This is the final Haute Couture Chanel piece for now from the collection that I have been handling for a client and this last dress is gorgeous. It is another amazing example of Karl Lagerfeld's Haute Couture work for the house. The photos on the dress form are not doing it justice at all and we were very pleased to find the runway references for it so that you can see how it sits on the body. Like most Couture pieces it needs an actual body in it to truly come to life. You can see in the runway shots how beautifully the dress is on and the video gives you a better idea of how it moves. It feel infinitely Chanel in every way. Sarah Mower said on her review of this collection that ‘With his sharp knack for synthesizing the mood of the moment into the spirit of Chanel, Karl Lagerfeld came up with a couture statement that might neatly be labeled "mod medieval."… (it) showcased Lagerfeld's deft handling of new proportions. It started with a narrow, molded shoulder line falling to dresses with a slight flare in the hem’ a description which almost perfectly describes this exact dress. Karl himself said that "This Collection is a play with proportions. It's the movement that counts, a silhouette for the city in for modern life. A strong attitude, kind of visual aggressivity."

This is magnificent dress. It is one long sheath dress that falls to the floor in a smooth column. That minimalist black column of silk is offset by the shoulder area that is done in an ivory white silk. This was then completely covered by hand in a dense application of elongated white paillettes that are set onto the silk at only one of their ends. This allows them to move slightly as you move. There is a small neat collar that is also detailed with the paillettes. The shoulders are shaped so that they curve perfectly over the shoulder. It feels very restrained and refined. This cut through the dirt was presented throughout the entire collection and was one of the key components. The ivory silk runs across the top of your shoulders and then is separated from the rest of the dress by a silk satin band. A row of tightly spaced buttons start where the black silk begins and run down past the waist. The dress falls from the shoulders in a smooth line that skims over the bust, waist and hips, even billowing outwards a bit before narrowing down to the hem. The bottom of the skirt is unusual and has that Karl twist to it. The hem is finished with wide strip of the same black silk satin to pick up on the band used across the shoulders. Then at the back there is a second a row of tightly spaced silk covered buttons that run down to the hem. Under that is a panel of silk attached inside the dress that extends down and past the hem. This panel is cut on a curve. If you leave the buttons at the back buttoned it creates an almost hobble skirt effect with that panel peeking out from under and if you leave the buttons open at the back then that panel has tremendous movement as you walk. You can get a better idea of this on the video. On the runway it was styled with a large detachable bow and jeweled brooch and sleeveless gloves. This would be easy to re-create style wise if you love the full runway look. The dress has been entirely made by hand and is labelled with its proper Chanel Haute Couture label. This is a rare opportunity to own a piece of true couture by one of the most important designers of our lifetime. Excellent condition

The dress is hand lined in a black silk and closes with the buttons at the front. It is hand finished to couture standards. Its proper couture label is present. Sourced from the original couture client. It is meant be loose and easy through the body

Waist: to 19" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 55.5" from top of shoulder to hem and the back panel adds another 6"

Modern Sizing Equivalent: SML-MED

Item# DD4262

Reference Photos/Video: Fall 2006 Chanel Couture Runway, Look 51.

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 interesting dress for several reasons. 2013 marked Oscar's 50th year as a designer and then we lost him in 2014. That makes this one of his final collections. I think that this dress was also one of the stand out dresses of the collection. Nicole Phelps mentioned it specifically in her review that season saying: "The dress that made everyone sit up and take notice was a strapless evergreen silk faille gown. It was classic Oscar—as elegant and ladylike as they come. And with a generous peplum at the waist it was equally of the moment.” ...and this was despite the fact that it was not even the closing look at the show. Six more dresses walked the show after it which shows you how much of a stand out it really was to be the one highlighted in the review. It has more provenance beyond that. Allison Williams wore its twin to the Emmys that year and Pace Wu wore one to the Johnnie Walker House Beijing Opening. You can see from the various reference photos attached and video from the runway show how spectacular this dress is on the body and how it moves. It is stupendously beautiful and shows you just how fabulous Oscar de la Renta was at designing this type of dress.

The dress is made out of a deep green emerald silk and is cut with an almost sculptural line. The bodice is strapless and is shaped to curve over the body to create an hour glass shape.  There is added panels of fabric that are shaped and pleated over the bust to create an almost art deco fan feel. This curves around the bust and down to a center point at the front. The waist is nipped in through vertical seaming and shaping. Extending from the side vertical seams at the front is a panel of fabric that forms a peplum. This exaggerates and gives shape around the upper hip. The panel continues around to the back and dips lower slightly lower there. There is extra fabric there so you get this beautiful extension and fullness. Under that the dress skims over the hips and then flares out as it reaches the hem for one final beautiful curve. There is extra fabric set into the back of the skirt and this little flare picks up on that same effect done on the back of the peplum. The back skirt is cut a bit longer then the front skirt for a slight trained effect. No matter what angle you see this dress from there is an interesting angle, curve or flare to show all of your curves off beautifully. It is gorgeous. Excellent condition with a minor note below 

Fully lined in a green silk and closes with a back hidden set zipper. There is an attached inner corset that is lightly boned and cupped. This closes with its own zipper. The inner hem is finished with a wide panel of stiffened netting to help support the skirt and give shape. The owner took the label out but its inner hanging straps are finished with the ODLR name. There is minor bit of fading on the very edge under one arm and a bit of discolouration on a spot near the hem. Please see the photos after inner-strap shot. This was originally priced at well over $10,000

Bust: 16-16.5" flat across from side seam to side seam
Inner waist: 12-12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 55" from top of inner bodice to front hem, 60" to the back hem. The added panels at the front extend to about 2" above the inner bodice at their highest point

Modern Sizing Equivalent: XS-SML

Item# DD4259

Reference Photos/Video: (1-2) Resort 2013 Oscar de la Renta Runway, Look 51. Model Nastya Kusakina.  /  (3-5) Allison Williams at the 2012 Emmy Awards.  /  (6) Pace Wu at the Johnnie Walker House Beijing Opening, 2012.

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

The twin of this dress was Look 59 on the Spring 2016 runway worn by the beautiful Imaan Hammam. In 2016 Valentino was headed by both Maria Grazia Chiuri and Pierpaolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. The show was based on Africa as its inspiration and at this period of time the world was watching refugees attempting the journey to Italy. In the Vogue review for this collection Maria and Pierpaulo were quoted as saying; 'We probably feel that the greatest privilege in doing our work is that fashion can give a message,” said Chiuri. “We think every person coming here is an individual, and we can show that we can improve ourselves by understanding other cultures.'... 'The message,' added Piccioli, 'is tolerance. And the beauty that comes out of cross-cultural expression.' Many of the pieces fused Italian and African traditions, 'They met in the textiles'. This dress was one of the most stunning looks of the show and the textile that it is made out of was also one of the most beautiful. 

This is one of Valentino’s classic caftan dresses that Pierpaulo still does version of. The dress is made from a scarf weight silk it is light and easy to wear. The fabric is stunning. The colour is a deep olive and then that has been painted with muted copper / gold colour paint over the entire dress in an abstract leaf design. This is a nod to traditional African painted cloth and it is very beautiful. The paint actually sits on top of the silk and has a texture to it that you can feel. It is quite fantastic. There is a closed seam just inside the outer edges. This allows the fabric to have a ruffled effect down the sides but it still feels open and loose cut through the body. To add some shape through the front it has been gathered into soft pleats from the neck to the waist. The back is left loose and easy so that when it is on it will billow out behind you. I love how the gathers at the front create this pretty detailing around the neck. Inside the dress there is a built-in soft bralette that hooks into place and hold the dress perfectly on you. The proportion of it is done to allow the shoe and ankle to be seen, a theme that ran throughout the show. Of course, depending on how tall you are it may sit slightly higher or lower. We found both runway photos and video so you can see how spectacular the dress moves once on the body. It is beautiful. It appears to have been worn very little if at all. Excellent condition.

The dress slips over the head and closes with a button above a keyhole at the back. The inner bralette hooks to close inside. If you needed more room through the chest, you could easily expand on that inner piece, because the exterior caftan part is completely open through the body. Tagged a 44 and it appears to have been worn very little if at all. The easy cut should allow it to fit a range of sizes

23" flat across from that inset side seam to side seam and widens to 29"  at the hips
Inner bralette: is open on the sides
Inner waist: 15" flat across from inner side seam to side seam
Length: 53" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4258

Reference Photos/Video: Spring 2016 Valentino Runway, Look 59. Model: Imaan Hammam.

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 has the significance of being from Mr. Valentino' final show before he retired. Its twin in white walked the runway for Look 67 and we have added some runway shots so that you can see just how fabulously the dress moves when on the body. Vogue said this last collection was; 'Crisply puncturing the potential for a predictable end-of-era wallow in sentiment, Valentino played it as an upbeat, fast-paced whirl of breezy, pretty, drop-dead gorgeousness that blew any lingering sense of ladylike stuffiness to the winds. If there's a problem, it's only being spoiled for choice. What to pick from the head-spinning plethora of dresses on offer?' ... and indeed the collection was full of stunning choices. This particular dress also has the added provenance of being the one that Kathryn Gallagher wore for the Elton John Oscar party in 2022. She looked spectacular in it.

I love this dress. This is what the sexiness that Mr. Valentino built into his dresses is all about. He had this ability to do sexy dresses that still have a beautifully elegant feel. This dress was shown in white on the runway but I feel like it might be an even stronger in this black version. The black brings this sense of a femme fatale to it that works so very well. The dress is made from a silk cady that has a slight bit of stretch to it. This means that despite the bareness of the plunge and hourglass feel it has, it is still extremely comfortable to wear. the straps are wider and curve over the shoulder. The front plunges very low and here is one single little tie near the base that keeps it in place and keeps it from being completely scandalous. This also helps bring the shape in at the waist. It skims over the hips and falls to the floor gently widening out is it nears the hem. The back is spectacular. There is a wide cut open scoop that runs to the low back. Multiple little bows run across the opening to hold it in place and give you a slight bit of coverage over your bare back. The resulting peek-a-boo affect is fantastic. The back hem is cut to be a longer than the front so you get a bit of a trailing behind you feel once it is on. The dress is in its original supermodel length and it is gorgeous. Excellent condition

Fully lined in a black silk and closes with a hidden set side zipper. You can use the bows to adjust the fit by a but. The bows can be completely tied and untied. Tagged a vintage Valentino 10 and it still has its original price tag of $5307 which is about $7500 today.

Bust: each triangle covers 8" across and there are no true side seams
The seam under the bus is 16" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 11" from top of bodice to top of the seam under the bust
Skirt: 51.5" from top of the seam under the bust to front hem and 54" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4257

Reference Photos: (1-3) Kathryn Gallagher in this Valentino for the Elton John Oscar Party, March 2022.  /  (4-8) Spring 2008 Valentino Runway, Look 67.

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 Spring 1986 Yves Saint Laurent Rive Gauche runway. I was so pleased to find some shots of it on because it really shows you just how much it comes to life when worn. On the runway Yves put a short curved cropped bolero over it for part of the walk. An interesting thing to note about this dress is that it is a version of the 1973 plunge dress that I have shared on my Instagram in the past. This one has different detailing at the waist and a fuller skirt. I always find it interesting to see how Yves revisited ideas throughout his career. 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 the black colour and minimal lines keep it feeling fresh. The dress is made out of a black silk jersey that has amazing drape and feels easy-to-wear once on the body. The bodice has a halter style front that plunges right to the waist. The sides are also left open and bare to the waist and then there is a last final deep plunge at the back that leaves most of the back bare. Despite its bareness it is cleverly cut so that when you have it on it stays perfectly in place. The waist has a wide band of the same fabric that has been gathered in two horizontal stacked on top of each other. This  banded detailing sits just under the base of the plunge. Under that the skirt flows to the floor in a sweep of silk jersey. There is a tremendous amount of fabric in the skirt and this gives the skirt beautiful movement when you move. It is stunning and a dress you can wear in many different ways, on its own, with things layered over it, or under. Excellent condition with a minor note below

 The dress unlined through the bust and skirt and closes with a side zipper. The waist is back by a band of black lining for a little added structure. Tagged 38 with a hand written context tag. If you hold the fabric of the skirt up to light there are some small pinholes scattered throughout towards the hem. It held up beautifully to cleaning and they are stable. With the amount of fabric in a skirt you would never see them unless you specifically hold it up to the light. It otherwise looks to have been worn very little if at all.

Bust: each triangle covers up to 10" across with no true side seams
Underbust: 15" across at the top and under the bust from side seam to side seam
Waist: 14" flat across from side seam to side seam at the middle seam of the waist
Hips: open
Bodice: 12.5" from top of bodice to top seam of band
Banding: 4.5"
Skirt: 42" from the bottom seam of band to hem

Modern Sizing Equivalent: XS-SML

Item# DD4255

Reference Photos: Spring 1986 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 is one of Valentino's silk cady caftan dresses that he does so beautifully. Over the course of his time at Valentino he has done several variations of these dresses and each is beautiful. Queen Maxima of the Netherland owns what looks to be the near twin to this one and it is one that she truly loves because she has worn it on three separate occasions. The first in 2017, which is how I dated this one, again in 2018 and then most recently in 2022. I've included photos of all those three times so you can see how fabulous this dress is on the body. It's simplicity easily allows for the re-wearing of it. It has a minimalist feel but is still striking. The colour is infinitely flattering on almost every skin tone. It is a beautiful dress.

