaia's team loved him and were able to perfectly execute a collection without him because they were all on the same page and shared his vision so perfectly. A rare achievement post the founders passing it seems. Instead of trying to go off the rails in direction they just gave him a beautiful homage to what he did best. This is a dress that is meant to show off your curves. The top is made out of a butter soft black leather that is shaped and seamed to cup the breasts at the front. Wide straps curve over the shoulders to become part of that front molded cup. It dips into a low V and the entire bust area is shaped for support. A wide leather strap extends out horizontally under that and then there is another one wrapped around the waist. These are separated and open between the straps and bodice as it wraps around you so that you get a glimpse of skin between them. These wrap around to the back where they create a caged effect over the shoulder straps that have continued from the shoulder all the way down to meet the waist. Everywhere else at the back has been left bare and open. Attached to that is a long narrow skirt that falls to the floor. The skirt is made out of one of inky black hammered silk. It has structure and a touch of weight to it so that it shapes and holds the body underneath. It is cut in one long lean line that narrows in slightly as it reaches the hem. This creates the most flattering line on you possible. A high slit at one side allows you to walk and shows a flash of leg when you move or sit. It is very sexy, very chic and very Alaia. It has all of its original tags and has never been worn. Excellent condition.

The skirt is lined in a satin finish black silk and the inner part of the bodice is the same ultra soft leather as the exterior. It closes with a hidden set low zipper and the straps buckle to close above that. Tagged a modern 34 with all original shop and hang tags still attached.

Bust: 14-15.5" flat across from side seam to side seam with A to small B cup
Waist: 11-12" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 14" from top of bodice to waist
Skirt: 47.5" from waist to hem and the slit is 31.5" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD4321

Reference Photos: (1-3) Fall 2021 Alaia Presentation. Looks 5, 12 & 27.  /  (4) Net-a-porter image.

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.

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period. You really start to see the direction he was into for the 1980s in this one. It has the added provenance of being the twin of the runway piece and I have included that reference photo here. We found the runway photo after I shot the photos of dress and you can see that I tied the attached tie around the waist while on the runway he let it trail back and behind the model. I love that it can be worn either way.

The dress is made out of the most extraordinary fabric. It is a brilliant blue silk velvet that has an abstract print worked into the velvet. The pattern is created by having the pile of the velvet go the opposite way where the print is so the different parts of the print catch the light differently. It's extraordinary colour is just unbelievable. It almost seems to glow and it is really striking to see in person. The dress falls in one smooth line from the shoulders. The shoulders have light shaping and the sleeves slightly get along the tops for the tiniest bit of a capped feel. Each deep is set wide where it is set into the bodice and then narrows down at the rest. There's a hidden side zipper and it slightly gathered there for a little extra detail. The dress falls to the floor in one long lean line down the front. If you choose to tie the attached ties towards the back only then it has the feel of a sheath or column dress. By wrapping around the front as I have done in these photos you can add some extra shape. Back there's a button at the top of the neck and then there's an open diamond shaped cut out that leaves most of your back bare. Set along the back sides where that opening is the widest are two attach ties. These sit on a slight angle so that when you have them tied at the back they follow the angle of the opening instead of obstructing it. On the runway he tied these casually looped and hanging long behind or you can wrap then like I did. The cut is pure Blass for this time period and its gorgeous. Very chic. Excellent condition

The dress is partially lined in a blue silk through the upper part and there is a hand set wide ribbon inside the bottom hem to help it to hang properly. It closes at the back with a hidden set low zipper and a button at the top of the neck. Each sleeve has a hidden side zipper at the wrist. It looks to have been worn very little if at all

Sleeves: 26"
Shoulders: 15.5"
Bust:to 20 " flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 59" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4317

Reference Photos: (1-3) Fall 1986 Bill Blass Runway.  /  (4) Fall 1986 Bill Blass Dress in the Kent State University Museum.

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

This same print was used on dress from one of Thea's very first fashion shows that was held at her Greek street shop in London. But the label on this dress was unusual and did not match the ones that would have been used for that show so I reached out to fashion historian and author Laura McClaws Helms. Laura wrote the book on Thea Porter released a few years back and she also curated the museum exhibit on her work. She told me that in the very early days Thea would sometimes meet with boutique owners and agree to sell select pieces to them. This dress is from one of those collaborations and that makes this dress a very rare piece. Once that was known we ended up finding a photo of the twin of this dress within Laura's photo archives dating it to 1969. It is a stunning and early example of what was to come and it is just a beautiful dress besides.

The dress is stunning. It feels a bit like her 'Faye' dress in its design but with the addition of those incredible sleeves. I love the stark mix of black white and red and how the print is done in panels that run down the front and back of the dress. The the sleeves and side of the dress are made from a semi-transparent black silk chiffon and that touch of transparently is very sexy. The printed parts are also a silk chiffon that has been completely covered in a graphic swirling pattern of red, white and black. The body of the dress is backed in a layer of silk chiffon to make it slightly more opaque and wearable but the sleeves are a single layer of chiffon. Their volume is partly created by how they come out from the waist and because of how they are set from the waist like that you get a glimpse of the transparency along the sides of the bodice when you move which is just insanely sexy. It is still subtle though because of how full the sleeves are cut. Each one falls from the shoulder and connect down right to the waist. Each wrist is finished with a tie made from the printed chiffon. Once on they will sit up more and billow around you. There is banding at the slightly empire set waist and this extends out at the back into long ties that you can cinch to add more shape. The print runs down the front of the  entire dress, circles round the hem and then meets the panel that runs down the back. Beyond its rarity and place in fashion history it is just a gorgeous dress. Excellent condition with a small note below

Fully lined in a black silk chiffon except for the sleeves which are unlined. The dress zips to close at the back. Stiffened tulle set into each shoulder to hold the shape. The band at the waist extend to ties that you can cinch in the waist as desired. Hand finishes throughout. One of the ties at the wrist has a tiny bit missing from its edge that you do not see when it is tied. I see a couple of tiny pinholes near one shoulder and one on the back skirt. Please see the photos after the label shot

Sleeves: approx 28"
Shoulders: no true defined seam
Bust: no true side seams
Seam under the bust: 14.5" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of shoulder to seam under the bust
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3491

Reference Photo: (1) Model in Thea Porter, 1969. Photo courtesy of Laura McLaws Helms.  /  (2) 1969 Thea Porter 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 from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. He designed many piece for the Queen of Brussels and like Ady, he had permission from several of the Haute Couture ateliers to produce their Haute Couture pieces using the patterns and buying the fabric direct. This dress is based on the Fall 1974 gown that Yves Saint Laurent showed that season. The fabric has changed and I think this fabric is better then the silk moire taffeta of the runway piece. It is more wearable for a modern woman in this stunning rose detailed silk. It is beyond beautiful in person and one of my favourite personal pieces. 

All of the finishes  on the dress have been done by hand and it has all of those lovely details that you expect in a couture dress. It is made out of a black silk taffeta and this fabric choice helps it to hold its intended shape. On the main body of the dress the silk has been finished with hand embroidered roses. These are made with a chenille velvet thread that is worked through the silk to form those spectacular large roses that cover the entire dress. Scattered over and around the roses are dots that are made with the same chenille. This gives the dress an incredible 3D texture and they also add a lovely and romantic touch. The neckline is scooped low across the front and the it buttons to close under that. There is an elaborate set of snaps and hooks that follow the waist line and carry over to the side where there is a hidden set zipper. The top is so well made I think you could choose to wear the scoop to the back even. It skims over you and the waist nips in. The sleeves are gorgeous. Each is constructed in the proper tailoring manner and are set on a curve to follow the shape of the arm. At the shoulders there is a series of soft pleats that creates that bit of volume you see there. The skirt is equally well made. It curves out from the hips to fall to the floor, widening out beautifully as it nears the hem. Inside the skirt is a full built in silk under-skirt that gives the skirt the volume that you see. The inner skirt is finished with an edging of black silk ruffles and it set slight below the top skirt in length. So when you move a certain way or sit you get just a glimpse of the ruffles at the hem. I think my favourite detail though is the precise and unusual rolled pleats that circle the waist. Each is made by hand and each perfectly matches its neighbour. The hours of work that it would have taken to implement these would be mind boggling. All of the inner seams are finished by hand and I have included some shots of the inner seams for you to see how beautiful they are. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition

Fully lined through the bodice in a black silk crepe chiffon. There is a built in black silk taffeta inner skirt. It closes with silk covered button and loops down the front. At the waist there is an elaborate series of silk covered snaps and hooks that close along the waist line and then it zips at the side with a hidden set fine metal zipper. There is an inner waist stay that hooks to close. There is at least an inch and a bit of fabric on either side of each inner seams through the bodice to let it out if needed. The inside is all hand done and it is finished to couture standards. 

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: 42" from waist to hem with 3" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3682

Reference Photos: Fall 1974 Yves Saint Laurent Haute Couture.

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

The Antonelli Roma label was the Alta Moda / couture line launched by Maria Antonelli. She founded the label in 1930. She loved a long minimalist line in her work and she was one of the founding members of the group who pushed to establish Italian couture, or Alta Moda, as recognized couture in its own right. Her work was a a part of the V&A's 2014 exhibition titled 'The Glamour of Italian Fashion 1945-2014'. She was also one of the select group of couturiers that designed her work directly on the body rather than using a toile or muslin pattern. She has been hailed as a pioneer of Italian couture. Pieces of her work are exceptionally rare and this dress is an utterly beautiful example.

This is just a magnificent piece of early Italian Couture. The dress is held in place on the body with a built-in corset that is boned and structured.The exterior over that is made from an inky black velvet and the design of the dress makes it appear to be wrapped around the body. The bodice curved across the front and then it dips down to scoop lower at the back. It nips in at the waist, but there is no seams set across the waist to break the line. That shape was all created by the vertical seaming. It curves over the hips and falls to the floor, falling longer on one side than the other. The edges are finished with a wide and elaborate panel of beadwork with prong set glass rhinestones in the mix. These have all been hand applied onto the velvet. The beads and rhinestones are all placed to emphasize that feel that the dress has been wrapped in place around you. The detailing goes across the top of the bust and then dips down to the back. It crosses over itself at the back and there are hidden snaps to help keep the illusion that is has been effortlessly wrapped around you. More embellishments follow the curve of the skirt. It begins at the longest point of the hem and then curves up and under one hip, wraps around that and meets the beadwork of the bodice. At the very bottom point of the hem the appliques actulaly wraps into the interior of the skirt so that when you sit or move, you don’t visually lose the line of the beading. I love that detail. Inside and out and this is an amazing example of Italian Couture from this time period. A stunning and special dress. Excellent condition with a small note below.

The dress is fully line in a black silk taffeta and it closes at the back with a zipper that is sent on an angle to follow the seam and then the beadwork panels wrap and snap into place over that with hidden set snaps. Inner waist stay hooks to close. Hand finish throughout with hand finished inner seams. All of the beadwork is hand applied. There are some areas where there are some missing beads and rhinestones here and there. But this is scattered overall, so there are not any glaringly bare areas.

Bust: 16-17" flat across from side seam to side seam
Waist: to 12.5" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 10" from top of bodice to inner waist stay
Skirt: 53" from inner waist stay to longest pint of the hem

Modern Sizing Equivalent: XS-SML

Item# DD4308

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 spectacular and rare suit from the Fall 2004 McQueen show and its near twin walked the runway that season for Look 31. I have only seen the jacket come up for sale but I have never seen both pieces together as the complete suit. The runway pieces were often not produced in significant numbers and were often only found at the flagship stores in very limited quantities. This masterpiece is from the Fall 2004 show entitled 'Pantheon Ad Lecum' or 'Towards the Light'. For this collection McQueen was quoted as saying that he wanted to 'strip away all theatrics and focus purely on design'. The colours in the show focused on a nude palette and tweed was a predominant element in the collection. He also kept the embellishments to the bare minimum throughout the collection and this is one of the few pieces that was highly embellished with his usual dramatic flair.