This dress is so very pretty and easy to wear. The colour is that classic Valentino red that is flattering on most skin tones. The neck is a simple and elegant scoop. The sides are open so you get that ruffled effect of the two sides coming together but there is also a seam that runs the full length of the body from just under the arm to the floor. This gives it a bit of shape around you without it being tight. You still get that caftan feel but unlike a traditional caftan it gives you shape and defines your curves. The back has a long inverted pleat that runs down the center and this gives you volume there. When you walk this creates a slight billowing effect that is fantastic. The dress is in its original supermodel length. and it still has its original tags attached. Excellent condition with a minor note below.

Unlined and closes with a hidden set back zipper. I see some very tiny minimal pulls in the fabric on the back of one shoulder. I don't know you would see this went on but I did photo it and mentioning for accuracy. Tagged a modern 40 and still has its original hang tag attached. The more open cut should allow it to fit a range of sizes. 

21" flat across from that inset side seam to side seam and widens to 25"  at the hips
Length: 64" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4253

Reference Photos: (1) Queen Maxima in Valentino, 2017.  /  (2-4) Queen Maxima in the same dress, May 24, 2018 in Luxembourg.  /  (5-6) Queen Maxima in the same dress, November 2022.

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

When asked for the inspiration behind the spring 2018 show Pierpaolo Piccioli said that 'it had been partly inspired by the perspective of the Apollo moon landing, in which the Earth was photographed from space and revealed in all its natural wonder. By the same token, by psychically hovering over the history of the house, Piccioli discovered something else to appreciate that he’d never gone to before. “I wanted to get back something of the glamour of the ’80s that Mr. Valentino did so well”'.  Layered necklines, like the one on this dress, were a theme that ran through the collection as were the tiny fused on rose detailing. This dress is the twin of the dress that walked the runway for Look 38 and it has the added provenance that Naomi Sablan chose to wear its twin, with a belt for shape, to the Vanity Fair party in 2022. It is gorgeous.

The dress has that easy to wear feel that so many of the best of Piccioli's work has. This one brings in a touch of sportswear with the way that the seaming is set at the top of the dress and the collar that sits above that angled seaming adds to that Tshirt / jersey feel. The collar is wide and is made from a top stitched band of deep burgundy silk velvet. This wraps around the neck and then a stripe of it runs down the top of each arm. Under that the dress is pure femininity. The dress is made of two layers attached at the neckline. There is an inner silk chiffon layer done in that classic Valentino red. This inner layer is shaped like a tee with generous wide cut shorter sleeves that drape over the arms once on the body. This sits inside a more opaque outer silk layer. Both layers are cut completely on the bias. The outer layer angles down from the neckline and widens out to the hem in a way that skims and drapes beautifully over the body. Onto that top layer are hundreds of tiny little velvet roses that are fused directly onto the silk. They are such a pretty and romantic touch. At the back the top layer scoops to the low back. The inner layer covers the back above that scoop with a single transparent layer of red. It's very subtely sexy in a very Valentino kind of way. The top layer is also cut on the bias. This allows it to drape and form over the body in a way that highlights you underneath but is not tight. You can see in the photos of Naomi that belts in it completely changes the shape. The dress has never been worn and is in its original supermodel length. It is a stunning dress that makes a strong statement. The fact that it is so well documented through the runway photos and having made an appearance on the Vanity Fair red carpet just adds to its appeal. Excellent condition

The inner red silk chiffon layer acts as the lining. Is it slips over the head to wear with a button closure at the back of the neck. It appears to have been worn very little if at all. The main label was removed by my client since it showed through but it has its inner label as photoed. Tagged a size 12. the easy cut and bias cut silks will allow it to fit a range of sizes. On a smaller frame it would drape more.

Shoulders: do defined seam
Bust: open
Waist: 15-24" flat across from side seam to side seam
Hips: open
Length: 63" from neck to hem

Modern Sizing Equivalent: SML-XL

Item# DD4255

Reference Photos/Video: (1-3) Spring 2018 Valentino Runway, Look 38.  /  (4-5) Naomi Sablan (with husband Adam Scott), Vanity Fair Party, 2022.

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

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

This piece is unlabeled and comes to me directly from the family that the other recent Gres pieces have come from. Their family records indicate that this is also her work. Her son told me that 'Madame Grès would let her wear many dresses as she was size model and those she really liked she purchased afterwards.' This was one of those that she kept. Knowing when she had this relationship with Madame Gres dates this to sometime from about 1960 to the mid 60s.

The skirt is spectacular. It very light in weight. The top layer is made out of a printed silk chiffon that has a touch of transparency to it. This is layered over a beautiful silver coloured silk lining. This gives the print a beautiful depth. The abstract print is a deep blue that is softened by the transparency of the silk. The waist is banded and has loops for the original deep blue silk covered belt to slip through. I love the little flat bow at the front. It skims over the hips and then begins to flare out as it reaches the bottom. The entire lower skirt is finished with an elaborate ruffle. The ruffle is scooped higher at the front so when you walk you get a kick of silk around you. It curves down from there to the back where it is set longer for a slightly trailing effect behind you. The ruffle is made from five layers of the silk stacked on top of each other with the layers set at slightly different lengths to give it more volume. Incredibly, each layer of the ruffles is completely hand finished along their edges. The amount of hours to have done this many yards of silk like that is mind boggling. There is not a single zipper to be found on the skirt. It closes with hidden set hook & eye and snaps. It is entirely made by hand to Haute Couture standards. It is a remarkable and rare piece of fashion history. Excellent condition with a minor note below

Fully lined in silver silk and it closes at the side with a series of metal hook and eye. There is elastic around the inner waist held in place by individual cording. It is entirely made by hand to Haute Couture standards. Its original belt is included. The belt shows some stiffening of its backing and cracking but presents well from the front. There is the teeniest bit of stress to the fabric near the snaps. I see one spot on the back hem otherwise it looks like it's been worn very little if at all. Please see the final photo here.

Waist: 16" flat across from side seam to side seam
Inner hips: 18" flat across from side seam to side seam
Length: approx 36" to the end of the ruffles at the front hem and 56" to the back hem

Modern Sizing Equivalent: SML-MED

Item# S987

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

This collection marked the first prêt-à-porter collection after John Galliano's departure. After being heavily criticized for the couture collection that proceeded this, Bill Gaytten "headed back to ground zero, the archives where the Dior legacy rests untroubled by the wayward to-and-fro-ing of topical vagaries" according to Vogue magazine. A longer version of this dress walk the runway for look 45 of the show. It was meant to have the feel of the famous Grace Kelly dress but with a wrapped more intricate bodice to give it a modern touch. I think it was perhaps the best piece of the show and it's an interesting piece of Dior history as well. It is very beautiful

The version that walked the show was to the ground. Distressed depending on your height will fall between mid calf and ankle. It makes the dress that much more wearable and versatile. The dress is made out of a fine ivory coloured silk chiffon that has a touch of beige to it. The bodice is stunning. The silk chiffon already has a texture that runs through it and then the bodice plays on this by wrapping and twisting the silk to give it even more texture. It dips into a V at the front with an added panel that comes up and over the shoulder to close the low plunge. On the opposite shoulder there's a cut out that extends into a separate panel all the way down the back. The back is left open for an expensive skin to show and those little glimpses of skin between the cut outs and panels is exquisite. It has a touch of sexiness to it but in a very refined elegant way. The waist wraps for shape and is detailed by a black 'ribbon' that is completely covered with a black glass tube beads. This adds a stark contrast to the dress and brings in the waist as well as being very pretty. The skirt falls from under that and is extremely full. There is a tremendous amount of fabric in the skirt. When you stand still you get an idea that it flares out but if you twirl it would give you the feel of a full circle skirt. The lightness of the fabric allows it to move with your slightest movement. You can see that in the runway video and the movement this dress has. I love it. 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 one minor note below.

Fully lined in a ivory silk chiffon and closes at the side with a series of chiffon covered buttons and loops. It appears to have been worn very little if at all. I see one tiny pull in the fabric on the back shoulder. Please see the photo after the label shot. Tagged a FR36 GB8 IT40 US4

Bust: approx 16" flat across from side seam to side seam with one side having so true side seam
Waist: 12-12.5" flat across from side seam to side seam
Inner hips: to 20.5" flat across from side seam to side seam
Bodice: 12" from top of shoulder to top of waist band, waist band approx 6"
Skirt: approx 36" from bottom of waist band to hem
Total length: 54" from top of shoulder to hem

Modern Sizing Equivalent:  XS-SML

Item# DD4252

Reference Photo/Video: Spring 2012 Christian Dior 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.

Reference Photos: (1) Fall 2006 Christian Dior Runway Look 47. Model Solange Wilvert.  /  (2-4) Katy Perry in this dress at the Tiffany Reopening, April 2023.

This is a very pretty and easy to wear Christian Dior dress from the Marc Bohan years. It is a wonderful example of the work being done for day wear during this time period.  It is also address that is fabulously documented. It was photo 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.

The dress is made from a black cotton that has a horizontal stripe running through it in various bright primary 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's 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. 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's 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. I see a tiny bit of fading to the fabric near one arm. It's very light but mentioning for accuracy. Please see the photo after the label shot. The easy cut and adjustable fit should allow it to fit on a range of sizes

Elastic at top of bust: 14-20" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam and can be cinched in by several inches
Hips: 21-24" flat across from side seam to side seam
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4248

Reference Photos: (1) Model in Dior, L'Officiel US, 1977.  /  (2-7) Christian Dior Spring 1977 Ready to Wear Advance.  /  (8) 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.

This collection marked Stefano's first solo runway moment with YSL. He chose to go the opposite of what had become the YSL aesthetic under Tom Ford. The collection was late and easy to wear. Vogue quoted him as saying 'It's something between the fifties and the eighties—which is my time—but to do it now, with volumes in a different way'. Vogue also noted that 'the 38-year-old who assisted Ford at YSL for four years and formerly designed at Prada. He managed to combine an imaginative respect for the house's history, while creating something new (for a generation not necessarily interested in labored references) without slavish replication.... For night, he dipped into ruffles and flounces, in intense fuchsia, purple, and egg-yolk yellow taffeta, or light waterfall frills of black-and-white chiffon—all with a flavor of flamenco about them. This was one of the final looks in the show and is the twin of the intense fuchsia dress that walked the runway for Look 36 that was referenced above. It is a very very pretty dress.

If you are looking for a dress, that will add a pretty pop colour to your wardrobe this is it. I love that we have video reference of the stress on the runway so you can see how fabulously it moves. It’s made from a silk organza which makes it as light as air. The neckline is cut wide so you see the collar bones and it has pretty ruffled capped sleeves. The bodice has an interesting play on an apron feel with an inner dress and then a second layer of fabric the fabric laid over that. The top layer is scooped under the breasts and the come up the center to meet the neckline. The waist is cut with just a touch of shape. The dress comes with its original tie belt that you can use to cinch in the waist for more shape. It skims over the hips and then ends in a pretty and elaborate ruffled hem. At the back the V leaves most of the upper back bare. The ruffles follow the edges down to the base of the V. They continue down the center of the dress from there and meet the ruffles that curve up from the hem. The inner dress is also finished with ruffles and this stacked double layer of ruffles gives the hem extra volume and movement. So when you walk you get a fantastic explosion of ruffles. It is so pretty. Excellent condition with a minor note below

The inner dress acts as the lining. The dress closes with a zipper on the inner dress and then has a second hidden set zipper set inside the ruffles of the back of the outer dress. There is perhaps a tiny touch of fading here and there along some of the edges. Original tie belt. This is natural with this type of fabric. Tagged a FR40

Waist: 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 37.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4246

Reference Photos/Video: Spring 2005 Yves Saint Laurent Runway, Look 36. Model Daria Werbowy.

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. What makes this dress unusual is that it features one of Celia's prints but the print has been embroidered onto the dress rather than screened like they normally are. There is a even more elaborate version of the dress in the Ossie Clark book that I have shared here for dating reference. I have seen long versions with the embroidery on them come up for sale but those only have a small amount of detail on the bodice usually. This is the only one I've seen with this amount of extensive embroidery on it. It is utterly fantastic.

Ossie somehow manages to take a rather conservative feeling piece of clothing and work in the flow and drape that he was known for. His pieces always have a touch of sexuality to them that became one of his trademarks. Even with a dress like this where you are fully covered something magical happens once this lands on an actual body. The dress made out of a classic black moss crepe. The neckline is in a shallow V and there are button and loops that run across the top of each shoulder for added detailing. It is cut to skim over the bust to the waist. We see the influence of the 1930s in this dress with the curved vertical seams that run down the center of the bust and the gathered angled seam around the waist. The waist has attached ties on both sides. These wrap around and tie to cinch in the waist and add more shape. The skirt flows and flares out from there. It skims over the hips and then begins to flare out. There is a lot of movement in the lower skirt created by an added panel at the bottom of the skirt. I love the curved seam that attaches this lower panel to the dress. This gives it tons of movement when you move. The sleeves are have a touch of a cap at their tops and narrow down to a button at the wrist. That spectacular moon and stars print by Celia Birtwell covers the entire dress. To emphasize the shape and different parts of the dress the embroidery has been applied in different weights. Denser in some and more scattered inothers. This label is from the couture Ossie Clark line and it specifically what's the print is by Celia Birtwell. The midi length makes it extra versatile and it is a dress that will easily go from day to night. This is an exceptionally rare example of the pairs work. Excellent condition

Unlined and closes with a back set zipper. Attached ties at the waist. Each cuff has one fabric covered buttons at the wrist. Tagged an vintage UK 10.