I love that this suit walks a line between day wear and evening. The tweed says day but as you look at the fabric closer you realize that it has been shot through with a subtle gold thread that elevates the fabric. The cut and line of the set reflect his master level tailoring skills and then the embellishment screams that this is indeed a McQueen piece of the highest caliber. Both pieces are made from a light brown tweed that has the gold shot through it as mentioned above. This gives it a very subtle metallic feel but its a detail that you only really notice when you are close to the suit. The pants are fantastic. They have a smooth flat front with a zipper closure and little scoop pockets on either hip at the waist. They are cut to skim over the hips and then the legs are wide and full. They are fabulously made and lined through the upper half. I love the matching jacket. It has lightly padded shoulders and the arms are long and cut with the precision that you expect from a McQueen piece. The waist is brought in just slightly and it is cut to sit just over the waist of the pants. Onto this is an elaborate embellishment that combines thick 3D braiding detail made from a deep muted gold real metal thread  hundreds of burnished gold metal studs in two sizes. These are set in an elaborate design that forms a shape to suggest his signature harness.  The applique work wraps over the shoulders,  narrows down and inward at the waist and then flares out to wrap around the hips. The same beautiful design is repeated on the back.The zipper is hidden at the front so when it is zipped you have this stunning almost breast plate feel. Every time I have a really good McQueen in the shop I am just blown away by his ability to create the lines he did and the level of craftsmanship that went into his pieces. This one is no exception and it is remarkable. I love it.  Excellent condition with a small note below

The pants are lined through to about the knee and close with a hidden set side zipper and a button at the waist. The jacket is fully lined in a muted gold silk and zippers to close at the front. Each sleeve has a hidden set zipper. Light padding in each shoulder. The jacket is tagged a McQueen 38. There is a tiny bit of stress at the seam at the top the shoulder to part of the embellishment. It's extremely minor but mentioned for accuracy. Please see the photo after the label shot.

Jacket
Sleeves: 24.5"
Slightly inset shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Bottom hem: 16" flat across from side seam to side seam
Length: 20" from neck to hem

Pant
Waist: 14.5-15" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 40.5" from waist to hem with 2" turned under
Inseam: 31.5"

Modern Sizing Equivalent: XS-MED

Item# DD4310

Reference Photos/Video: Fall 2004 Alexander McQueen Runway, Look 31. Model Hannelore Knuts.

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 was designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in his work with colour and cuts. This dress is extra special because we actually found documentation on it which gives us the exact date on it. It has one of the best prints I have seen and it just feels happy.

This Lanvin dress is gorgeous and is from the main label. I am in absolute love with it. The dress has a gorgeous bright colour and print combination. It uses two fabrics and both hold colour exceptionally well so the colors are still crisp bright and true. The top portion of the dress is a almost T-shirt feeling cotton and then the bottom skirt is smooth finish fabric that feels like a mix of silk and cotton. The sleeves go to just past the elbow and each is cut straight and wide. The neckline is scooped with a slightly wide cut. The top skims over you with a seam set under the bust. Then there is a wide band of fabric the circles around you for a bit of shape. Both of those parts are the same fabric and have an abstract circle print with red, blue, green and pink on a white backdrop. The waist is cut with a loose and easy cut. You can wear it like that or tie the matching fabric tie belt to cinch it in more. From there the skirt falls to the floor and it widens as it nears the hem. The fabric change on the skirt gives it a touch of weight so that it holds the shape well. It is set so that it ends in a pink print border down the center at the front with an open vent at the hem. The skirt has an abstract pattern with lots of flowers in it but the pattern uses the same colours at the top. So even though it's a mix of two crazy patterns it works exceptionally well. This full on pattern also makes the dress instantly recognizable as a piece of his work. It is fabulous. Excellent condition

The bodice is unlined with finished interior seams and the skirt is fully lined in a white silk. It closes with a back painted metal zipper. Hand finishes. Original tie belt. Set up to have been worn very little if at all.

Sleeves: 21"
Shoulder: 14" across
Bust: 17-20" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 11" from shoulder to seam under the bust, band is 5" high
Skirt: 40" from waist to hem with 5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4307

Reference Photo: Spring 1974 Lanvin Runway.

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

Philip Hulitar designed under his own namesake label from 1949 to his retirement in 1964 so his pieces fall in a very defined window for dating. He was known for his sophisticated dresses and evening gowns. Shortly after the launch of his label a journalist gushed that; 'The star of a gifted designer has risen recently on the fashion horizon'. Prior to launching his own label, Mr Hulitar was the in-house designer and head of the women's dress division for Bergdorf Goodmans for 18 years. His designs are stunning and this particular dress is one of the best I have ever seen.

This dress is absolutely incredible and so rare. The fabric alone is a work of art and it would not be something you could produce anymore in our modern world. The base is a luxurious ivory silk and then onto this is a fantastic floral design. The flowers are fused directly onto the silk and are very soft to the touch. They have a velvet chenille like finish which is what gives them that beautiful texture and softness. Parts of the design have flowers that have been hand cut and appliqued by hand onto the fabric. These are mainly around the neckline and parts are set so that they sit above the top edge of the bodice. To hold those perfectly in place they are fixed to fine wire and this holds them in place. Those flowers in their tomes of deep blood reds completely cover the dress. The cut is pure Hollywood. The bodice is fitted to your curves and it is suspended from the shoulders by two tiny straps in the same fabric. Seams at either side of the back give shape around the waist without having to have a waist seam to break the eye. The fabric is gathered and seamed into those back panels. It curves over the hips and falls to the floor in a column of silk. The seaming brings the silk in slightly as it nears the hem so you get a true hourglass feel once this is on the body. A long wide panel runs down the center of the back and extends out at the hem for a flared finish that is slightly longer than the front. It is just spectacular. The bodice is lightly boned and the zipper is hidden under a side seam at the back. I love the little bow detail that sits off to one side at the back. This is pure Old Hollywood in the best possible way. This 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 event. Excellent condition with a small note below

Fully lined cream silk. It closes with a back painted metal zipper hidden under a seam and there is an inner hooked waist stay. Light boning through the bodice. Hand work throughout. I see a tiny bit of colour run near the edge on the bodice and  another small areas near the hem. Some minor marks on the interior. Please the photos after the label shot

Bust: 16.5" flat across from side seam to side seam with room to at least a B cup at front
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4306

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. The dress is from his main label and these were extremely well made pieces. It is so dramatic and in being so also so very Scaasi.  He himself once said 'I am not a minimalist designer! Clothes with some adornment are more interesting to look at and more fun to wear.'

You can easily see the influence of Arnold having worked for Charles James in this piece. The lines are dramatic and yet elegant. The silk is that incredibly rich feeling silk that drapes and sits beautifully. The dress is strapless and is gathered from there to just past the hip. The gathers are all held in place along the side and this brings in the cut so that it follows and highlights your curves. The skirt is set under that and the seam is done on a slight angle to add visual length to the dress. On the opposite side that seam extends down and into a deep point to give the body length there as well. The skirt is quite full and the shape and volume that you see is held by the inner construction which is quite amazing. The innermost layer closest to you is a fine black silk that is finished at the hem with a broad inset band of stiffened netting so that the shape is kept. Over this lay four full layers of tulle netting and then the outermost layers sits over all of that and even that top layer is self-lined in a black silk organza. The final perfect touch is that extraordinary ruffle that is set along the side and runs down the front all the way to the bottom of the gathered bodice. The ruffle is black on one side and then the other is finished in a shocking pink silk. This unexpected shock of color is fantastic. I have placed it to one side as it was shown on the runway but the dress is so well made that you could wear it almost anyway around and just change where the zipper sits and the back or sides.Excellent condition.

Fully lined in a fine black tissue silk. The bodice is lightly boned on the ruffle side and it closes with a back metal zipper on the opposite side. The inner skirt construction is described above. Hand finished throughout.

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: approx 18" from top of bodice to dropped seam
Skirt: 39" from dropped seam to hem with 4" turned under the top layer

Modern Sizing Equivalent: SML-MED

Item# DD4305

Reference Photo: Fall 1982 Arnold Scaasi.

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

The twin of this dress in a red colour walked the runway for the Spring 1987 show and its red twin was also used in the ad campaign that year. I am very happy to have those shots for you because it really shows how great this is once on the body. It is a gorgeous and very pretty example of the work that Mr Valentino was doing during the 1980s. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop.

It is easy to see why this was chosen for the ad campaign that year. It is just so fabulous and so flattering. The dress is made from a bight pink silk chiffon that makes it as light as a feather. There is this fabulous black dot that covers the entire dress and adds to its charming feel. It is strapless and the upper bodice has a soft rounded shape to it. The silk is gathered over the bust in tiny intricate soft folds that run down to the waist and then continue past that to be more fitted and hug the top of the hips. Just under the bust there is a little ruffle of the chiffon with wired edges so that it curls and twists for a pretty added detailing. This same technique is at the bottom edge as well and I love this little added feminine touch. That stunning colour combined with the soft gathers creates the most gorgeous effect. The skirt falls from that bottom edge of that and it has a ton of volume to it that shows best when you move. It widens out quite a bit by the hem and it is made out of a three layers of silk. The lightness of these layers keeps it from looking bulky. The innermost layer is a silk organza in a pinky red tone. This is topped with a solid pink silk chiffon and the the top layer is the dotted silk chiffon. When this is on and you are walking the effect that this creates is absolutely gorgeous. It somehow manages to feel sexy, romantic and feminine all at once. It is a tremendously beautiful little dress. Excellent condition

There is a built in corset made of lingerie netting with seaming for added support and then the skirt is made of three layers of silk as described above. The inner corset hooks to close down one size with a tightly spaced series of lingerie hooks. There is light boning in the corset. The dress zips to close over that at the side. I see a tiny repair on the inside seam of the neckline and the fabric has soften a touch at the edge of the back. Tagged a vintage Valentino 12.

Bust: to 17-18" flat across from side seam to side seam, seam under the bodice is 15.5"
Waist: to 15" flat across from side seam to side seam
Seam at top of hips: to 20" flat across from side seam to side seam
Bodice: 5" from top of bodice to seam under the bodice, 20" from top of the bodice to the seam above the hips
Skirt: 17" from waist to hem at its longest points

Modern Sizing Equivalent: MED-LRG

Item# DD4302

Reference Photos: (1) Spring 1987 Valentino Runway. Models: Sonia Cole-Berry & Marpessa Hennink.  /  (2) Spring 1987 Valentino. Photo by Oliviero Toscani.

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

This fabulous dress is the twin of the dress that walked the Fall 1975 runway. It was featured in the ad campaign that year and in an editorial that season. I was so pleased to find so many shots of it on because it really shows you just how much it comes to life when worn. On the runway Yves put a gold belt on it and it was shown in the editorial without. My client told me that the belts were sold separately and it would be easy to recreate the belted look with any gold belt that suits you best. I love having such a well documented piece in the shop and it doesn't hurt that it is drop dead gorgeous.

This is a dress that is insanely sexy and bare feeling and yet that deep brown colour and minimal lines keep it feeling fresh. The dress is made out of a bias cut brown silk jersey that has amazing drape and feels easy-to-wear once on the body. The bodice has a halter style front that comes up at the center and then a gold coloured leather strap is set on a curve that goes up and over your shoulders and falls down the back to meet in the middle of the waits. The back is fully open otherwise and this bare expanse of skin is fabulous. The sides curve down on an angle to the waist. Despite its bareness it is cleverly cut so that when you have it on it stays perfectly in place. The waist has an attached wide band of the same fabric that wraps around you and hooks into place on one side. One side of the halter does the same and I have taken photos of how it closes as it is very clever. Under that the skirt flows to the floor in a sweep of silk jersey that has two tiers of it stacked on top of each other for added detail in the skirt. This gives the skirt beautiful movement when you move. It is stunning and a beautiful and very well documented piece of Yves early work. Excellent condition

The dress unlined and closes with a side zipper and then hooks for the side of the bodice and attached band at the waist. Tagged 38. There is a bit of patina on the gold painted leather. Hand finishes throughout and the fabric has some stretch

Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to top of band at waist and meant to blouse over a bit
Skirt: 40" from top of band at waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4298

Reference Photos: (1) 1975 Yves Saint Laurent photographed by Jean-Luce Hure.  /  (2) Fall 1975 Yves Saint Laurent Ad photographed by Alex Chatelain.  /  (3) Fall 1975 Yves Saint Laurent photographed by David Bailey.  /  (4) Fall 1975 Yves Saint Laurent photographed by Jacques Bugat.  /  (5-7) Fall 1975 Yves Saint Laurent Runway.

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

The twin of this dress walk the runway in 2003 as look 43 of the show. For this show Ford dipped into the archives and looked at Saint Laurent's early years. The show centered around three colours, a pale lavender, champagne and coffee. This was one of the closing looks at the show and I think it was best of the final four looks. It is a look that is extremely flattering to the ware with all of its gathers that fall softly over the body will hiding all flaws. Tom was only at YSL from 1999 while designing for Gucci at the same time, until 2004 when he left to open his own label. This makes this a dress from one of a small number of collections where he was at the helm of this label.