Sleeves: 24"
Shoulders: no true define seam
Bust: 16" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 17.5" flat across from side seam to side seam
Length: 44" from top of shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4244

Reference Photo: "The sun and moon dress that Ossie made for Nicky Samuel, satin-backed silk crepe with embroidery applique, c.1971" from the book Ossie Clark 1965|74 by Judith Watt.

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

The twin of this dress was Look 11 shown on the runway for the Fall 2019 Prada collection. The cotton mix fabric allows it to hold a fuller shape and that is how I shot it rather then the sleeker look it was worn with on the runway. The review for the Prada show was glowing. It stated in part that 'we had a Prada collection that continued to posit romance in all its aesthetic gestures (lace, flowers, hearts, fairy-tale capes, and glittery red shoes) as a way to both soften and deepen the tropes of utilitarianism...And Prada-philes will love this collection because it was, at its core, very, very Prada...Not because the dresses nodded to a demented Kim Novak or an inscrutable Eva Marie Saint...It was very Prada because it spoke so clearly to the twin impulses that both define and daunt the Prada woman: I know what really matters and I also really love fashion. Such a beautiful, bad romance."
I love that to describe the product aesthetic. It holds so very true. This was one of the prettiest dresses from the entire collection.

The dress is made out of a fabric that feels like a cotton mix and has a crispness to it that I love. This gives it a slight a bit of stiffness to it and it is this slight structure that allows it to hold the shape and fullness that Miuccia was after in these looks. The sleeves are set to come out from the waist and then narrow down as they reach their ends. The shoulders are rounded as a result and there is no line to break the arm from the bodice. This gives the dress a very 1950s feel. The neckline is a shallow scoop and the dress skims over the bodice.  The waist is nipped in. I love the fullness of the skirt. The fabric lets it have that lovely fullness and you could exaggerate it even more if you added a crinoline underneath. At the waist is that elaborate 3-D cascade of white flowers and trailing leaves. This is attached to one side of the waist and falls down over the skirt. It creates a beautiful flower on flower look since the fabric itself has a huge oversized washed floral pattern covering the entire surface of the dress. It is gorgeous. And it has pockets. It looks to have been worn very little if at all. Excellent condition 

Unlined with ribbon finished edges and closes with a back set zipper. No size tag present. Pockets along the hip and the flower detail at the front is attached. It appears to have been worn very little if at all. 

Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam where the arms come out from just above the waist
Waist: 12-12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 30.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4242

Reference Photo/Video: Fall 2019 Prada Runway, Look 11.

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 went from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing bias cut dresses in the house's history. 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 Boutique line and it is gorgeous

This is actually a three piece set which makes it very versatile. It has a huge impact when you wear all three pieces together but you can also mix and match them so that you can spread a little Dior over your existing wardrobe. The strapless top is actually a corset that is lightly boned inside and finished with lingerie netting on the interior. The exterior of it is covered in a light fine silk jersey in a bubble gum pink. It zips to close with a sweetheart neckline at the front and is gathered in between the breasts. This tops a long skirt that flows to the floor in dramatic layers. The inside layer is a solid deep dusty pink and then over that is the beautifully printed silk chiffon. The silk is all beautifully cut on the bias. It skims over the hip and separates into panels of silk cut different lengths and on different angles. The lightness of the fabric and this car wash feeling hem give the skirt incredible movement when you move. The set also comes with its original matching shawl that is made from a single layer of the silk chiffon and is very wide. At each end of the scarf it is finished with very long hand tied pink fringing. This can be wrapped around the hips, worn over your shoulders, around the neck or worn as a headpiece. It is absolutely beautiful. Excellent condition

The top is fully lined in pink cotton netting and is fully boned with interior built in cups. It closes with a zipper at the side The skirt closes with a row of tightly spaced fabric covered buttons at the side and is lined in a pink silk that follows the shape of the pieces of the skirt bottom. The corset is tagged a US6, FR40, GB12

Top
Bust: to 17" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Bottom edge: to 18" flat across from side seam to side seam
Length: 12.5" from top of bodice to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 44" from waist to longest point of hem

Scarf
Width: 106"
Height: 26"

Modern Sizing Equivalent: XS-MED

Item# DD4238

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 praised the intricate and meticulous details put into the pieces of this collection. The collection was inspired by a mix of Marie Antoinette, Tim Burton films, Sleepy Hollow in particular, and he even had Burton design the lighting for the show. There was a bit of schoolgirl fetish in the mix and the Supercalifragilistic-Expialidocious title of the show was of course taken from Mary Poppins. I have included a snapshot from one of the Mcqueen books that talks more of the various inspirations that were behind this spectacular collection. On the clothes themselves Vogue noted the 'Milkmaid necklines—far from innocent-were pushed up by leather bodices that curved down into the tightest pencil skirts, and finished off with thigh-high leather boots. McQueen moved from that Helmut Newton-esque fantasy to another—bad schoolgirls, who mixed lingerie and silver lamé ties and skirts in with their proper blazers and duffels. For a splendid finale, he brought out romantic flouncy skirts....' Lee did multiple variations of this look throughout the collection and this neckline in particular was a prominent detail. This dress was a piece made for production for the shops and seems to be a combination of the final look of the show and an earlier ivory version of the dress. I have included both those reference looks here. It is extremely beautiful in person.

'I wanted it to be romantic, beautiful,' McQueen said of this collection and the pieces, the dresses especially, were just that. The dress has a beautifully romantic and slightly subversive scooped neckline. There is an inset of black silk chiffon that is gathered into a raw edged ruffle all the way around the neck line. It dips low in the front and also at the back. A silk satin band acts like a halter corset and is set under the breasts for support. Little capped silk chiffon sleeves are set on each side and their edges have also been left raw and unfinished. Under the bust there are panels of the same silk as the halter detail that wrap around from the back zipper. These curve down and past the waist at the front to add shape through the waist. The dress is made from long vertical seams that run from under the breast to the hem. The dress skims over the hips and then flares out dramatically at the hem. Long triangle shaped panels have been set all around the skirt between the vertical panels to create that wonderful flared fullness. Under that is a second inner layer that's also completely vertically seamed. The inner layer is made from a soft black silk but when it reaches the hem it also has insets of the black lace. These act as support to the top layer and help keep the shape and fullness of the skirt. Under all of that is another layer of silk chiffon with a raw edge hem. The lace has been treated so that it is slightly stiffened and this helps to retain the volume of the dress. Inside the bodice there is a banded corset shaped almost like a bandeau for support and some extra shape. At the back zipper on either side are more of the laced panels to give the illusion that you are completely laced and corseted into the dress. The dress is spectacular and it is immaculate. This is a wonderful example of his work during this time. period. And it's even better on the body. It appears to have been worn very little if at all. Excellent condition

Fully lined in layers of silk as described above. The inner corset closes with lingerie hook and eye and then dress zips to close over that. Tagged a McQueen 42. The dress appears to have been worn very little if at all. I have included the measurements for the outer dress as well as the inner corset. You could extend/add to the inner corset to get more room if needed

Inner corset: 16.5" flat across from side seam to side seam, outer bust to 18" flat across from side seam to side seam
Inner waist: 14" flat across from side seam to side seam, outer bust to 18" flat across from side seam to side seam 
Hips: to 18.5" flat across from side seam to side seam
Bodice: 15" from top of shoulder to inner waist
Total length: 40" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4234

Reference Photos/Video: (1-6) Fall 2002 Alexander McQueen Runway.  /  (7) From the book "Alexander McQueen" Edited by Claire Wilcox.  /  (8) Alexander McQueen dress on display at the "Lee Alexander McQueen & Ann Ray: Rendez-vouz" exhibit at the Crocker Museum in Sacramento, 2023. (photo courtesy @pmb1976)

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 dress that was just worn by AnnaSophia Robb and this amazing dress is from the Spring 2001 Dior Boutique Collection and is a fantastic example of the work John Galliano was doing during this time period. There were two versions of this dress made. One that had a simple straight hem and the other that had the buckled garter strap that this one has. I personally prefer the one with the strap. It just elevates the entire dress to a different level and it has a bit of a subversive sexiness that you see in Galliano's work. I have included some shots from the 2001 show that show the use of the buckle in several pieces. This dress was a production piece and not shown in the show but I think it should have been. It is a fantastic dress and I'm very pleased to have it in the shop.

The dress is strapless and cut to follow and skim over the body. Shaped cups sit low on each breast and have underwire built in underneath them for a lift. It skims from there over the waist and hips. The shape is created by long panels that are sewn vertically together. Where the panels attach they are top stitched with a zigzag stitch for added detailing. Down the front two seams there are silver metal loops and pins. These are meant to be detailing but you could actually use them to lace the dress in at the waist if you wished by adding some cording or laces. The top of the dress is trimmed with a strip of blue stamped leather to appear like a snake skin. On one side just above the cup it buckles into place. A layer of deep blue tulle peaks out from above the edge. There is a second buckled leather piece that sits at the base of a high slit down one side of the leg. This is meant to strap around your upper thigh like an exposed garter beneath the slit above. This is what gives this particular dress is extreme sexiness. It is a fantastic dress and is fantastic on. Excellent condition with one small note below.

There is an inner cupped and shaped bodice made of lingerie netting that is lightly boned. There is rubber around the inner edges at the top and bottom of the corset to help hold it into place. The rest of the dress is lined in a blue silk. The corset closes with its own zipper inside and then the dress closes over that with hidden side side zipper. The garter buckles around the leg. Each side of the garter extends out from each side of the hem so you don't have to worry about the size of it around your leg as it is not a closed circle. I see a little bit of scuffing to the fabric in areas. Please see the two photos after the label shot.

Bust: to 16" flat across from side seam to side seam with an A-B cup
Inner waist: 14-15.5" 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 inner waist
Length: 35.5" from top of bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD4235

Reference Photos: (1-2) Spring 2001 Christian Dior Runway, Looks 28 & 29.  /  (3-5) AnnaSophia Robb, in this dress, for the Women in Film Event, 2023.

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and the range he had was incredible. This set is also a little extra special because its twin in ivory was part of the 'Great Names in Fashion' exhibit at the Fashion Museum Bath

The body of the dress is made of a deep brown fluid jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the densely beaded panel that sits across the upper bust. A second matching panel is also set at the back. Both panels have been completely hand covered with a design that is made out of hundreds of soft pink, cream and silver glass tube beads. Along the one side of the front panel there is a row of metal buttons with a little flower design on them that runs from the top of the shoulder to just past the waist. The buttons are functional and hold a decorative overlay in place that tops the inner dress. This overlay loops under the opposite arm and wraps around you to the back where it attaches to the panel there. The overly adds this incredible draped Grecian feel to the dress and it also gives it added movement when you move. The dress underneath is a long sheath that falls from the shoulders and widens out slightly as it nears the hem. The sleeves are long and each one ends with more of the gold metal buttons. The entire dress is detailed with these strips of tiny little raised beads on a gold strip. These follow all of the edges of the dress and he even use them for all of the long interior seams of the inner dress even though you don't easily see them. I just love that he did that and it just shows you the attention that was paid to dresses during this time period as opposed to modern pieces where they probably wouldn't have bothered to put extra detailing where no one would ever see it. The strips add a touch of weight and help the dress to fall perfectly around you and they also catch the light for added glamour. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work and its never a bad thing when it is a proven museum worthy piece. Excellent condition.

The dress is unlined and slips over the head top wear. The attached panel buttons into place over the interior dress. Each cuff has loop and buttons to close. It appears have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. I have given the comfortable range of measurements while laying flat. On a smaller frame it will just drape more

Sleeves: 24"
Slightly dropped shoulders: 15.5"
Bust: 16-19.5" flat across from side seam to side seam
Waist: 16-20" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4232

Reference Photos: Bill Gibb Dress on display at the "Great Names of Fashion Display" Exhibit at Fashion Museum Bath.

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 this dress in the shop before and it is always thrilling to find another. Every single time I find one I think that it is one of the most gorgeous dresses from Oscar de la Renta that I have had in the shop. It is just a beauty and it just gets better and better as each year passes.

This dress is a little work of art. It is very beautiful and it is even better once on. It is also very representative of his work during this time period. The fabric is exceptional. It is a rich silk metallic brocade that has a stunning that runs over it from shoulder to hem. The fabric is lighter in weight then you would think at first glance. It is heavy enough to hold and retain the shape that he desired it to have but is still light enough so that it feels easy and comfortable to wear. It has a very regal and refined feel to it and it perfectly sums up Oscar's love of opulence mixed with elegance and restraint. The cut is kept simple to allow that stunning fabric to take center stage. The skirt falls from the waist and widens out as it nears the hem. It comes with its original belt that you can use to nip in the waist for more shape. The neckline has elastic running through it so you can wear the sleeves off shoulder. Each cuff is finished with mink cuff. If you are not comfortable wearing fur it would be a simple task to un-tack them from the sleeves and wear it without the cuffs. The sleeves are properly finished underneath the cuffs and removing them would be done regularly anyway whenever it was cleaned over the years. I included two shots of me wearing the dress from the last time I had it and I wore it without the cuffs from the cleaners before re-tacking them into place when I sold that last one. The fabric is amazing - gold threads mix with chocolates and a deep red coral create a stunning design. It has a subtle 3D effect and the raised parts of the add another dimension to the design. It's an amazing dress and a forever favorite.  Excellent condition

Fully lined in a light taupe silk organza and closes at with a back painted metal zipper. has its original slip buckle belt. Very slight normal wear to the fur on the edges of the cuff. It appears to have been worn very little otherwise.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam and can be cinched in with the belt
Hips: to 18" flat across from side seam to side seam
Bodice: 13" from shoulder to waist
Skirt: 41" from waist to hem, with 2.5" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4231

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

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

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

This is an incredible dress. I have had both this and its twin that was just worn by Elle Fanning to the Critics Choice after party for some time and I love them. The dress is identical in every way to the ivory except that this on is black with an ivory detailing and the one Elle wore was its mirrored opposite. This was a dress produced for the shops and to my knowledge was only made in these two colors, the ivory and black. This black one is a bit of a time capsule as it still has its original hang tags in place and was never worn. It is an incredible dress and being able to see just how beautifully it works on an actual body is just wonderful. I am obsessed with it.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. McQueen was a master tailor and the seam work and simplicity of this dress do not hide that fact. It is made from a beautifully weighted black silk satin that has that same liquid feel that the best of the 1930s pieces did that were made from this similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. I love that the fabric is heavy enough and that the dress is lined so that it will not highlight 'flaws' underneath like some bias cut pieces can. It is cut to flow over the body and skim its way over bust waist and hips to the floor. The neckline is set wide across the shoulders and has a soft and feminine drape. On the one shoulder there is an inset of ivory silk. There is actually an opening where that is inset so if you move a certain way you get a tiny flash of bare skin. Inside of the draped part of the neck line is more of the same ivory silk and again it is only when you move a certain way that you get an unexpected flash of that color. It skims over the bust and is brought in at the waist through seaming. The skirt flows over and hugs the hips and then flares out as it reaches the hem. At the back there is extra fabric worked around the center seam to give you a bit of a trailing feel behind you. This flaring out at the bottom and the extra bit at the back give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are cut in the proper way of tailoring and are set on a slight curve to follow the shape of your arm. Running up each cuff are 10 tightly spaced silk covered button and loops. Each one is functional. The dress comes with its original tie belt made of a matching black silk. The belt has been cut extra extra long and widens out slightly as it nears each end. This lets you loop it around once and have the ends trail down, or you can wrap it and tie it anyway you wish for a wider more cinched in feel at the waist. The dress is spectacular. It is easy to wear and it's classic design means you can style it numerous ways. Excellent condition.

Fully lined in a black silk chiffon and closes with a hidden set side zipper. Ten functional buttons on each sleeve. Tagged a McQueen 40. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It has its original tags attached and was never worn. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Sleeves: 26"
Shoulders: approx 15"
Bust: 16-21" flat across from side seam to side seam
Waist: 13-17" flat across from side seam to side seam and can be cinched in by the belt
Hips: 16-21" flat across from side seam to side seam
Length: 64" from neck to front hem, 68" to the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4229

Reference Photos: (1-4) Elle Fanning in Alexander McQueen from the Shrimpton Couture Archives at the Critics Choice After Party, 2023.  /  (5-7) Naomi Campbell attends the launch of Kate Moss's Top Shop 'Christmas Range' collection at Annabel's October 16, 2007.

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 gorgeous Yves Saint Laurent dress is extra special because it is the twin of the dress that was shown on the 1983 runway and it was featured in the advance photos given to press that season as well. I love having both reference photos for you because not only does it show you how wonderful the dress is on the body but it also shows you how much styling changes it feel. On the runway it was shown with a turban and a lot of jewellery for a very dramatic, more evening feel, whereas in the advance photos the model is running through a field and it has a pretty spring daytime feel. I love that versatility. It is an absolutely stunning dress and these floral prints that he was doing during this time are some of my favourites from his work.

The colours in the silk on this dress are amazing. The silk has held the colour extremely well and they are as crisp and vibrant as the day it went on the shop floor. Yves was a master at choosing the fabrics that were the perfect compliment to the prints that he used. This dress is no exception to that rule with its riot of bright flowers covering its surface. The choice of silk also makes it feather light and allows it to float around you when you move. The bodice is cut to skim over you with a loose and easy feel and has a V neckline at the front. The waist is seamed under that but it is cut loose and generous. The matching belt is tacked into place at the back and then you can use it to cinch in the waist as much as you need. The skirt games over the hips and then flares out quite a bit. The front is cut shorter than the back so you get a bit of a trained effect floating behind you as you move. You can see this in the pictures of the girl in the field. The sleeves are spectacular. They end just below the elbow and are cut with a full balloon sleeve to pouf above their wide and easy elastic cuffs. Unlike a standard balloon sleeve, he has cut them so the volume falls mainly towards the back of your arm which gives them a unique feel. It is absolutely gorgeous. Excellent condition

Unlined and closes a side set zipper. Each sleeve has elastic at its cuff. Tagged a YSL vintage 42. The matching tie belt is attached at the back of the waist. It appears to have been worn very little if at all. It's easy cut should allow it to fit a range of sizes

Sleeves: 16" to the shortest part and approx 22" to the longest
Shoulders: 15.5"
Bust: to 21" flat across from side seam to side seam
Waist: to 14.5 " flat across from side seam to side seam and you can cinch it in with the belt
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist but will blouse up a bit when belt is tied
Skirt: 42" from waist to front hem, 46" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4226

Reference Photos: (1) Spring 1983 Yves Saint Laurent Runway.  /  (2-5) Spring 1983 Yves Saint Laurent Ready to Wear Advance. Photos by Tim Jenkins.

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 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This set is very reminiscent of the pieces that Audrey Hepburn was wearing in the 1972 to 1976 time period. It's labels are extra interesting. Besides the Givenchy Nouvelle label in the top, it also has the black boutique label on the skirt and that label has a numbered tape behind it, which was usually reserved for special orders made in the atelier. I wonder if the original client perhaps bought the ready-to-wear top and then had a skirt custom-made… or perhaps both pieces were a special order and they just used a label on the top that was on hand in order to put the fabric content tag on. It just makes the set a little extra interesting. It could not be more gorgeous.

The set is made up of two separate pieces, a skirt and matching top. They are both made out of a cotton fabric that has a slight ribbed texture running through it. Over that is a charming little design that depicts hundreds of little round pine cones that completely cover both pieces. The backdrop is black and the print is a deep coral orange. The top is stunning. It has an elastic neckline that is squared off at the front. The sleeves are shaped into a high cap and have a little bit of stiffened black tulle underneath their edges to help hold the shape that you see. The elastic that runs through the entire neckline would allow you to wear this off-shoulder if you wished. The top skims over the bust and then widens out over the waist to its hem. It is very easy to wear and it's only when tucked into the skirt that you get shape. Each sleeve is full and poufed above its elastic cuff. You can then wear that tucked into the skirt. The skirt has a band at the waist and then is very full under that. When you stand still it falls in a pretty column but when you move you see that there are actually yards and yards of fabric in the skirt. The skirt is made of two tiers of fabric. One that is gathered into the band at the waist and then the other one is set on top of that with a ruffled finish to create a deep 20" lower hem all the around the bottom. It's spectacular. The cotton keeps it light and easy to wear while the cut and design are phenomenal. This is beautiful and classic Givenchy for this time period. I've included some reference photos of Audrey so you can see how beautifully pieces similar to this sit on the body. It appears to have been worn very little if at all. Excellent condition

Both pieces are unlined. The top slips over the head with elastic at the neckline and cuffs. Stiffened tulle at the top of each shoulder for shape. The skirt closes with hook and eye at the waist and snaps below that. Both pieces look to have been worn very little if at all.

Top
Sleeves: approx 19" and will come up when on
Bust: 16-21" flat across from side seam to side seam
Waist: 17-19" flat across from side seam to side seam
Bottom hem: 19-22" flat across from side seam to side seam
Length: 25" from top of shoulder to hem

Skirt
Waist: 12" flat across from side seam to side seam and you could easily move the hooks at the waist to get 1.5" more
Hips: open
Length: 42" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4220

Reference Photos: (1) Audrey Hepburn, in Givenchy, photographed by Henry Clarke for Italian Vogue, Feb 1972.  /   (2) Audrey Hepburn, in Givenchy, photographed by Elisabetta Catalano at her apartment in Rome, March 1976.

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 Dior Resort 2012 collection was focused on pieces that would travel from the city to holiday. The twin of this dress was Look 11 in the collection. Vogue said of the collection that; 'That blue (used in another piece, along with coral, helped create a summer-in-Portofino vibe. If a resort could claim royalties for atmosphere theft, Portofino would surely be that place this season, and Slim Aarons could stake a claim too, because his photographs of the monied at play have been equally influential.' ...they continued to mention the crochet pieces specifically saying 'Maybe that accounted for the sixties flavor, not just in those Liz Taylor-worthy caftans and a handful of crocheted hostess gowns'. To me this was one of the best pieces of the collection and certainly one of the prettiest.

This dress is just a stunning testament to the work that house of Dior does. It is out of a dyed cotton and entirely hand crocheted. This actually gives some weight to the fabric but the cut makes it feel perfectly balanced once on the body. The colours are extraordinary. They combine a natural un-dyed cotton with a bright coral tangerine and a strong bright pink. The crochet work has several different weights to it in terms of the pattern and these helped form the design that runs over the dress. The colours are used to further emphasize the pattern. Most of the weave has an open effect so that you catch a glimpse of bare skin underneath or the colour of whatever you choose to wear underneath. The neckline is high and I love the feather feeling pattern that runs around its base and over the shoulders. The opening for the arms are cut on an angle down from there. The pattern switches to horizontal bands over the bust and then the rest of the dress falls from under that to the hem. A large diamond pattern covers the main body of the dress and then around the hem it switches back to a more horizontal feel where you have a more elongated diamond design. I love the little Dior embossed button at the back of the neck. With Dior it is always these little details that are wonderful to see. The dress is absolutely gorgeous and a vacation or summer must have. It looks to have been worn very little if at all. Excellent condition

Unlined and slips on to wear with a button above a keyhole at the back of the neck. It looks to have been worn very little if at all. Tagged a small. The knit does have some stretch and I have done the measurements at their a comfortable range laying flat.

Bust: 14-16.6" flat across from side seam to side seam
Waist: 14-16" flat across from side seam to side seam
Hips: 16-23" flat across from side seam to side seam
Length: 59" from top of neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4219

Reference Photo: Resort 2012 Christian Dior Look 11, Model Alexandra Tretter.

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 superb and elaborate Christian Dior dress from the Marc Bohan years. It is a wonderful example of the work being done during this time period and shows the restraint that the label could have when it delved into a more minimal cut combined with that full out glamour. The dress has classic feel of the best of Old Hollywood. Don't let the simplicity of the cut fool you. The closer you get to it the more you see the incredible and elaborate amount of detail that has been put into this fabric. This is a dream to wear and no matter good you think it looks in these photos to see this one in person will make your jaw drop.

The dress is made from a black silk net that has an incredible lace floral pattern that is edged in black silk cording worked through the lace. It is made from three layers. The top beaded layer, a black silk chiffon layer under that and then a nude silk chiffon inner layer that is itself backed in a black silk. Adding that nude layer gives the dress a bit of an illusion of wearing next to nothing underneath. The dress is suspended from two beaded straps that curve over each shoulder. The front neckline dips into a slight V and the back is a simple scoop. It's cut to skim over the body from bust to hips with no seaming to break the eye or design of the bead work. The shape is created by vertical seaming on the inner layers and the top layer is shaped to follow those resulting curves. The skirt falls to the ground from there and widens out gradually as it nears the hem. The lace netting is covered with an elaborate design made of bead work and sequins. The design is done heavier around the top the bodice and down over the waist lightens as it goes over the hips and then becomes dense and heavy at the ham. Part of the work is done to follow the lace pattern on the netting. Glossy black sequins curve over the underlying pattern and where they are applied they are stacked and layered over each other to give a slight 3-D feel. Small faceted beads follow other parts of the pattern and these are the same beads that are used to highlight the straps. Tiny little seed beads are thrown into the mix and then there are square pailettes and oval faceted beads how much larger scale to really create impact. The beads are all applied by hand and catch the light from every angle. It's an incredible thing to see and even better once on the body. The label on the dress is numbered and when you see that in a Dior Boutique label it most often meant that the piece was a special order or was a custom made order for a client in the atelier but fitted at the boutique store rather then in Paris. This is a dress that you just slip on and it is perfection. Excellent condition.

Fully lined as per the description above. It closes with a hidden set side zipper. Numbered tag. The slight bias cut will allow for a bit of movement in the measurements. The comfortable range is listed below

Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4241

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 Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant, as head of the brand. Pipart, who had previously worked for Balmain, Fath, and Patou brought a wide range of experience in all aspects of fashion to the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' He designed the Couture end of the label until 1998 making this a gown from one of his final seasons. This is an incredible and very beautiful piece of Haute Couture. Hey finding a gown at this level seems almost miraculous. It is truly one of the most beautiful things I've ever seen.