This dress was sold in two lengths, a shorter version and then this longer one true to the runway. The longer ones were a more limited production. The dress is stunning. And not only is it stunning but it's a very tactile feeling dress once on the body. It is made from that ultra soft thin slinky jersey that he favoured during this time period. This makes the dress feel almost weightless once on the body. The colour is that deep coffee colour that was one of the three talking points of the collection. It is set to drape and skim over the body in these fantastic panels from shoulder to hem. Anchoring these are panels of a black silk satin ribbon that run vertically down the lower part of the dress and are used to highlight and define the cut of the upper part. The dress falls from straps that curve over the shoulders and the inner bodice are two triangle that plunge low for a bare expanse of skin. The waist is anchored with more of the black ribbon. This is where the design gets interesting. He has put a second layer over the bodice that hooks into place at the side. The second layer is cut to be more blousy and adds to the draped feel the dress has. At the back the inner bodice cuts more straight across and then the overlay dips to the waist. Everything is cut on the bias so the dress has incredible drape in movement. When this is on and you move the whole dress reacts. It's really a fantastic piece. Excellent condition.

Unlined and closes with a side zipper. The overlay hooks to close at the side. There is no size tag on this one and the dress does have some stretch. I have put the comfortable range of measurements of it laying flat. On a smaller frame it will drape more

Waist: 14" flat across from side seam to side seam
Hips: up to 21" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 46" from waist to longest point of hem

Modern Sizing Equivalent: XS-MED

Item# DD4300

Reference Photos/Video: Spring 2003 Yves Saint Laurent Runway, Look 43. Model Caroline Ribeiro.

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

Richard Quinn launched his label in 2016 after graduating from Central Saint Martins. In 2018, Queen Elizabeth II made an appearance at his spring runway show and presented him with the inaugural Queen Elizabeth II Award for British Design which instantly thrust him into the spotlight. He is known for his bold use of colour and design and does his own print design work. To foster more emphasis on the importance of textile and design in fashion he has an open-door policy to his studio where they offer digital and screen-print services to young designers and run print and textile workshops. This dress is from the Fall 2020 collection and is the twin of Look 45. It is a wonderful example of his work.

This dress brings to mind that classic hostess dress silhouette of the sixties. It has that loose and easy to wear silhouette that falls from the shoulders and expands outwards as it nears the hem. He has exaggerated the fullness through the body and especially towards the hem so that it becomes this sweeping statement piece that has a touch a caftan feel to it. The sleeves are long and each sleeve ends with a circle of huge coloured crystals and rhinestone bands. This same jeweled treatment is done all the way around the neckline and I love this added bit of glitz. You can see on the runway shot and video how beautifully the dress falls and moves once on the body. The fabric is exceptional as one would expect from a textile designer. It has an explosion of huge tropical flower completely covering the dress. The top layer is a silk that has just enough weight to it to hold the shape of the dress beautifully when you move. It is lined in a black silk organza and the lining is set to give it a bit of air and volume between the inner and outer layer which helps hold the shape. It becomes a work of art to see that print across the silk. It is absolutely stunning and still in its original uncut supermodel length. It appears to have been worn very little if at all and still has its original envelope of extra crystals. Excellent condition

Fully lined in a black silk organza and closes with a hidden set back zipper. Each sleeve closes with a zipper. The bead work is hand applied. Tagged a modern Richard Quinn 8. If you are narrow through the upper shoulders it will work on larger frames too

Sleeves: 24" and 12" around the widest part of the upper arm
Slightly inset shoulders: 13"
Bust: 19.5" flat across from side seam to side seam
Waist-hips: open
Length: 63" from neck to front hem, 65" to the back

Modern Sizing Equivalent: SML-LRG

Item# DD4294

Reference Photo/Video: Fall 2020 Richard Quinn Runway, Look 45.

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

In 2010 the Loris Azzaro label was being designed by Vanessa Stewart and she sent a mix of daywear and evening wear down the runway. This was Look 29 of the show and it and the proceeding feather coat for look 28 where the two best looks in the show in my opinion. This is a fantastically fun dress to wear and extremely glamorous. 

The dress is made from a fine black wool crepe that has huge glass crystals and ostrich feathers applied to it and covering every square inch. It is cut to just above the knee depending on your height and it has a simple silhouette that is easy to wear. The upper bodice is completely encrusted with huge glass rhinestones. This adds weight to the dress because they are glass and so heavily applied. They are so tightly spaced that you cannot see the black fabric underneath. I love that both the front and the back are completely finished in the crystals. The way that these catch the light is remarkable. The skirt falls from there and widens out s it nears the hem for a bit of a baby doll feel. The whole lower portion of the dress is finished with horizontal rows of black ostrich feathers. These are stacked in rows that slightly overlap each other. The movement these create is incredible. The slightest bit of air causes the feathers to move around you. It is a fantastically fun dress and an easy way to add some glitz to your wardrobe. Excellent condition with a small note below.

The dress is lined in a black silk and closes with a hidden set side zipper. The crystals are hand applied. There is the occasional crystal and dangling bead missing. But nothing that leaves a outstandingly bare area. Please see the photo after the label shot for the one area that has a couple missing. This is near the edge under the arm and you don't see it when the dress is on. Tagged FR42, UK14, US12, JPN42

Bust: to 17" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 35" from top of shoulder to hem including feathers

Modern Sizing Equivalent: SML-MED

Item# DD4291

Reference Photos: Fall 2010 Azzaro Runway, Look 29. Model Sabrina Ben Amor.

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

For the Chanel Spring 1985 collection Karl sent several versions of this dress down the runway. The closest to this one was worn by Jerry Hall, but I have included here all of the ones we found so you can get a great idea of how the dress is on the body. I love that there is even a shot of Karl with Ines! With so many version of the dress sent down the runway there is no doubt that this look was key to the collection that season. It is a gorgeous dress and a rare and early example of his work.

The dress is made from of a fine silk chiffon that is a deep ivory. The ivory has a touch of nude colour to it but it's very soft. The silk of the bodice has been gathered over it into tiny pleats that are set horizontally over it. These are extremely intricate and give the entire bodice a beautiful texture. The top edge at the front is peaked on both sides with an exaggerated angle that dips down to the center. The dress zips to close at the front but this is hidden by a series of silk covered buttons and loops. The sides of the waist angle down slightly on each side and the skirt flows out from under there. Two layers of bias cut silk chiffon flow over an inner silk lining. The skirt has tremendous movement when you move and the lightness of the silk allows it to float around you with the slightest bit of air. At the back the bodice dips on a curve to leave the upper back bare. Attached on one side of the front are two silk chiffon straps that curve up to tie behind the neck. Also attached there are two panels of silk chiffon. These are both tremendously wide and they gather in to that center point. They can be styled in several ways. You can cross them over each other at the front and float them over your shoulders in the way that Jerry Hall wore it to create a cape like effect that covers the arms and runs down the back. You can wear them more off the shoulder and have them just fall down the center of the back or you could wear them as a shoulder piece and tie it at the back which is pictured on the runway but that I did not style on the dress form. You can also wear them crossed and over the head. So many options! It is a beautiful example of his early work and an absolutely beautiful dress. This 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. Excellent condition with a small note below

The dress is lined in a taupey nude silk and closes with a hidden zipper behind the silk covered buttons down the front of the dress. The inner corset is boned and the straps wrap around your neck and tie. It is tagged a vintage 44. I see a couple tiny pin size marks scattered across the upper back skirt. Please see the photo after the label shot. I see a tiny repair only the very edge of the hem and one on one of the panels along with a couple tiny darkened marks. These are extremely minor and mentioned for accuracy. Hand finishes throughout.

Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
seam 18" flat across from side seam to side seam
Hips: open
Bodice: 13" from top of bodice to waist
Skirt: 39" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4287

Reference Photos: (1-7) Spring 1985 Chanel Runway.  /  (8) Vanity Fair, March 1985. Photographed by Oliviero Toscani.

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 very pretty dress. It is from the Spring 2009 collection and was Look 19 in the show. In 2009 Valentino was headed by Alessandra Facchinetti and this was her third collection for the label. It was also her last. Rumors were swirling about her departure and shortly after this show they were confirmed. The collection as a whole was not well received but there were a few pretty pieces and this is one of them. On the runway it was shown in a shorter length and I don't think that one works half as well as this longer commercially produced piece. Once the added length was added the dress is even prettier.

The dress is made out of a very fine ivory silk that is printed with a black dot print. It is strapless and the bodice is covered with draped silk that is gathered in towards the center and wraps over itself at the center. At the back it narrows down into a twist for a little extra detail there. The dress falls to the floor from under the empire seam. The skirt is cut on the bias and it is set into that seam under the bust so that you get a draped and curved effect at the center of both the back and front. An inner built in corset holds it all in place. The dress is lined with a light silk chiffon and this little bit of added structure gives it just enough weight to hold the shape you see. It falls softly over the body and moves with you when you move. There is a slit that runs up one side so that you get a flash of leg when you walk. You can see how beautifully the dress moves in the runway video here and it is even better in this longer length. To finish the dress she added an elaborate braided cord detail that sits just under the bust. The cord is braided into a box shape and then knotted. Huge glass crystals in pale colours have been hand applied onto the knot for a bit of glitz. It is striking. Excellent condition with one minor note below

There is a built in lingerie stretch net, wire cupped and boned corset that zips to close with its own zipper. The dress is then lined in a silk chiffon and this outer layer zips to close at the side with a hidden set zipper. I see some tiny small lines in the silk here and there is one small mark on a fold at the front silk. Please see the photo after the label shot.

Inner bust: 16.5-17" flat across from side seam to side seam
Inner waist: 12-14" flat across from side seam to side seam
Hips: open
Length: 54" from top of bodice to waist
Slit: 26" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4288

Reference Photos/Video: Spring 2009 Valentino Runway, Look 19. Model Toni Garrn.

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

I have had the twin of this dress in blue in the shop before and a version of this dress was shown on the runway in a printed chiffon. These fabulous jersey ones are what were produced for the shops in addition to the printed chiffon ones. This collection was shown in Marrakech and Vogue's Sally Singer said the collection was "about luxury, globalism, and culture". The dress I have here is simpler then its runway counterpart but that just makes it that much more wearable to that many more events. I absolutely love this dress even more this second time around. It is gorgeous.

The dress is a made out of an inky black jersey that falls like a dream. It is heavy enough to feel like a high quality piece but still will move and flow as you walk and move. The front plunges into a low V just slightly crossing over itself where it meets the band of fabric at the waist. The tops of the triangle that cover the bust are twisted for detailing and then they fall into a deep V at the back. This leaves you bare on both the front and the back. There is a little jersey cord that runs across the back to hold the halter perfectly in place. The skirt falls to the floor at the front and there is a tremendous amount of fabric in the skirt. At the back the shoulders extend out to a caped panel of the same jersey. This also falls to the floor and is one long fabulous swath of jersey. At the sides the cape is curve back into itself and attached down the sides so that it is a part of the dress and not a separate piece. It catches the air and billows out around you as you walk. The effect this has once on and when you move is fantastic. It is fabulous on the body. It appears to have been worn very little if at all. Excellent condition

The jersey serves as the lining and it slips on to wear with an inner elastic at the waist. The elastic is what gives it its shape. If you needed more room or ease through the waist it would be very easy to extend it so that someone with a larger frame could wear it since the rest if the dress is really loose and easy. Tagged a FR38, UK10, IT42, US6

Bust: no true side seams but each triangle will cover 7-10" across
Waist: 14-16" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item#  DD4286

Reference Photo: Resort 2020 Christian Dior Runway, Look 87. Model Lineisy Montero.

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

This is one of my favorites dresses that Yves ever made. During the course of dating it we found multiple shots of its twin making its debut on the runway that season. These give you a great idea of it on the body and the movement it has in motion. The twin of the dress was also beautifully photoed by David Seidner that season. It is a beautiful example of Yves' work during this time period and just one of the prettiest dresses ever. I love it.

The silk used for this dress is feather light and it feels almost weightless on the body. The fabric is a beautiful silk organza that has a pretty abstract pattern screened over it in purple and green with pops of white. The custom designed print is used on both layers of the bodice. Layering it like that lets the two prints on each layer to be slightly offset as they float over each other to give the print an extra dimension of depth. It also lets the fabric be just opaque enough to wear. The dress is strapless and the bodice is gathered into soft gathers that are held in place down the seams on both sides. These run from the top of the bodice to just below the hip so your curves are highlighted. The seam that wraps around the hip is cut on a slight angle to add length. The skirt falls under that to the floor. The skirt is also made from a double layer of silk and you get that gorgeous depth to the pattern there as well. The two layers of the skirt float over each other and the lightness of the silk lets them move with your slightest movement. Attached all the way around that seam at the hip is a wide sash of fabric. It extends out into extra long ties at one side. This is how you create that fabulous big soft bow at the side. Love how this adds so much detail and volume. This is one of my favorite pieces ever. It is even better in person and on a body. Excellent condition

The second inner layer of the same fabric acts as the lining. It closes with a side set zipper. It appears to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 52" from top of bodice to longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD4281

Reference Photo: (1-3) S/S 1984 Yves Saint Laurent Runway Collection. Model: Anna Bayle.  /  (4) Yves Saint Laurent 1983, David Seidner Archives.

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

This wonderful dress is from the Fall 1977 collection and it is based on the work done for the Couture collection for Fall 1976 title 'Opera - Ballet Russes'. That collection marked a turning point for Yves as a couturier and designer. The twin of this dress walked the ready to wear runway that season. We found several runway shots and angles of it on the catwalk so you get an great idea of what it looks like on the body. This is a great and very easy to wear pieces from one of the most important time periods of the YSL history.

This dress is so easy to wear and very comfortable once it is on. These smock type dresses that he was doing during this time period were the ultimate in easy dressing. You just slip it on and you are ready to go. It can also be belted to add shape and bring the length up which gives the dress a lot of versatility and styling options. This was a signature style for him for this time period. This one is made out of a soft and light red wool. It feels wonderful on. The neckline and curved seam under the yoke at the top have been edged with red and black yarn braided cording. There is a row of buttons across the top of each shoulder and these are functional and this is how you get in or out of the dress. The sleeves are full and balloon out above their buttoned cuffs. The body of the dress is cut loose and easy with a low dropped seam to separate out the lower skirt. The lower part of the skirt has lots of fullness so that it has a little extra swing and movement. I love the yarn fringe that details each part of the dress. And it has pockets on each hip. This is a classic Yves Saint Laurent look and a great piece of fashion history. Excellent condition

Unlined and slips on to wear. Buttons at the neck with five button and loops. Pockets on each hip along the seams. Tagged a 38 but the cut is generous so should fit a range of sizes and will just be more over sized on a smaller frame. Meant to be oversized on the body. 

Sleeves: 25"
Shoulders: approx 14.5" bet there are no real defined seams
Bust: 16-22" flat across from side seam to side seam
Waist: to 23" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 50" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4279

Reference Photos: Fall 1977 Yves Saint Laurent Runway.

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

This dress is by Arnold Scassi and I love the vivid floral fabric choice that he used for this one. Scaasi worked under Charles James at the start of his career and many of his gowns reflect this early influence. His boutique line was launched in 1984 and was high end ready to wear and very expensive. Pieces from it often have a demi-couture level finish and really are an extension of his couture line. This one is especially fabulous because its twin resides in the Museum of Fine Arts Boston which is how we dated it.

I love the color of this dress and the choice of a silk twill as the fabric. This is a fabric that holds colour and print exceptionally well and this dress is no exception to that. The silk is completely covered with an explosion of colours and huge flowers that literally covers every square inch of the dress. The colours are fantastic.The bodice is cut to skim over the torso and the neckline is cut on a slight scoop at the front and the back. The sleeves are extremely full and they billow out to just above the elbow. Inside the have netting and the edge is scooped up and under to help create and hold the volume that you see. I love the bare expanse of skin across the top of the shoulders when you wear it off the shoulder. If you prefer you can also wear it on the shoulder. The waist nips in and the the skirt explodes out with fantastic volume. Like the sleeves, the skirt has built-in netting placed in between the exterior silk and the inner silk lining. This is what holds all the volume and flounce around hem. The skirt is cut longer at the back than the front. So from the front you get a flash of the leg and from the back you get a more full length evening gown feel. And because combination of silk and nothing is very late when you move the skirt has movement to it that adds incredible movement around you when you walk. It is just joyful and light feeling. Great overall condition with a note below.

Fully lined in a red silky rayon with built inner netting in the sleeves and skirt. It closed a hidden set zipper at the back. There is are two mark on one sleeve, one about a pencil eraser size and the other one just a bit bigger than a pinhead. There is also a light mark the front of the skirt to the side. Please see the two photos after the label shot.

Bust: 17.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of shoulder to center waist
Skirt: 30" from waist to front hem, 44" to the back hen

Modern Sizing Equivalent: SML-MED

Item# DD4274

Reference Photo: Spring 1987 Arnold Scaasi dress from the Museum of Fine Arts Boston Collection.

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

Reference Photos: (1-2) Cruise 1995 Chanel Runway.  /  (3-7) Kirsten Dunst in this dress at the premiere of "Killers of the Flower Moon", Cannes Film Festival, May 2023.

Yves showed the twin of this dress on the Spring 1993 runway AND during his Haute Couture presentation for the Fall 1992 collection. On both runways this dress was styled with a belt but otherwise looks identical to this version. Yves was a designer who mixed and matched ideas from couture to ready-to-wear with ease. More so than many other designers. Sometimes the details were exact copies like this one is, with the difference being that one would have been made to measure and completely by hand and this one produced with only some hand finishes and to his standard sizing. This dress has added interest to it because Catherine Deneuve actually owned one of the couture versions produced and it was part of her 2019 sale of YSL with Christie's auction house. This was already special due to its rarity and that little added linked provenance with its history makes it even more special. The dress is absolutely gorgeous and I'm happy to have photo references so that you can see just how beautiful this is on an actual body. Yves Saint Laurent was known for his leopard pieces and this one is exceptional.

In her review of the couture show that season, fashion journalist, Suzy Menkes, said; ‘Laurent took a three minute standing ovation Wednesday for a show that could be summed up in three words poetry, simplicity, authority.' It was also noted that by the time the final evening pieces came down the runway the crowd erupted into 'enthusiastic cries'. Even though this version is not from the couture runway I feel it is relevant to share that bit of her review because the dress is visually identical to the couture one as noted above.

The neckline is cut wide across and the distance from the edge of the neck line to the shoulder seam is just over an inch. Built-in underneath is a bit of a specialized padding that runs the width of that and then extends out just past the seam into the arms about a quarter of an inch. Then what gives you that high feel of the shoulder and holds the neckline in place so that it has that beautiful drop at the front. It is padding with the very minimal use of padding and it is genius. It is also important to note that this neckline and shoulder treatment are used in many of his pieces from this point forward and became a bit of a signature for him. From there the sleeves fall from the shoulder narrowing down to the cuff. From just above the elbow to the bottom of the sleeve he has gathered the fabric along the inside edge and then added a zipper at the wrist. The top is loose cut and is meant to billow out over the waist a bit. The silk panne velvet catches the light beautifully and emphasizes the curving lines the draping creates. At the back it falls in a smoother line to the waist and there is a keyhole and button above that for a tiny flash of bare skin. The waist is banded with a one inch band of the same fabric. On the couture runway he added a gold belt but the dress can easily be worn without one. From there the skirt falls to floor widening out a bit as it nears the hem. The fabric is a silk mix panne velvet and it has an exceptionally smooth pile finish that makes it soft to the touch. I love the way the leopard print falls over the dress with the darker part of the print running down the middle of the dress at both the front, back and running along the bottom of each sleeve. This would have been carefully and deliberately planned and placed in this fashion to help add height and draw the eye in when it is on. It is genius and it is beautiful. Poetry. Excellent condition