The twin of this dress walk the runway for the Haute Couture show that season and it was also photoed for L'Officiel that season and we also found a stunning editorial photo that caught it in the most spectacular shot. I love having all of this documentation because it shows you how phenomenal this dress is once on the body. This is truly a dress that you know has to be a true Haute Couture piece the moment you set your eyes on it. I think it is a work of art. The dress is strapless with an optional very tiny strap that comes out from the center of the bodice and wraps and ties around the neck. It will stay on with or without that small strap so it's your choice to wear it or not. The bodice is fitted to the body to hold the dress in place and the inner structure is outstanding. It is boned and cupped but all of that work is completely hidden underneath the silk lining. On the exterior the entire bodice is covered in glossy black beads that are spaced tightly together. The size of the beads vary as they run from the waist up to the top of the bodice. They are smaller around the waist and spaced further apart and then by the top of the bodice are so tightly spaced that they are almost stacked on top of each other. This creates a dense application of bead work that completely covers the black silk velvet base. In spots around the bodice are these large square-ish black pailettes for blocks of gloss to catch the light even more. Then interspersed among all of that are black iridescent feathers and long metallic strands. These are set to stand straight out from the bodice to create a cloud around you. The feathers add this fantastical sense of couture and fantasy. They also create incredible movement as each one moves independently from the other with the slightest bit of a breeze. The bodice is molded and shaped around you and then nips in the waist. The skirt under that is is a statement in its own right. It is an explosion of silk that poofs out all the way around you. The volume is so much that it almost creates a shelf as it come off of the hips. The silk curves up and under the hem to create a bubbled effect. It is shorter at the front so when you walk and sit you can see some leg. This helps to balance out the volume that surrounds you and add a flash of bare skin. It is longer at the back and depending on your height will trail out behind you just a touch. All of the volume is created by an inner structure that is hidden inside the skirt. You can feel stiffened netting and tulle that is all set inside the skirt so that the shape is held perfectly. I used no extra crinolines or anything else under the skirt to add volume when I shot these photos. The volume is all built in and the result of the masterful construction of this gown. The bead work is glass and between that and the sheer volume if the skirt the dress does have weight to it. When you hold this dress it is very heavy and you can feel that it is a Haute Couture piece. Once on the weight of it distributes and balances out wonderfully and the inner construction holds it all perfectly in place. This is truly an extraordinary piece of modern couture and is exceptionally beautiful. It appears to have been worn very little if at all. No matter how good you think it looks in the photos, it is better in person. Excellent condition.

Fully lined in silk with light burning through the bodice an additional added structure inside. The skirt loops under itself so the lining is the same fabric as the exterior. The skirt is filled with what feels like stiffened netting and tulle. This is placed throughout the entire skirt to give it the volume you see. There is an inner zipper to close the bodice and the waist stay to help the dress stay in place. Two tiny straps extend out from the center of the bodice and tie in place behind the neck. It appears to have been worn very little if at all. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present.

Waist: the inner waist stay has three hooks to accommodate a 23" 24" and 25" around waist size. If you left that unhooked or extended it the waist will accommodate up to a 26" sized waist.
Hips: open
Bodice: 10" from highest point of the bodice to the waist
Skirt: approx 17" from waist to shortest part of the front hem, 52" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4240

Reference Photos: (1-3) Fall 1996 Nina Ricci Haute Couture Runway.  /  (4) Fall 1996 Nina Ricci Haute Couture. Photo by Bruno Bisang.  /  (5) Inna Zobova in Nina Ricci Haute Couture for L'officiel de la Mode n808, September 1996. Photo by Michel Nafziger.  /  (6-9) Jurnee Smollett, in this dress, at the Vanity Fair After Oscars Party, 2023.

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 white version of this dress walked the runway in 2003 for Look 75 and I it and was one of the best dresses of that collection. Once in production it was also made in black and it is as good or better in this colour. The dress has the added provenance of being the dress that was recently worn by nominee Paulina Alexis for this years Critic's Choice Awards. I love that I have tons of photos of her, the white runway version of the dress, and the runway video so that you can see just how fantastic this dress is on the body. It is stunningly beautiful. The show was a huge success and the Vogue loved the evening pieces especially; "For the evening review, it gets even better. Valentino's communiqués from his couture collection show up as delicate metallic-embroidered chiffons made into fragile capes, cardigans or dresses. And for the grand occasion, there's a full battalion of the designer's fabulous signature chiffon gowns." The dress moves beautifully and is elegant and chic. That stunning halter top makes it feel insanely sexy too. A beautiful example of the magic of original Valentino pieces.

I love this dress with its incredible volume and amazing use of fabric. The dress is made from yards and yards of a black bias cut silk chiffon that was pleated into sharp little knife pleats. The fabric is very light in weight and this gives you that fantastic floating sensation all around you with your slightest move. The dress is suspended from straps that come out from the center of the bust. The straps continue down and are attached over the fabric of the bodice to give the illusion of it crossing and wrapping around the body. These go all the way around to the back and then come back around again. The straps are heavily embellished with a variety of sequins and beads that catch the light beautifully. He used larger beads so it has this fantastic 3D effect. At the back the straps curve down front he shoulder on an angle to meet in the center. The top of the bust is rounded into a pretty sweetheart shape and the back is cut straight across. The silk on the bodice is gathered in tiny little pleats and set horizontally. Under that the dress cascades to the floor in many yards of feather light silk chiffon. This is where the dress gets truly magical. There are three layers of silk that make up the skirt with the very top layer completely and meticulously pleated into sharp knife plates that gradually soften slightly as they near the hem. The silk is all cut on the bias and the layers flow out in an ever widening silhouette to the ground. There are yards and yard of chiffon that make up the skirt. It is very flattering on the body and it creates a fantastically romantic and dramatic effect as the silk floats around you the slightest bit of movement. It is amazing. This is truly stunning dress. Excellent condition

Fully lined in a black silk and closes with a hidden set side zipper. A tiny bit of softening of the pleats here and there but there are so many yards of silk in the skirt that its immaterial. Tagged a vintage Valentino 12.

Waist: to 16" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Length: 60" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4239

Reference Photos: (1-3) Spring 2003 Valentino Runway, Look 75.  /  (4-5) Paulina Alexis in this dress at the 2023 Critic's Choice Awards.

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

This was the collection where Donatella went back to using and styling her models to look like super models like her brother Gianni had done in the past. Vogue said that; 'The aura of glamour that sparked off the flying hair and luminous faces of Carmen Kass, Daria Werbowy, Eugenia Volodina, and Karen Elson was a strong reminder of what once made Versace electrifying.' The collection focused mainly on daywear but a very Versace notion of that. This was Look 25 in the line up and was the strongest piece of the shorter dresses presented. Its twin ended up being the one used for the ad campaign that season and was shot on Demi Moore who looked utterly fabulous in it. I am very happy to have that shot, runway photos and a video so you can see how amazing this dress is once on the body. It is gorgeous.

The dress is made out of a printed silk chiffon that combines numerous abstract versions of various exotic skins. These are laid out in a pattern that mixes and matches them all and this effect is heightened even further by the detailing work that is done on the skirt. The dress is cut to highlight every curve. The bodice is a single layer of the silk chiffon. To keep it in place you slip your arms through the sleeves and then simply tie it around the neck. The front is gathered into two halters that run from the high set waist to the attached scarf at the neck and there's a slit that runs down the center to leave a sexy glimpse of bare skin. The sleeves are long and simple, narrowing down slightly as they reach the wrist. The back is left bare across the top and that long scarf falls from the neck to cascade over it for a bit of a peekaboo effect that is very sexy. The skirt starts from under the bust and is fitted through the waist. Inside there's a bit of a stiffened net corset to help shape and hold it in place. It is fitted over the hips and narrows down as it reaches the hem. An small open vent runs up the back to allow you to walk. The skirt is quite remarkable with the long strips of fabric sewn and overlapped horizontally around it. When you look at it close up you realize it that it's all individual strips and it is quite remarkable. It is stunning and so Versace in feel. Excellent condition

The halter part is unlined and the skirt is lined in a black silk chiffon. There is a stiffened net partial corset that runs around the interior waist for shape. It closes with a hidden set side zipper and ties into place around the neck. No size tag present. It appears to have been worn very little if at all.

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 17" flat across from side seam to side seam with room for an A-C cup at front, maybe a touch more if needed
Seam under the bust: 15-16" flat across from side seam to side seam
Natural waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 10" from neck to seam under the bust
Skirt: 29" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD4216

Reference Photos/Video: (1-4) Fall 2005 Versace Runway, Look 25. Model: Hana Soukupova.  /  (5) Demi Moore for the Fall 2005 Versace Ad Campaign photographed by Mario Testino.

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.

On the designer site the description of Cecilie's work says is  best; 'Cecilie Bahnsen operates at the intersection of couture and ready-to-wear to create luxury clothing with a relaxed, timeless style. Celebrating the traditions of fine French fashion and the design culture of Scandinavia, the collections combine craftsmanship and details with architectural volumes and sculptural silhouettes to offer a contemporary take on femininity. Unique fabrics are hand-designed each season by founder and LVMH Prize finalist Cecilie Bahnsen, a Copenhagen native who returned to her home town to found her eponymous label in 2015 after studying at the Royal College of Art in London and working with couture houses in Paris.' A version in a white quilted fabric walk the runway for Fall 2019, Look 26 and it was also released in black of which we found many reference photos of it. It is my understanding from my client that a very limited amount were made in the ivory silk faille that I have today. It is stunning in this fabric and colour.

This particular shape is part of her core aesthetic and what catapulted her to fame. These voluminous baby doll dresses are a signature and this one is stunning. These are dresses that you can wear flat boots with and stomp about and then with your next wear you could add your highest heels, pile on the jewellery and be as 'ladylike' as you could possibly be. It would also make a wonderful wedding piece for a bride looking for something nontraditional or as a piece worn to one of the events surrounding a wedding weekend. The fabric is a synthetic that feels and looks like a silk taffeta. It has a lot of volume while staying as light as air. The neckline is squared off and the sleeves are big and poufed. The dress falls in three tiers. The first lays flat across the bust and then the two under that widen out significantly for that baby doll look. At the back the waste dips down on a pretty curve and panels come across the back above that and tie into place with wide black velvet ribbons. This leaves a peek-a-boo effect of bare skin behind the ribbons and panels. The back of the dip sounds slightly lower than the front and the effect is just romantic and pretty and whimsical. Her dresses are high fancy and this gorgeous ivory one is no exception. Excellent condition.

Behind the bust is lined in a ivory silk and the rest of the dress is unlined. It zips to close at the side with a hidden set zipper. The black velvet ribbons tie the back into place. Tagged a UK6 US2. It looks to have been worn very little if at all.

Bust: the front panel is 15" flat across from side seam to side seam but the adjustable back allows you to adjust it by quite a bit up from there
Waist: the front waist seam is 13" flat across from side seam to side seam but the dipped back allows you to adjust it a bit up from there and it would just lie less dipped. The total room is 30" around bit it is meant to dip a bit
Hips: open
Bodice: 11" from top of shoulder to seam under the bust
Skirt: 25.5" from seam under the bust to front hem, 30" to the back em

Modern Sizing Equivalent: XS-SML

Item# DD4213

Reference Photos: (1) Fall 2019 Cecilie Bahnsen Runway, Look 26.  /  (2-5) Various on-model shots. Credits unknown.

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

The twin of dress walk the runway as look 42 complete with a veiled hat and bouquet of flowers. The intention for this to be used as a wedding piece was clear. Alber Elbaz cited Acapulco as an inspiration and its not hard to imagine that he was thinking is a beach wedding for this gorgeous little dress. In Vogue's review of the collection that noted the same saying; 'You could see it in the lime-and watermelon-wedge pendant necklaces, the straw hats decorated with tropical fabric flowers, and the raffia-accented flats'. This was one of the four final dresses of the show and all four were ready-to-wear wedding dresses, which is not something you normally see mixed in with a collection to that extent. The dress was also featured in Vogue Spain that season and was a sell out at retail. It is just gorgeous.

This is such pretty and easy to wear dress. It is actually a very simple shape that is meant to skim over the bust, waist and hips. It is strapless with a pretty curve to the top neckline that is very flattering. It has an inner built-in boned silk corset to hold it in place and the dress floats over that, widening out as it nears the hem. The fabric is a woven silk that has a slight transparent feel to it. It's then lined in an inner ivory silk layer that makes it opaque enough to wear but still keeps that light fluffy feel. It's very light in weight and just feels like to floats around you. The front is covered in layers of ruffles. These are actually three long ruffled pieces that are set in curving rows over the front. This curving back and forth technique lets them be fuller at the sides and adds to the volume that you see. It would be flatter if they were just strips of ruffles sewn on independently. It's quite genius. The ruffles all have a bit of stiffening at their ends to help hold their shape and have a raw finish. The back is left ruffle free so you get some shape. The dress can be worn full and easy or you can use the matching wide silk satin ribbon belt to send in and give it added shape. In the photos where I have shown it with the ribbon I tied it just under the bust but you could of course place and tie it wherever it suits you best. It's flattering, shows a mile of leg, and is a really fun alternative to the more traditional wedding dress. And even if it's not what you may think of as a main wedding dress it would be a great dress to change into for the reception. And it has enough style that you could wear it for any occasion. It is fabulous. Excellent condition with a note below

Fully lined in an ivory silk and has a built-in boned corset. The corset zips independently at the side and then the outer dress zips to close over that. Comes with its original matching belt. Tag a size 38. See some marks on the inside bodice and there's the faintest touch of discolouration on the top part of the ruffles on each side. None of these would be seen once on. A touch creamier in person.

Inner bust: 16" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 29" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4212

Reference Photos: (1-2) Resort 2010 Lanvin Collection, Look 42.  /  (3) Tiiu Kuik in Lanvin photographed by Michelle Ferrera for Vogue Spain, November 2010.

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 gorgeous dress is from the Fall 2003 Dior Boutique Collection and is a staggeringly beautiful example of the work John Galliano was doing during this time period. It was featured in the ad campaign on Angela Lindvall that season in red and walked the runway on Ana Beatriz in white for Look 14 of the presentation. I love having all these reference photos for you so that you can see just how amazing the dress is. It is just spectacular and one of my favorite Dior pieces to have come into the shop.

The dress is made out of a stretch silk feeling fabric that hugs your curves amazingly once on the body. A wide strap extends out from the sides and curves around the back of the neck. The bust dips down and is gathered in and towards the center. This gathering extends from five separate horizontal panels stacked on top of each other and brought into the center knot to emphasize the breasts. Below that he continues to play with this horizontal panel and knot idea bringing that gathered feel down in three other spots on the front of the dress. Panels of fabric are set on curves and angles which allow him to help shape it around the body. It has a touch of a 1940s dress feel to it and is extremely sexy on the body. The back is a simpler version of the front with no knots present. The halter there dips down to leave your entire upper back bare. There is a small slit set off-side under the center of the very bottom knot at the front and this allows a little bit of added bare leg to show. It is incredibly good and a well documented piece of fashion history. Excellent condition

Unlined and closes with a hidden set side zipper. There are two fabric buttons to close at the back of the neck. No size tag present. The fabric does have some stretch

Waist: 15-17" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: approx 43" from top of neck to hem
Slit: 9.5" from hem up

Modern Sizing Equivalent: MED-LRG

Item# DD4207

Reference Photos/Video: (1-4) Fall 2003 Dior Runway, Look 14. Model: Ana Beatriz Barros.  /  (5-7) Angela Lindvall for the Fall 2003 Dior Ad Campaign.  /  (8-9) Jamie King in Dior at the Dior Dance for Life to Benefit the Aaliyah Memorial Fund, 2003.  /  (10) Kim Cattrall in Dior at the "Sex and the City" Sixth Season Premiere, 2003.  /  (11) Rose Byrne in Dior at the  Christian Dior Launch of the New Collection "D'TRICK", 2004.  /  (12) Ali Larter in Dior at the Dior Sponsors Artist's Ball Honoring Matthew Ritchie, 2004.

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

This is the second time I have has this dress in the shop and this time I found one with a matching crop jacket. I loved this dress the first time and I love it even more this time. James Galanos launched Galanos Originals in 1951. He was only 27 years old.  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 was made to couture standards and on par with the French couturiers of the time. Grace Kelly was a huge fan and his work is held in all of the major museums around the world. He is one of my personal favourites and this dress is a stunning example of his work.

The label on this dress is the one that dates from 1954-1963 and when researching within that time period we found a dress in the Met Museum's collection with the same label and that uses the same technique for the way that the skirt is set into the bodice of the dress. The 1957 dress in the Met's collection was also photoed for Vogue that year. I have included both those for reference and it gives you a great idea of how this dress will look on the body but i think this one is even better with its more bare upper body. In the Vogue's description at the time the skirt was described as being; 'narrow in outline, but with beautiful easy folds from the waist, falling in self contained spirals' which is a lovely way to describe the way that it is set into the dress. I love the bright floral print that covers the entire dress. It gives it a bit more of a tropical feel then the more formal version held at The Met. The fabric is a beautiful light weight silk that is completely covered with the large flower print that you see. The colours in the print are spectacular and combine a bright orange, yellow and green on a black backdrop.The skirt is cut so that it gathers up and into the middle of the dress. This gives it that lovely curved line at the front and the draping down each side that you see. It also creates a touch of volume across each hip which makes your waist look smaller. The bodice is suspended by tiny straps made out of the same silk. The front has a wide set scooped neck and the back is the same. The back of the dress closes with a series of buttons that run from the nape of the neck to the waist with a zipper set under that. It is seriously gorgeous on and gives you curves while feeling very forgiving. Over that pops the simplest little jacket made in a matching printed floral silk. It can actually be worn either way around and I shot it both ways. It closes at the back of the neck and then it's open below that on one side and on the other side it has a slit that runs up the center. You can see how this gives a completely different look and feel to the set depending on which side you choose to wear it. The sleeves narrow in at the wrist with a little zippers for the perfect finish. It's a fabulous addition to the dress and the entire set really showcases just what a genius he was. Excellent condition

Both pieces are fully lined in a black silk chiffon. It closes with a low painted metal zipper at the waist and then has a row of buttons above that. The jacket closes at the neck with hook and eye and each cuff zips to close. The silk is cut on the bias. It appears to have been worn very little if at all.

Dress
Bust: to 18" 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: 15" from shoulder to waist
Skirt: 44" from waist to longest point of hem

Jacket
Neck: 16" around
Bust: 18" flat across from side seam to side seam and narrowing to 17" at the hem
Length: 17.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4204

Reference Photos: (1) F/W 1957 James Galanos Dress in The Met Collection.  /  (2) Model in James Galanos photographed by Irving Penn for Vogue, October 1957.

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 this tucked away in my archives for quite some time and decided it was time to let it go. This is it gorgeous little caftan dress that could potentially play double duty as a light evening coat with a bit of a tweak. It has all reminded me of the caftan that Joan Collins was photoed in 1975 and I suspect that it was made in the same time period. This one zips to open down the front  and on this one the zip is closed at the bottom but it could be opened and switched to one that fully opens. That would give it added versatility and allow you to wear it as a light coat as well as a dress. Of all of Thea's pieces her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector and obviously so was Ms Collins. This one is just fabulous.

The caftan is very beautiful and is made from a stunning ultra soft silk velvet. This fabric is extra special because it looks to have been block printed in some manner. It's very unusual. The colour portion of the fabric is almost like an orange gold colour and it seems to glow from within. You get a bit of a sense of that in the photos but in person it's even better and it is quite beautiful. The print has flowers mixed with abstract patterns and dots that run over the entire dress. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs and this could certainly be a found antique textile. The dress closes down the front with a hidden combination of a zipper and snaps above that. This allows you to leave it open as low as you want in the front and then there is a slit that runs up to meet the base of the zipper from the hem. As mentioned above, the zipper does not fully undo but it could be changed to one that does, and then you would have a piece that you could wear as a dress or as a light coat to layer over other pieces. The cut of the dress is easy to wear. The neckline is a simple scoop and the sleeves are straight. It is cut to skim over the bust waist and hips and then flares out as it reaches the hem. The hem slightly dips longer on either side. You can easily add a soft or structured belt to add shape if you wished and add even more to its versatility. I love that you can wear this in so many ways and one its own or over so many things. This is very special and it is also very beautiful. Excellent condition

Fully lined in a black silk and slips on to wear and then zips and snaps down the front to wear. It's easy and open shape should allow it to fit a range of sizes. Finished by hand throughout. It looks to have been worn very little if at all

Sleeves: 23" and upper arm is 13" around
Slightly dropped shoulders: 16"
Bust: to 19" 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
Length: 56" from neck to longest points of hem at the sides with 3.5" turned under
Front slit: 21.5"

Modern Sizing Equivalent: XS-MED

Item# DD4203

Reference Photo: Joan Collins in Thea Porter, 1975.

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 from the fall 1978 Rive Gauche collection and is a fantasic example of his earlier ready-to-wear. In our hunt for documentation on this piece we also found several runway photos and it seems that it was a highlight of the collection and was shown layered over several looks. It is an absolutely fantastic coat and one of my favourites that I've ever had come into the shop. It is that perfect throw over anything and go but go knowing that you will probably be stopped all day to ask where you got it.

The coat is made from a olive coloured soft ribbed corduroy. I love nod to men's wear that it gives the coat. Yves was very much into non-gender pieces during this time period and this pieces really gives the feel of having stolen a well loved coat from your fathers, boyfriend or brother's closet. The fabric is very soft to the touch and feels so good when on. This fabric choice let him keep the lines and shape of the coat soft and slouchy. It has a very men's trench coat feel to it but softened and with that fantastic fit that Yves excelled at. The front does up with a row of hand carved buttons. The collar above that is neat and simple and looks great worn flipped up. It is easy fitting through the bodice and there is a top stitched leather tie that's true the waist and let you adjust it in or out. Under that the skirt of the coat flares out in a soft and easy shape. Slanted pockets trimmed the same deep brown leather as the waist tie sit on each hip. Two more pockets just like those sit low on the bodice above as well. All four pockets are functional. The sleeves are fantastic. They are cut with a wide and easy feel and then gathered in at the wrist with a buckled strap made of the same dark brown leather on one side and backed with corduroy on the other. Once on it has this slouchy cool feel that is just unbeatable. I love it and it is also a remarkable piece of fashion history. Excellent condition with a small note below

Fully lined in an olive coloured muslin. It closes with the buttons at the front. You can adjust the shape through the waist with the leather tie to wear it completely straight up and down or cinched in for shape. The two bottom buttons at the front are broken. Please see the photo after the label shot. They could of  course be easily replaced. They are original buttons. Minor wear to the edges of some of the leather bits. The loose and easy shape of the coat should allow it to fit a range of sizes. It will feel more oversized on a smaller frame and more fitted on a larger.

Sleeves: approx 25" and 20" around the upper arm
Shoulders: no true seam
Bust-hips : 24" flat across from side seam to side seam and you can bring the waist as needed with the leather tie
Length: 48" from neck to hem. If you really cinch in the waist and blouse over the top it will come up in length accordingly

Modern Sizing Equivalent: SML-LRG

Item# C611

Reference Photos: Fall 1978 Yves Saint Laurent Runway.

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

The fabric used for the lower portion of this dress matches the Fall 2000 couture ruffled Chanel coat that I have in the shop and both pieces are from the same client. That said, I do not believe that they were purchased as a formal set because the numbered tags on each do not fall in sequential order like they normally would if that was the case. However, if you look at the runway photo for that look, you can see the similarities to the piece that was shown underneath the ruffle coat on the runway. There is a similarity in the top portion of the dress to Look 34 and we believe that this was a custom made piece whose fabric was chosen to give the option of wearing with the coat. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is a beautiful example of the work that Karl was doing for Chanel during this time period and how a couture client could work with Karl to get the look that best suited her and her lifestyle.

This is a beautiful and chic shifts that can easily be styled to work for day or as an evening peace. The skirt is made from a rich black silk and it is immaculately tailored. The cut is very simple. It falls from an easy cut waist and then skims over the hips and narrows in slightly to the hem. Panels of silk are set vertically to create the shape of the skirt and the tailoring is immaculate. I love the slash pockets that are set low on the hip. Attach to the skirt is a sleeveless top that is made from precisely spaced knife pleats all the way around. The fabric has a slightly open woven look and feels like it is a mix of linen and silk. This gives it a slight touch of transparency over the inner lining. The effect is lightness and a touch of volume but without it being too transparent to wear. A softer panel of the silk runs from the top of the waist band and appears to circle back and behind the neck and then comes down and loops in under the bottom of the band at the waist. I just is a little unexpected detail. That soft collar also hides a rather low plunge for a bit of sexiness. The back of the neck is gathered and closes with three hand made fabric covered buttons. The top buttons to close below that but the buttons are all hidden under a pleat so that the line does not appear broken in any way. Is a stunning piece. Excellent condition

The top is hand lined in the same fabric as the exterior and the skirt is hand lined in a black silk. It appears to have been worn very little if at all. Appropriate Haute Couture label and numbered tape present. It is completely made by hand.

Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: 19.2" flat across from side seam to side seam
Bodice: 14" from neck to top band at the waist
Skirt: 25" from top band at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4202

Reference Photos: Fall Chanel 2000 Couture Runway, Looks 20 & 34.

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 slightly more dramatic version of Yves classic tuxedo suit. For the runway it was presented with a longer skirt and that one was shown for Look 38 of the Fall 2001 Haute Couture collection. My client ordered it with the pencil skirt you see so that she could have more options to wear it. The Fall 2001 collection was one of his final collections and to have a piece from this season is very special. Vogue noted that "Cocktail hour incorporated every possible variation on the tuxedo: There was a button-front dress, a smoking jacket that morphed into a full tulle skirt, and, naturally, an updated version of the masculine tux immortalized by Helmut Newton in the '70s." Yves play on the tuxedo and 'Le Smoking' suit is one of is most famous hallmarks that he first presented in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. I have included runway photos, video and a photo of the original sketch. The sketch shot includes the fabric swatches above as per his atelier records and you can see it is the same fabric as this one. It is extraordinary set and I love it.

The extra wide collar is what sets this one apart from the many versions he did over the years. It is so bold and yet still elegant and refined in feel. There is nothing quite like the experience of slipping on a tailored to perfection piece of true Haute Couture. It somehow feels different and the feeling is something you can only really experience for yourself. The construction on both pieces is meticulous and it has been sourced from the original couture client. These tuxedo suits were all done a play on a men's tuxedo in mind and then were shaped and tweaked by Yves to be immensely flattering on the female body. It's looks simple but has master level tailoring behind it. The jacket has this sleek cut to it that follows the curves of the body. It is slightly cropped to sit just at the top of the hip. The lower part of the collar is finished in a black matte satin. It's size has been exaggerated to make it the focal point. under that is a single faceted button. Pockets are top set on each side and the shoulders are shaped. The fabric has a fine ribbing to it and it holds the lines perfectly. The skirt is cut into a simple pencil shape. I love that you separate pieces which gives you the versatility of being able to mix and match each piece with other things you already own. It is also a suit that depending on how do you style it, it can easily work for either day or as an evening suit. Yves tuxedo suits changed the way the world approached woman's wear and any example of the Le Smoking version is particularly collectible. This is a wonderful example of his couture tailoring. Itis an important piece of fashion history from one of his final collections. It appears to have been worn very little if at all. Excellent condition

Both pieces are hand lined in a black silk. The jacket closes with a button at the front and the skirt closes with a zipper and hook & eye at the waist. There are two pockets on the jacket. Both pieces are completely made by hand to couture standards. All proper Haute Couture tags present

Jacket
Sleeves: 23"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3559

Reference Photos/Video: (1-7) Diana Gärtner for Yves Saint Laurent Fall 2001 Haute Couture Runway Collection. Look 38.  /  (8-9) Sketches for the Fall 2001 Yves Saint Laurent Couture Collection as shown in the "Yves Saint Laurent Haute Couture: The Complete Works" Book Set.