Fully lined in a brown silk and closes with a side set zipper that extends up and under the arm slightly. Each cuff has a zipper to close. There is a button and loop above a key hole at the back. Light padding on the very edges of the shoulder and little straps and snaps to hold your undergarments in place inside of each shoulder. It appears to have been worn very little if at all. Tagged a vintage YSL 40

Sleeves: 25"
Shoulders: no set seam because of the width of the neck
Bust: to 20" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of shoulder to top seam at waist and meant to blouse over a bit.
Skirt: 41" from top seam of 1" band at the waist to hem with 2" turned under

Modern Sizing Equivalent: SML-MED

Item# DD4268

Reference Photos/Video: (1-3) Spring 1993 Yves Saint Laurent Runway.  /  (4-10) Fall 1992 Yves Saint Laurent Haute Couture Runway.  /  (11)  Fall 1992 Yves Saint Laurent Haute Couture long leopard silk velvet dress with gilt-metal belt from Catherine Deneuve's Auction with Christie's.

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 stunning skirt was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. His use of print and colour is just outstanding. This skirt has a boutique label but also has the inner handwork, the seams especially, that denotes it to be made-to-measure special order piece that would be considered demi-couture.

This Lanvin skirt is utterly fantastic. I am in absolute love with it. The color, the crisp design, the workmanship - everything about it is perfection. The silk it is made out of is a fine silk twill which gives it the perfect touch of weight to hold the lines that you see. The pattern is screened onto that and combines florals and leaves running in horizontal rows across the skirt. The backdrop is a clear red and then greens, blues and soft pinks are layered over that to create the print that you see. A Crahay signature was to finish his hems with something that contrasted the prints that he used. Here we see that done a flat pleated deep green silk wide ribbon that is then finished with a black lace under that that picks up on parts of the design of a silk above. The bottom detail on his pieces were not only a beautiful visual addition to his work but also help to anchor and hold the fullness and shape that he desired. The skirt falls from the nipped in waist and gradually widens out to the hem. It is quite full. I did not photo it with any additional underskirts but if you wanted more fullness you could easily add one. Inside it has a full separate red underskirt detailed with black ribbon near its hem. The beauty of the color combination is equaled by the fine workmanship that has gone into constructing it. It is really a work of art and a very special piece. Excellent condition.

Fully lined in a red silk as noted above and closes with a painted metal zipper and a button at the waist. A combination of hand and machine finishes with all the internal vertical seams finished by hand. It appears to have been worn very little if at all.

Hips: open
Length: 37.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S990

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 very rare runway documented Givenchy Haute Couture suit is from the Fall 2000 collection and is the twin of the one that walked the runway. This is from the small period of time that Alexander McQueen was the Creative Director for the house. He succeeded John Galliano as head designer in 1996 at the age of 27. McQueen subsequently left the label in 2001 when his contract ended citing his creativity was constrained. His appointment there had been tumultuous from the start. Hubert de Givenchy had describe his appointment it as a "total disaster” and McQueen had shot back that the founder was “irrelevant”. Of course now in hindsight we see these collections for the genius that they were. They still had that rebellious spark running through them that McQueen is known for and these are now a cherished part of his history. They also showcased his ability to navigate the world of Haute Couture. He has said in interviews that he did walk away from the label with far greater knowledge about the techniques of couture and the process of couture, which of course benefited how own label greatly. 

On the runway this suit was shown with a silk top underneath with a flounced collar. This one came comes with its matching vest making it a proper three piece suit for a strong plays on menswear. There is much talk about the rebellion of McQueen and I feel like with the dramatic sculpted hairstyle that he styled the suit with and sending a model down the runway with a lit cigarette shows that spirit. When was known for his remarkable tailoring and this suit is no exception. It's made from a classic pinstriped men's wool suiting in a black. The pinstripes are created by running a gold toned thread vertically through the fabric. The fabric has a slight texture to it which adds to the beauty of the suit. The jacket is an incredible feat of construction. This is where McQueen's genius shines and having the couture atelier at his disposal just makes it stronger. Sleeves are cut long with four functional buttons at each cuff. The buttons are black enamel with gold edging. The shoulders are shaped with internal padding. The front lapel is done in a muted gold silk satin. It comes down the front in a tuxedo reminiscent shape and I love that the inner edge of the jacket is lined in that same gold silk. So if you open the jacket you get that flash of colour all the way to the bottom. The jacket is shaped with an incredibly masterful hand. The shape is a result of multiple tiny precise seams that run from just under the bust to the hem all the way around the jacket. They are done so precisely that at first glance you might mistake them for the pinstriping, but upon closer inspection you see that each is a tiny little perfect vertical seam. Each is tailored to perfection to bring the waist in and give the jacket shape. There is light inner padding and shaping underneath around the hip. A flap pocket sit on each hip and it closes with two matching gold and black buttons at the front. The vest underneath is made from the same gold as the lapel of the jacket and it is an almost straight replica of a classic men's vest. It buttons at the front with silk covered buttons in a matching gold. The pants are fabulous and are very unusual. They have a flat front with no band around the waist and are cut to sit slightly low on the hip. A classic McQueen signature. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg is split to the knee up the back and then that split is edged with panels of the same gold silk of the collar and vest. This gives a slight flare and is an incredible detail. The upper part of the jacket has a slightly oversized fit and you can see on the runway shots that this is intentional. This is a remarkable example of his skills as a tailor and his time at Givenchy. Excellent condition with one small note below

All three pieces are hand lined. The jacket and pants in a fine black silk and the vest in a matching gold coloured silk. The jacket and vest button at the front to close and the pants zip to close. All the work is entirely done by hand to haute couture standards. I see some small faint marks on the lapel and front of the vest. This may come out with additional cleaning. It has been cleaned but not aggressively. It otherwise looks to have been worn very little if at all. Please see the two photos after the label shot. The pockets in the jacket are still tax shot. It is remarkable. The proper Haute Couture labels and handwritten tape are present.

Jacket
Sleeves: 23.5"
Shoulders: 16"
Bust: to 22.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 26.5" from neck to head 

Pant
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" waist to hem
Inseam: 33.5" from inner seam to hem
Rise: 13.5" from back waist to inner seam

Vest
Bust: 19" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4261

Reference Photos/Video: Fall 2000 Givenchy Couture.

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