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work from the early 1970s and this one is even more special since it is both a book piece and the dress from the ad campaign that season. Especially luck finding this photo because on my dress form and in person the dress can look pretty straight up and down, but once on the body it transforms into the bombshell dress you see in the reference photo. It's spectacular

This is a killer dress. It is one that will come to life even more once it is on an actual body because as mentioned above, this is a dress that in person it is even better. The first thing you see is that the entire dress is covered in overlapping gold sequins that catch the light from every angle. This alone takes your beathe away when you see the dress in person. The bodice of the dress has this cut out and  sculpted feel to it that is fantastic. There is a wide collar that wraps around your neck and then curves down into the bodice. A low scoop out is open and bare under that and then the bodice is seamed to be fitted and shaped around you. It nips in at the waist and then the skirt under that curves over your hips and the falls to the floor in a sleek column to the floor. At the back it is slit up the center quite high so that you see a flash of leg as you walk away. The entire back is also left bare and open and it is as incredible from the back as it is from the front. The dress is wonderfully made. It is a stunning dress and you will definitely turn heads in it when you walk into the room. This might 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 fabulous event. Great condition with a note below.

Unlined with narrow silk panels covering the inner seams and hand stitched into place. It closes with a zipper at the back and hook and eye at the neck. It looks like someone extended the back neck at some point and stitched in a small overlap at the front. There are areas on the bodice and near the back edge where some sequins have started to loose their gold colouring. And on looks like those areas are catching the light differently but they could easily be replaced if you if it bothered you please see the photos after the label shot. Hand finished throughout.

Neck: 16" around
Bust: 16-18" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 60" from lower seam at neck to hem
Back slit: 22.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4199

Reference Photo: Spring 1973 Loris Azzaro Ad in Jour de France Magazine, as seen in the book "Azzaro: Fifty Sparkling Years".

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 interesting dress because a version of it was shown on the runway for Fall 1972 but this one seems to be even more elaborate than the runway one. And it is usually the opposite of that in many cases. I like to think that the woman that bought this saw the one on the runway and then worked with George to make this one even more dramatic and spectacular. George Stavropoulos was known for his evening wear. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there and that starting price point equals to around $26,000US in today's dollars. A vintage Stavropoulos dress is an incredible thing to own and this is one of the best ones I have ever seen.

This dress is drop dead gorgeous and I think it's even better in person. The dress is made out of a ivory coloured silk organza that is heavily embroidered with a leaf pattern. Those silk 'leafs' have been embroidered over the entire dress to highlight the cut. Part of the design are actually individual embroidered leafs that have been appliqued and embroidered into place. It is stunning to see in person. The silk is feather light and I love the airy feeling that this creates. This light feeling is highlighted even more all of those little embroidered pieces. On the skirt they are set so they are scattered lightly over the upper skirt and become denser as they reach the hem. Along the hem are these curving inset panels. They are attached to the dress but the design is finished to follow the jagged edge of the embroidered leafs. I love this double layer of texture this gives around the actual hem and then above it on parts of the dress. The skirt is very full. I have photoed it with nothing underneath but there is enough room that you could add a crinoline underneath  and get a very full look if you wanted. The lightness and fullness mean that when you move the dress will move with you and the effect is gorgeous. The neckline is beautiful. It is squared off on both sides and the applique work is set to go inwards around the neck and slightly up the sides of your neck. It also frames the opening at the front and the back. The bodice is layered over an inner dress that the skirt is attached to. This gives it the look and feel of two pieces but it is actually one dress. It also exaggerates that gradual widening that you see happening from the bust all the way down to the hem. At the same time it also allowed him to do another spectacular edging where that jagged edge is picked up and tied into how it's done at the hem. The last perfect touch are those magnificent sleeves. Each one falls from a rounded soft shoulder and is cut with tremendous volume. They have a huge and elaborate pouf to them. Each of them ends in an elaborate cuff with the same detailing applique that the other edges have. They are the perfect finish to this high fantasy gown. The workmanship is incredible and it is absolutely beautiful. 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 sit so beautifully. The majority of work is all done by hand and it would have taken many hours of work to create this dress in this way. 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. This would make an extraordinary wedding gown for the bride looking for something unique. Excellent condition.

Fully lined in an ivory silk that has a stiffened inner hem to help hold the volume. It closes with a zipper on the inner dress and then the outer dress snaps into place over that with hidden set silk covered snaps. The inner seams are finished by hand to couture standards. The colour in person is softer and even prettier then how it photoed. The camera gives it more shadow than it has in person on the embroidered parts. It is a touch creamier in real life. This is cut generously underneath the top added bodice but the skimming design will work on a smaller frame as well and could easily be altered if needed

Sleeves: approx 21"
Shoulders: no defined seam
Inner bust: to 18" flat across from side seam to side seam
Inner waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of shoulder to inner waist
Skirt: 44" from inner waist to longest points of hem

Modern Sizing Equivalent: SML-LRG

Item# DD4200

Reference Photo: Fall 1972 Stavropoulos 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 might be one of the cutest dresses that Yves ever did and the print is of course an homage to his own French Bulldogs that he loved so much. Its twin walked the runway and was styled with a wide leather belt to really play on the proportions and cinch in the waist. It is one of my all time favourites and I am very pleased to have this wonderful dress in the shop for you.

This is gorgeous little dress. On the hanger it looks like nothing tell me a pill is that fantastic print. But it's just hits the body his genius with cut comes to life. The top is meant to be full and easy over you. The upper bodice is yoked on the front and the back and it has light padding in the shoulders for structure. A row of glossy white buttons closes the partial opening at the back of the neck. The waist is seamed and it is meant to blouse over top of it. If you decide to add a belt like they did on the runway it will really emphasize the waist and the volume above even more. This skirt is cut to be slightly fuller around the hips and then narrows down slightly as it reaches the hem. I love the slash pocket sit on each hip. The sleeve incredible. They come out from the top of the shoulder where they're slightly gathered and they are cut to come out from just above the waist and narrow down to an elastic cuff. This makes them incredibly full and when you push the up to just past the elbow they are even fuller as you can see in the reference photos. It's just a beautiful little dress and perfectly represents this time period. Excellent condition with a small note below.

Unlined and closes with a side set zipper. Three buttons at the back of the neck to close the small opening there. Elastic in each cuff. There is the tiniest bit of yellowing to one of the bulldog prints at the neckline and I see a repair at the top of the side zipper. It is completely hidden once in by the volume of the sleeves. Please see the photos after the label shot. Tagged a vintage YSL 40. It's oversized cut should work on smaller frames too

Sleeves: 17" and will pouf up more when on
Extended shoulders: 18"
Bust: open with no true side seams
Waist: 13.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 18" from top of bodice to waist and will pouf up when on
Skirt: 24.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4197

Reference Photos: Spring 1987 Yves Saint Laurent Runway.

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

This is an interesting dress because it's from the Miss O label that Oscar de la Renta started during this time period for his younger audience. What makes it interesting is that a very near version of it walk the runway for the Fall 1988 show. You can see how he slightly changed the design to give it a bit of a younger feel and make it easier to wear. I've included that runway photo here for you said that you can see how fantastic it is on the body. It is a gorgeous little dress

The dress is made out of a soft black jersey fabric that has an almost T-shirt feel to it when you touch it. The fabric is gathered over the dress from the top of the bodice to the hem and all the way around the back. Vertical stitches give it a pattern within the pattern and extra interest. It is to cut to hug the body and the neckline is cut flat across the front. Wide black velvet straps curved over each shoulder and attach to the back. From the front it's a fantastically fitted dress that shows off all your curves and has the interest from the gathering. At the back is where it gets spectacular. A black panel runs over the zipper and onto that panel are seven floral buttons that have rhinestones set inside and into the buttons. This creates a beautiful bit of flash and glitz at the back. Under that there's an inset of black lace lined in a nude chiffon for a sexy little kick as you walk away. It's very chic and sexy. Excellent condition

Bust: to 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 17" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4194

Reference Photo: Fall 1988 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 stunning example of Halston's later work. It is from 1983 and of this point Halston had just signed the international licensing agreements that would be the beginning of his downfall. That makes this a piece from one of his final self designed collections before being forced out of his own company. His prices for the main line were sky high at this point and the work put into the pieces was impeccable. When hunting for documentation for this one we found one photo of an unknown woman wearing it to a Nato party that year. There is the possibility that it is from a slightly earlier collection and the woman is re-wearing from her own closet. Either way it gives you a better idea of how spectacular it is on the body. 

The fabric for all of Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his main line collections. These beaded pieces were especially intricate and the majority of the garments produced were heavily beaded and/or sequinned. This set is gorgeous. Both pieces use a black silk chiffon as their base and then onto that is an intricate design made of a combination of tiny tube beads, faux pearls, tiny silver sequins and rhinestones. These have all been hand applied and individually applied over the two pieces. The bead work is laid out so that it becomes heavier around the edges of both pieces. Both piece also have this fantastic fringe made out of little pear-shaped faux pearls spaced side by side that follow every edge. It's incredible to see and like jewelry on the pieces. Clusters of all the other elements are tightly spaced around the edges of the jacket, the end of the sleeves and then around the hem of the skirt. They scatter out in a wider dispersed pattern from there to completely cover both pieces. The skirt has a simple cut with an easy-to-wear elastic waist and then it widens out slightly to the hem. The jacket has no collar and curves down and around to the hem. There are no closures and it's meant to be worn open and over something else. The shoulders are soft and it is looser fitting through the body. The sleeves are incredible. They have those insane fringed cuffs and each sleeve is cut to balloon out above the wrist. You can see that in the photos I have here and even more so in the reference photo attached. I love the versatility of having the two pieces because you can mix and match them with other pieces, but together they are truly spectacular. The silk chiffon keeps them extremely light in weight and even though they are backed in another layer of black silk chiffon there's still a bit of a play on transparency that the set has. It's spectacular. Excellent condition with a note below

Both pieces are fully lined in a black silk chiffon. The jacket has no closures and the skirt has elastic at the waist. All the applique work is done by hand. Perhaps the occasional loose or missing bead or applique. Tagged a vintage Halston 6. The elastic in the waist feel stretched a bit and would be an easy fix if you needed the waist smaller. Its current range of measurements are listed below but it could go down by a few inches if needed.

Jacket
Sleeves: 24" approx.
Slightly dropped shoulders: 16"
Bust- bottom seam: approx 18-19"
Length: 22.5" from neck to hem

Skirt
Waist: 13-19" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4193

Reference Photo: Guests at a Halston Party for NATO Committee, October 24 1983.

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

This beautiful silk chiffon and cut metallic velvet fabric was integral to the Fall 1977 presentation by Oscar de la Renta. The twin of this set walked the runway along with two other versions in this same beautiful fabric. I love that we found these photos because it give you an idea of how beautiful the dress is on the body. The fabric is absolutely stunning and the lines of this drape fantastically. It's also rare to find documentation of pieces this early which makes the set that much better.

This set from Oscar de la Renta has such a rich, luxe feel to it while still having a bit of a bohemian vibe. The colour is this absolutely stunning deep purple burgundy that is beautiful to see in person. This is a set made up of two separate pieces. Having these separate pieces makes it very versatile since you can mix and match them with other pieces in your existing wardrobe. The fabric is stunning. The base is an ultra fine silk chiffon that has a touch of transparency to it. Onto that is a silk velvet that is cut out into a floral and leaf pattern and then infused directly onto the silk. A metallic thread in the same exact colourway was then used to outline and highlight the pattern that runs over the pieces. This touch of metallic detailing lets the pieces catch the light from every angle and adds a bit of a glitz and glam to the set. Both pieces are lined with another layer of the same colour silk chiffon but there's still a stunning play on transparency with the outer fabric. The silk is light in weight and floats beautifully over the body once on. The skirt has a band at the waist for shape and then the silk falls to the floor from there to widen out slightly as it near the hem. The top goes over that and just slips on to wear. The neckline is simple with no collar and has an attached silk braided cord. This allows you to adjust the neckline so that you can wear it loose with a more open V underneath or tie it tight and just have a slit keyhole underneath. Each corded tie ends with a pretty fringed tassel. The body of the top is loose and full. Each sleeve is also full and billows out above an elastic cuff. Each sleeve is finished with another cord and fringed tassel detail. The banded waist already gives shape at the waist when you tuck the top in. You could emphasize that shape even more by adding a belt. It a even more gorgeous in person. And it has pockets on the skirt. It appears to have been worn very little if at all. Excellent condition

Both pieces are lined in a matching silk chiffon including the sleeves. The skirt closes with a side set zipper and a flat hook & eye at the waist. The top slips on to wear with an attached cord at the neckline. The cuffs have elastic at their ends and the cord there is decorative. It appears to have been worn very little if at all. 

Top
Sleeve: approx 24"
Shoulders: 15"
Bust-bottom seam: to 19" flat across from side seam to side seam
Length: 21.5" from shoulder to hem

Skirt
Waist: to 13" flat across from side seam to side seam
Hips:to 22" flat across from side seam to side seam
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4192

Reference Photos: (1-4) Fall 1977 Oscar de la Renta Runway.  /  (5-6) Oscar de la Renta Fall 1977 Ready to Wear Advance.

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

This wonderful cape is from the Fall 1977 collection and several versions of it were shown on the runway that season. We found its runway twin in the same black as this and shots of a similar pom pom corded red and a blue version as well. The cape was also used for the ad campaign that year making it an integral piece of the Fall 1977 collection. I personally a twin of this exact black version myself and have worn at countless times. It's literally the perfect thing to pop over a dress at night time and so easy to wear.

The cape is in a very versatile black colour and the fabric is extremely soft and cozy. It feels like the fabric is a mix of a soft wool and mohair. It is so easy to wear. You just slip it over your shoulders and it drapes in place. A wide set ruffle extends out from the neck and drapes over your shoulders for added detail and drama. A black braided rope circles through the loop around the neck and you use this to control how loose or tight it sits. At the end of each braided rope is a fringed tassel that give a bit of movement when you move. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of documented fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a tie at the neck as described. The easy open cut should allow fit just about any size

Length: 54" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# C603

Reference Photos: Fall 1977 Yves Saint Laurent Runway & Ad.

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

Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed on the cover of Vogue. A Coty award followed a year later. In 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. We will be happy to find runway photos of this coat from the fall 1978 collection. It seems that it was a highlight of the collection and was shown layered over several looks. It is an absolutely fantastic coat and one of my favourites that I've ever had come into the shop.

This coat is a dream. As good as it looks in the photos and in the runway does it is even better in person. The photos don't convey how soft the fabric is. It is made from ultra soft mohair with a large oversized plaid pattern woven through it. The cut is huge and oversized. It's like having a blanket wrapped around you. The shoulders are soft and fall down the arm and the sleeve below that is cut wide and straight. You can wear them long or you could roll them up for a really relaxed feel. The body of the coat is equally as easy to wear with a loose and easy cut and cocoon feel. There are pockets hidden along each hip and a neat little collar. The back has a touch of gathering into the top seam for a bit of detailing and at the front there are long attached ties at the top of the neck. This is the only closure of the coat. It is charcoal and will be one of your favourite things I know. Excellent condition

Unlined and closes with the attached ties at the neck. Pockets along each hip. A combination of blanket finished and ribbon finished seams inside. The cut is meant to be oversized and it is meant to be worn that way. It is tagged a size 6 but should fit a range of sizes. It'll just be even more oversized on a smaller frame and feel more fitted on a larger.

Sleeves: approx 22" from natural shoulder
Shoulders: no true define seams
Bust-hips: to 32"+ flat across from side seam to side seam
Length: 51" from neck to hem

Modern Sizing Equivalent: OSFA

Item# C608

Reference Photos: Fall 1978 Geoffrey Beene 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 from the fall 1970 Rive Gauche collection and is very early example of his ready-to-wear. It also has a bit of infamy because it's twin was a photoed on Catherine Deneuve for Vogue that season. That photo of her has become one of her most iconic. It is also found in many books on his work and on her and I have included one here. In our hunt for documentation on this piece we also found two other editorial photos where it was used showing its importance as a piece of that season. This silhouette went on to be one that he repeated in many future collections. I love it's nod to bygone eras but at the same time it still feels thoroughly from the seventies. Pieces very first collection of a decade are always extra interesting to me. They're either one that you never see again or they become an integral direction for that decade.

The coat been worn and loved but it's still in fantastic condition. It's made from a velvet that has ribbing so it almost feels like an ultra ultra fine corduroy. The pile is flat but very soft. This fabric choice let him keep the lines and shape of the coat. It has a very great coat feel to it but with Victorian inspired mutton sleeves and that fantastic fit that Yves excelled at. The front does up with a double row of hand carved buttons. The collar above that is exaggerated. Collars would get bigger later in this decade but at the time even this would have been startling and edgy. It is fitted through the bodice and seamed at the waist. Under that the skirt of the coat flares out dramatically. Pockets are hidden along each hip as you can see in the photo of Catherine. The sleeves are incredible. They are set and gathered high into the top of the shoulder for a slight capped feel. They pouf out dramatically under that to about the elbow and then are slim cut to the wrist from there. It is currently gorgeous and I love it. It is also a remarkable piece of fashion history. Excellent overall condition with a note below

Fully lined in a copper coloured silk. It closes with the buttons at the front. Tagged a 36. There is some wear to the velvet under the buttons and on the slimmer part of the sleeve where someone would've pushed the sleeves up. It's very minor. There's a small spot on the front of the coat and I photoed that for you. Some tiny areas on the back where the fabric has worn through along the hem. I photoed one but they do go across most of the back bottom of the coat. They make no impact when it's on. I see a tiny area of the start of thinning to the fabric on one sleeve. This is still infinitely wearable and such an important piece of fashion history the small flaws don't really deter

Sleeves: 24"
Slightly inset shoulders: 13.5"
Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 37" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C609

Reference Photos: (1) Model in Yves Saint Laurent, January 1970.  /  (2) Catherine Deneuve in Yves Saint Laurent, October 1970.  /  (3) Model in Yves Saint Laurent, 1970.  /  (4) From the book "Saint Laurent Rive Gauche: Fashion Revolution".

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 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.  I have had black versions of this dress in the shop before and always love finding one of these. It is a classic Ossie design and one of Ossie's most famous and recognizable creations. A similar version in ivory is held in the Victorian and Albert Museum. Lily Sullivan also wore a version and you can see how it is transforms once on the body. Both of those fully button tot eh neck bit this one has a more V front and then has the buttons underneath that. I have included those shots here to give you an idea of just how fabulous the dress looks like on.

The design of this dress seems so simple when you see it on a hanger and yet it has that perfect flow and drape that he was known for. His signature sexuality that he worked into his pieces is displayed in that low front plunge that can be made even lower if you choose to wear it more unbuttoned. I love his pieces that button down the front. You feel covered, but he still somehow manages to make them feel extremely sexual. The buttons have been covered in the same red moss crepe as the dress is made from. They run from the bottom of the V neck, past the waist and down the top part of the skirt. The dress has it original matching fabric tie that wraps around and ties to give you some added shape and definition through the waist. The skirt flows from under there to cascade to the ground. It skims over the hips and then widens out quite a bit by the time it nears the hem. There is a wonderful amount of volume that flows around you when you move. I love that the back is cut slightly longer then the front. This is balanced out by full bishop cut sleeves that puff up above each moss crepe covered buttoned cuff. I own one of these myself and it will always be in my collection and I can tell you from personal experience that it is a dress that you will wear over and over. I absolutely love his red moss crate pieces. The colour is so good and it just makes a fantastic impact. This one is in wonderful condition to which isn't always the case with the red pieces. It easily goes from day to night and is sensational on the body. It is in its original uncut supermodel length which is hard to find with many Ossie pieces you now see out there for sale. Excellent condition with one small note below.

Unlined and slips over the head to wear with it original tie belt for around the waist. It buttons down the front. Each cuff has a fabric covered button at the wrist. There are two very light marks near the front center seam about 16" down from the final button. They are very light and where the skirt starts to get volume so not really seen when on but are visible when it is laid out flat. Please see the photo after the label shot. The red is a bit brighter then how it photoed. It is better in person. Tagged a vintage Ossie Clark UK 10

Sleeves: 28" but come up when cuffs are buttoned
Shoulders: 14.5"
Bust: to 18.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam and can be defined more by the tie belt
Hips: 16-18" flat across from side seam to side seam
Length: 61" from neck to front hem and 66" to the longest point of the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD3692

Reference Photos: (1) 1969-1974 Ossie Clark Dress in the V&A Collection.  /  (2-4) Lily Sullivan at the Inaugural Museum of Applied Arts and Sciences (MAAS) Ball in Sydney, February 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.

In 1981 Halston was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. At this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This is a fabulous example of his work and it has the added distinction of being a well documented one. On the runway it was styled with a wrapped leather belt and these were sold separately as part of the collections that Elsa Peretti was doing for the label. It is an amazing set and even better once on the body as you can see from the runway shots we included here.

Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This set is absolutely gorgeous and all of the bead and sequin work on it is completely done by hand. Silver tube beads in two sizes are laid out in an intricate swirling pattern that covers all three pieces. Each bead has been hand applied onto an ivory silk chiffon that has a bit of transparency. To make it wear able the halter and pants are lined in a nude silk chiffon. I love the boldness of the silver and how all three pieces glitter and sparkle in the light from every angle. Each piece is kept simple in design to work in harmony with each other. The pants have an elastic waist and are cut to skim over the hips. Each leg falls in a straight peg silhouette from there. The halter has a high scooped neck and ends just above the waist. It curves back and around the neck to close and does the same at the waist. This leave the back completely bare. At the front the bust skims over you. The bottom of the halter is finished with a silk panel that has little loops set all the way around it. These correspond to hooks that run around the waist of the pants. You can choose to wear the pants low for your midriff to show, and either let that band on the halter show or flip it under, or you can hook the pants to the top to hold it in place and then wrap a belt around it similar to how it was styled on the runway. It is just incredible. Then you would slip on the jacket over that if you wished. The jacket is cut loose and easy with a closure at the top the neck only so you can see the pieces underneath. The set is very flattering on the body and easy to wear. It is pure glamour. I love the versatility of having all three pieces because you can endlessly mix and match them all with other pieces from your wardrobe. Even just wearing a set with or without the jacket dramatically changes the feel of it. This is a classic example of Halston's work. This would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative outfit in a more extended wedding celebration. And of course it could also be worn to any event.Excellent condition

The jacket is unlined and has a hook and eye at the top of the neck. The heart hooks to close at the neck and at the back. You can also hook the pants and halter together as described above. Elastic through the waist of the pants. The bead work is completely hand done. Perhaps the occasional area of loose beads and threads here. The elastic in the waist feel stretched a bit and would be an easy fix if you needed the waist smaller. Its current range of measurements are listed below but it could go down by a few inches if needed. Slightly creamy in colour in person

Halter
Neck: 14" around
Bust: no true side seams but covers up to 14" flat across the front
Seam at bottom: to 13" flat across from side seam to side seam and the hook could be moved to get another inch if needed or made smaller as needed
Length: 15" from neck to bottom seam

Jacket
Sleeves: 22"
Shoulders: 15"
Bust- bottom: 19" flat across from side seam to side seam
Length: 30" from neck to hem

Pants
Waist: 13-18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 40.5" from waist to hem with 3.5" turned under the hem
Inseam: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4189

Reference Photos: Spring 1981 Halston Runway. Model: Connie Cook. (3rd photo: Crystal beaded cardigan jacket and jumpsuit from the Summer 1981 collection. From the book "Halston: An American Original")

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 Metropolitan Museum of Art hosted a Jacqueline de Ribes exhibit in 2015-16, giving her work an extra dose of much needed attention. De Ribes was know as 'one of the most celebrated fashion personas of the 20th century'. She began making dresses for herself and eventually opened her own label in 1982 at the age of 53, producing collections for the next 12 years. Which is remarkable in its own right. This dress is a variation of the one that walked the Spring 1986 runway and we have included the runway photo here. I love that you can see just how full and beautiful the skirt is from these photos. It is a gorgeous dress.

I love this dress so much with its incredible volume and amazing use of fabric and contrast with the black and ivory silk. The dress is made from yards and yards of bias cut silk chiffon. The fabric is so late but even with the multiple layers through the skirt you get this fantastic floating sensation all around you with your slightest move. The neckline is cut into a V at the front and dips lower at the back. It is suspended from wide black velvet straps that curve over the shoulders to meet the edge of the back. The back closes with a combination of a zipper and then a ribbon tied corset above that and hook and eye. This is all hidden from view however by draped panels of silk chiffon that are attached to the strap of the front and then go around to drape over your shoulders and curve around your back. At the front I love how the black silk chiffon sits over the ivory silk underneath for this incredible transparency effect the highlights the tiny pleat work done over each cup of the bust. More of the velvet ribbon defines the waist under that and curved up to between the breasts. From under that the dress cascades to the floor in a loose and voluminous cut. This is where the dress gets truly magical. There are three years of silk that make up the skirt. There's an inner silk layer and then over that is an ivory layer and a black layer that is split down the center so that you can see the ivory one underneath. All these layers flow out in an ever widening silhouette to the ground. There are yards and yard of chiffon that make up the lower portion of the dress. The bottom hem of both chiffon layers are finished with an inner wire that lets the hem curve and twist. This adds extra volume to the layers and creates a fantastically romantic and dramatic effect as the layers float over each other. It is amazing. Over all great condition with a small note to review below

Fully lined in an ivory silk jersey and closes with a back painted metal zipper with a tied corset above that. The inner zipper is curved under at the top and I think the corset part was a later addition. There are areas of yellowing to the draped shoulder part of the dress and some marks tot he interior here and there. See the last two photos after the label shot. Hand finishes throughout and made to demi-couture standards

Bust: to 16" flat across from side seam to side seam but can be adjusted upwards several inches if needed due to the corset back
Waist: to 13.5" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: 14" from top of shoulder to bottom of velvet ribbon at the lowest point
Skirt: 45" from bottom of velvet ribbon to hem

Modern Sizing Equivalent: XS-MED

Item# DD4190

Reference Photos: Spring 1986 Jacqueline de Ribes 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.